Lessons
Class Introduction
02:15 2Adjustment Layer Tips
03:39 3Saturation and Luminosity Maps for Compositing
03:25 4Making LUT Files From Adjustment Layers
04:33 5Using the B&W Adjustment Layer to Adjust Color
02:52 6Eight Special Blending Modes: Opacity vs Fill
04:49 7Pass-Through: Group Blending Modes and Compositing
04:02 8How to Maximize Template Files (PSDT)
04:51Open a Flattened Version of a Large Layered PSD and Using PSB
02:57 10Select Colors From Outside of Photoshop
03:07 11Two Windows Open From The Same Document
03:21 12How to Use Photoshop Search
03:20 13Bring Back Old Refine Edge Tool
02:00 14Bokeh Overlays
07:20 15Using the Magic Wand to Make Object Selections
02:40 16Using Grass Brush for Cloning
03:20 17Keyboard Shortcuts
01:42 18Using Actions as a Text File
03:04 19Using Content-Aware Scale
05:10 20Channel Based Selections
06:54 21Using Channel Luminosity to Make Selections
01:58Lesson Info
Adjustment Layer Tips
I say mentioned before I do a lot of compositing, and a lot of times people talk about compositing and they talk about the tools they talk about masking. They talk about all these things. But there's also other, um, other things that are involved with compositing that you don't really think about there. Not that obvious. So I took a picture of my friend, and and then in the background is a picture I took in in Venice, and the composite looks OK. You can tell she's really not part of the background. There's a lot of reasons for that. But the two main ones is because the luminosity and the saturation doesn't match. When I create composites, I like to create layers that I call check players. I don't even know if there's a real term for that, but that's what I call them. So I create a check layer for luminosity in a check layer for saturation that allows me to see clearly what the differences between saturation and luminosity and it's really simple. You can just go into the adjustment laye...
r icon here in the bottom and select black and white that is gonna create the black and white adjustment layer. This adjustment layer obviously makes the image black and white, and you would use this adjustment layer to control the colors of an image. When you're making a black and white image and you can adjust the reds, for example, make the reds in the image starker. Which show up is black and white. But we're not gonna do any of that. What we're gonna do is just leave the black and white adjustment layer at default. And I'm just gonna that the image to screen here, this will be conceding czar image. Then I'm gonna click on the model layer and I'm gonna create a levels adjustment layer. We're gonna use this levels adjustment layer to change luminous values of the model so that they match the background and we're gonna use the black and white layer to help us see what we're doing. I'm also going to clip the levels adjustment layer to the layer directly below it by clicking on this icon here or pressing option command G. That's control G on the PC and notice that now I have this little damn pointing arrow in the levels adjustment layer in this telling photo is telling me that photo shop on Lee adjust the model layer because we clip the two later below it. Now I can adjust the model and we by applying the black and white adjustment layer. We got rid of the color. So it's easy for our ice to see that the model needed a little bit more contrast. ALS. That's what I'm doing, them increasing the contrast of the model later so we can make the image look good black and white. It's gonna look better when we bring the color back. Also, I don't want to adjust the colors. I only want to adjust the luminous values of the layer. So what I'm gonna do is I'm gonna click on the drop down menu on the blending mode, drop down menu and select the very last one luminosity. This blending mode allows us to only adjust the luminous values and not make any adjustments to saturation or color. So now when I disabled a black and white adjustment layer, you'll see the before and after. It's looking more like she It's more part of the scene just by creating that check layer. So again, very simple. just to reiterate, We have the black and white adjustment layer that allows us to check to give us a visual representation of the luminous values and by getting rid of the colors that makes it easier to see. And then you can use levels to make that adjustment, and maybe it needs a little bit more there. Maybe something like this would be OK, so that was the first step.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Lael
Overall Photoshop Week 2017 has some amazing instructors for workflow & compositing. Jesus Ramirez has the unique ability to combine simplicity with really useful depth: blend modes, different approaches to selection or combining different tools. This course covers a lot of tools and there are a number of ‘wow! didn't know that!’ moments a more advanced user will love.
Amy Vaughn
Yeah yeah, Jesus Ramirez is a great instructor and this class is packed with useful tips and even some fun ones that might not be so useful. But it was that one about using two windows from the same document that changed my Photoshop life.
Elad
Jesus is excellent! full of knowledge and provides a lot of helpful tips in a clear and easy to understand way. Only thing missing are captions for this class, for some reason. Otherwise, I wish there were more classes like this one.
Student Work
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