Lessons
Day 1
1Adobe Bridge Basics
27:08 2Sorting Images in Adobe Bridge
29:24 3Processing Images in Adobe Camera Raw Part 1
29:42 4Processing Images in Adobe Camera Raw Part 2
34:57 5Image Processing Q&A
08:13 6Contrast and Color
18:15 7Adjustment Brush and Auto Mask
16:19Adobe Camera Raw Optimized Images
11:09 9Lens Profile Corrections
20:36 10HDR Pro Part 1
23:05 11HDR Pro Part 2
20:49 12Panoramas Part 1
28:37 13Panoramas Part 2
22:02 14Intro to Photoshop
13:23 15Interface Overview
11:37 16Essential Adobe Photoshop Adjustments
10:33Day 2
17Flat vs Layers
34:49 18Simple Composites with Photomerge
22:53 19Stack of Prints Panorama
15:42 20Combining Exposures Composite
08:28 21Layer Mask Composite
23:51 22Selections and Masking Part 1
26:18 23Selections and Masking Part 2
16:04 24Adjustment Layers Part 1
18:51 25Adjustment Layer Part 2
23:20 26Creating a Postcard Layout
26:52 27Hand Drawn Photo Layouts
17:39 28Creating a Layout with Hand Drawn Frames
30:55 29Working with Frames and Textures
14:54 30Customizing Frames and Textures
24:33 31Saving for the Web
11:02Day 3
32Correcting for Noise
17:48 33Camera Profiles and Split Toning
19:30 34B&W Toning
25:24 35Post Crop Vignetting
11:05 36Selective Clarity
14:49 37Dust Spot Removal
29:57 38Content Aware Fill Part 1
22:46 39Content Aware Fill Part 2
21:59 40Healing Brushes: Basic, Spot, and Clone
26:02 41Retouching: Removing People
11:40 42Retouching: Building and Clone Source
20:12 43Other Retouching Techniques
22:00 44GIF Animations
14:51 45Creative Masking
15:24 46Displacement Mapping
16:44 47Creative Filters and Smart Objects
27:42 48Finishing Techniques
10:56Lesson Info
Post Crop Vignetting
All right, one other feature that I used quite frequently is that I like to uh I have some influence on where people look in my photos because otherwise if they're going to look randomly everybody has a different interest in life than I do and I want you to look in certain places because I picked up my camera for a reason or something in that scene that called my intention and I'd rather have you attracted to the same thing attracted my attention instead of what you would naturally look at that makes any sense on part of doing that often is keeping people away from the edges of the picture I want him in the middle because that's usually somewhere where they the interest is and so there's a feature and photo shop that I showed you before that is designed to compensate for your lens your lens often doesn't deliver as much light to the corners of your picture as it does to the middle you know brighten up those corners but oftentimes I will purposely darken the corners just to keep somebod...
y's attention towards the middle of the frame and I just want to describe something related to that if you go to the lens tab that's where we were at before when we're brighten up the corners what we did is we just turned on a check box that was called enable lens profile corrections and when we did it ended up brighton in the corners I know if you can tell in this image, but if you stare at the edges of the picture, you'll see the edges getting brighter and there was a slider down here at the bottom for vignette ng where I could turn it down tto lessen it if I got it down to zero wouldn't compensate for it, and if I put it up higher, it would overcompensate well there's also another place there's actually two other places where that could be done one of them is under this tab called manual that's if you're if you use an unusual lens, that photo shop did not recognize in therefore it didn't know how to correct for the fact that the corners were darker because it looks up what brand lens used which model used and then if they've tested that one, it can automatically correct for it with that one little check box we used over here, but if he couldn't, you go to the manual tab and you find a choice there where you can either darken the edges or brightened the edges of your picture. But the problem with that is if you actually want to darken the edges of your picture to keep somebody's attention towards the middle because it'll be less interesting on the dark edges of your picture, I would not use this slider to do it look at the name of this slider it's called len's been yet ing that means is designed for compensating for a lens. What problem could it be that you'd run into? Well, what if I cropped my picture in cropping my picture? I decide to only use this portion of it well, if I apply lens then yet ing it's always going to be applied to the un cropped image because the lens delivers less light to the corners, as it does the middle and it's always going to be way out there on the edge is it wouldn't make sense once I get out of the crop tool here to lighten her dark and this edge if what I'm trying to do is compensate for my lens because my lens wouldn't have darkened these corners, it would have been the original framing of the picture that makes sense. So if I wanted to darken these corners, I would not do it in this area called lens corrections. Instead, I would do it under the next tab. It's called effects a fax means I want to add an effect, my picture something doesn't have anything to do with what my lens cost. One of the choices there is called look at the wording. Post crop vignette ing means after I cropped let's darker inner light in the corners make sense so now you get the idea for why did they name it that because sometimes the naming khun b kind of v just sound kind of odd if you didn't know about the other vignette ng then you wouldn't know why this one is better in some cases if you want to darken the edges foreign effect tio keep your attraction more towards the middle of frame this is where you want to do it and it doesn't matter if you crap your picture or not you can use this because you have more control so I'm gonna clear my cropping here because I like this framing better it's not a special of a photo if you don't have it framed with that arch so let's look at post crop vignette ing with that we have an amount slider if I bring it up we're going to brighton and if I bring it down we're gonna darken so dark it up a little bit here then we have a choice called midpoint and midpoint in general means how far towards the middle of the picture should that darkening effect extend and so I could make it extended so even hits the blue sky at the top or I can limit it where it's really on lee on the very extreme edges but the problem is with this slider is it is sometimes too subtle oven effect to accurately judge how far it's extending so there's a hidden feature if you hold on the option key it's going to act as if you have the amount slider which controls how much darkening you're applying maxed out so that your darkening ah lot and therefore it's going to make it easier to see how far the effect is extending into your image so if I hold down the option key right now alta windows when I click on midpoint see how is darkening a lot so now I can judge how far should extend in towards the middle or not extend towards the middle and when I let go it goes back to whatever the amount setting was actually set too so when you hold on option it acts as if the amount is maxed out tio negative one hundred which means darken as much as he could and it makes it much easier to judge how far that effect is extending in then we have a choice called roundness that if you want to see what it does I suggest you hold down the option key because it's going to act like the amount sliders turned all the way up it affects the shape we're getting is it more like a rounded corner rectangle which is what I get when it's turned down or is it more like an oval like a full oval and I can control that if you want to know feather means how how does the fade out work? Is it an abrupt transition from where were darkening to where we're not? Or is it a softer, more gradual transition and then the slander of the bottom called highlights? I think that's going to become great out if the menu at the top has changed to something other than highlight priority, but it looks artificial if you end up darkening things where really bright sun was coming through because we would just wouldn't make sense that that that that sun s o up here where I probably got some of the darkening hitting the sky it's going to look a little artificial they're just because that wouldn't usually end up being too dark. So if I bring up the slaughter called highlights it's going to try to get the darkie in effect off of the bright stuff he and so if you could see it up where the sky is when I move this to its extremes so I might need to bring that way up to prevent this area on the left side from getting too dark and to prevent that area from getting too dark so if you have any highlights that air near those corners, the highlights slider will allow you to try to minimize how much of that gets darkened, so get a lot of sliders in there a lot of control and the main thing is with the exception of the amount which is easy to judge because you're seeing the image get brighter or darker and you just go until you like it with the other three sliders below that hold on the option cue when you move him and much easier to judge what they're doing and where they should be moved to uh but no, you don't always have to move all the sliders. A lot of the times I just move the amount done down and I'm done isjust on images like this one where if I extended too far innit would just not look right, but I really need to dial it in by moving all the sliders just know that not every image will need all the sliders there is the poppet menu at the top there are three choices there and paint overlay is a what you might call a legacy setting, which means that if you used an old version of camera aw like years old years and years ago and you've got a certain effect let's say you made a bunch of prints using that effect. Now you have a new photo and you need the same effect that was available in old version of photo shop before they improved it to make this feature better I still need the look of the old one well the old one usedto only have a choice called paint overlay, there wasn't a pop up menu here in this would allow you to reproduce the, uh, way old versions of camera work and usually paint overlay will look the worst because it's, the old technology being used it's just gonna be the equality you painting with black around the edges instead of darkening your picture in a more natural way. Then in general, the two choices you'll be switching to because paint overlay is not usually needed just a legacy feature, so you could reproduce the same look that you could get an old versions. Uh, you'd switch between these two highlight priority is when you have bright stuff near the edges of the frame that wouldn't look natural if they got darkened that's when you use this use color priority the rest of the time when you don't need to get the darkening effect off of the highlights used color priority in the results will look a little bit better where it's darkening the color it will look more natural announced areas, but don't stress about it. If this thing is set the highlight priority on the forty two images you've already used this on don't stress about it, it probably looks fine, it's just if you want to dial it into the absolute passed, I would only use highlight priority when I see bright stuff near the edge is that wouldn't look natural. They got darkened in the rest of the time. I would use color priority, so that is post crop vignette ing. You see why it's called post crop, compared to a vignette ing that you'll find somewhere else in camera, which is under the lens corrections tab. Because that's, what it's designed for us, correcting on something that happened, do the the design of your lens, where it doesn't deliver is much like the corners, because it does the middle.
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Ratings and Reviews
a Creativelive Student
Ben, thanks again for this course. I have taken and purchased quite a few of your courses to date. I keep thinking I will only watch to make sure I am on the right track and you always bring more to the table than the last course. Your teaching methods are the best, sorry to all the other instructors from Creative Live, but you are very easy to understand and you speak in layman's terms so we all can understand. I am following your instructions and working along with your files and it is the best! It is hard to keep up with you even when I watch you on one computer and work with the same files on another computer, to do what you are doing...impossible but I gain so much by trying. You provide so much info on each topic, it is amazing. Thanks to Karen for the PDFs, she does a fantastic job and also, for her templates/layout documents. Thanks again and to anyone who thinks this is too much money for all the videos, the exercise files and the instruction PDF, I am sorry to say but you are mistaken.
John Taylor
Like all of the Creative Live courses, excellent training. Ben does a great job of explaining the entry part of Photoshop. A lot of things cleared up in my head and i like his easy pace into this complex program. Thanks Ben.
Cecily
I had several "lightbulb" moments with this class, after many years of photography and when you think you know it all, you don't :) Ben Willmore is an excellent tutor, with his many years of experience teaching PS, he obviously knows the types of things a lot of us struggle to understand. I learnt a lot about Bridge, and have since implemented these things into my everyday workflow, so much easier to sort out what I want to keep etc.. Thanks so much Ben and Creative Live. Thanks also to Ben's wife for her amazing work creating the Guide etc. Even though being in Australia, I pay more for the courses (the conversion rate, the aussie dollar is low at the moment) it's very worth it to me. I have paid more for courses here, and learnt next to nothing. Thanks again.
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