uh, if you end up converting an image to see him, why came out because you need it to be printed on a printing press? Then you have to be careful. One of the things that people do when they convert to seem like a mode is they'll have a nice, vivid colors in their picture. They'll go over here and choose image mode. Seemed like a It asked them this question, which is? Do you want to flatten the image or not? They say No, I still want toe might want to tweak my layers so they say, Don't flatten. And then when they complete it, the image looks different. And usually it's where vivid colors fade out to something else. If I choose undo, watch this image. Do you see how vivid the greens were? That's what they look like. An RGB. Once I got to see him, Why can't look like this? Well, what I would say is, if you have a layered document that's an RGB mode. You need to have it end up in seem like a mode, if at all possible. When you go over here and choose image mode seem like a, there's a reason...

why it asked this question. If you want to flatten your image or not, and that's because if it combines the layers together, will the images is still in RGB mode? The quality of the result will usually look better. And if you choose, don't flatten. It's not gonna have is good or smooth transitions where one layer fades out into another. So that's why it always ask you when you convert to see him like a choose the choice called flatten and the end result will usually look better. So this is in C N y que mode. And when flattening the image on the way. If I choose, undo here it was an RGB. I can't see any difference compared to see him like a often times. It has to do with people trying to retain the layers that make up their image, even though they might not end up tweaking them the district minions. But there's a reason why it asks you when you convert to seem like a and if it all practical, flatten your image in that process because oftentimes it will make your end result look better. Uh, other things that can mess you up if you come in here in, certain adjustments are great out, and certain tools just don't seem to work. Oftentimes what happens is you accidentally bumped the letter Q. On your keyboard when you bump the letter Q on your keyboard, then you've turned on quick mask mode. And then whatever it is, you're doing your image like, let's say I click on a layer here and I try to blur that layer. And even if I bring blurring way up, it doesn't do anything to that layer. And I'm like, What the heck it's not. Do anything. Well, the most common reason why it wouldn't do anything is there would be a selection active. I go to the Selectmen. You de select is not available. That means there is no selection on my screen, so let's switch layers back and forth. I want to blur this layer. It's just not doing anything. Well, it's because quick mask modus turned on quick mask mode is where I'll turn it off right now is where If you had a selection like this one and you type a letter Q, it would turned onto a red overlay. And now whatever you're doing involves that read over like So when I come over here and tried to blur something, it's trying to blur that red overlay. It just happened to be. I had nothing selected at the time that I turned quick mask on, and therefore no Red was showing up. Yet it's still trying to change that overlay. It's just that there was no red appearing, so I couldn't tell I was in that mode. And so what I would do is when you find things like filters having no effect whatsoever, it could be the preview check box has not turned on. But the second thing would be just glanced down here and see if that's been pushed in. If it's pushed in like it is right there, it means you have quick mask mode. Turn on either click the icon or typed letter Q a second time to get rid of quick mask mode and then try whatever you were doing again. Sometimes the feature called Auto Select Layers messes me up. In fact, most the time it does the default setting has this setting. If I'm in my move, tool turned on, and sometimes I'm out here, trying to target a layer like here. These leaves and I click on it and just done work, and I try to grab these little feet and in the layers panel. I'm not seeing any of these things getting targeted, and that's because there is a layer that covers your entire picture it like a texture, and it's in a blending mode that happens to make most of it disappear. Or it could be the at. The opacity has turned now, but it just needs. There's a layer that's filling the entirety of your document, and it's most likely in a blending mode that makes it not show up very much. So I would just need to delete this layer were turned off its eyeball, and then I should be able to target other layers. So look at whatever your top most layer is and then turn off its eyeball temporarily. So then you can target other layers to move them, and when you're done moving those layers, feel free to turn that top layer back on. But any time you apply textures, that's gonna max up using the auto select layer feature. Let's see here whenever you stitch a panorama. There is an issue you can encounter and let's see if I can get it to show up. Take me just a moment to find appropriate images for this. But what happens is that the, um, Photoshopped tries to draw your picture very quickly on screen in sometimes in the process of doing so, it makes it so what you see on screen is not as accurate is what is actually in your file here. I'm going to select a series of images, and I'm going to use something here called photo Merge to merge them together into a panorama. And let's see if I happen to get these artifacts and they're not always going to be a parent. So depends on the picture. But let's see if they show up on this particular result. Unfortunately, not. But what will happen on occasion is when you stitch a panorama, you're gonna find what I call worms, which are these little kind of lines that you concede exactly where the edge of one layer ends in the where the next layer begins. And it looks like a little Jaggi line that, um, looks like a low quality and result When you do that after stitching a panorama, it's not truly an issue with your picture. If you were to zoom up on your image to 100% view so you can see the actual fine detail within your image, you would find that those little things after stitching a panorama aren't truly in your picture. Instead, it's just that you have a multi layer document here. If you look in my layers panel, you'll see the multi layer and that it's just trying to very quickly composite these on screen, and in the process, it's not always perfectly precise. All you need to do is go to the layer menu and choose merge visible. And if you ever do see those little almost looks like a crack going through your image after sticking stitching a panorama, it will completely go away if you merge those layers together. And so I wanted to mention that because it's a very common question that I get when people stitch panoramas

Class Materials

Bonus Materials with Purchase

Lessons 1 - 6 - Handbook 1: Introduction to Adobe Photoshop

Lessons 7 - 12 - Handbook 2: How to Use Camera Raw

Lessons 13 - 18 - Handbook 3: Making Selections

Lessons 19 - 24 - Handbook 4: Using Layers

Lessons 25 - 30 - Handbook 5: Using Layer Masks

Lessons 31 - 38 - Handbook 6: Using Adjustment Layers

Lessons 39 - 44 - Handbook 7: Color Theory

Lessons 45 - 51 - Handbook 8: Retouching Essentials

Lessons 52 - 59 - Handbook 9: Tools Panel

Lessons 60 - 64 - Handbook 10: Layer Blending Modes

Lessons 65 - 70 - Handbook 11: How to Use Filters

Lessons 71 - 74 - Handbook 12: Advanced Masks

Lessons 75 - 81 - Handbook 13: Using Smart Objects

Lessons 82 - 86 - Handbook 14: Photography for Photoshop

Lessons 87 - 93 - Handbook 15: Advanced Photo Retouching

Lessons 94 - 98 - Handbook 16: Warp, Blend, Liquify

Lessons 99 - 105 - Handbook 17: Advanced Layers

Lessons 106 - 112 - Handbook 18: Actions

Lessons 113 - 117 - Handbook 19: Troubleshooting Issues

Practice Images 1: Introduction to Adobe Photoshop

Practice Images 2: How to Use Camera Raw

Practice Images 3: Making Selections

Practice Images 4: Using Layers

Practice Images 5: Using Layer Masks

Practice Images 6: Using Adjustment Layers

Practice Images 7: Color Theory

Practice Images 8: Retouching Essentials

Practice Images 9: Tools Panel

Practice Images 10: Layer Blending Modes

Practice Images 11: How to Use Filters

Practice Images 12: Advanced Masks

Practice Images 13: Using Smart Objects

Practice Images 14: Photography for Photoshop

Practice Images 15: Advanced Photo Retouching

Practice Images 16: Warp, Blend, Liquify

Practice Images 17: Advanced Layers

Practice Images 18: Actions

Practice Images 19: Troubleshooting Issues

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Ben Willmore

As a photographer, Ben Willmore has shot in all 50 states and explored over 80 countries. He has been pushing Photoshop and Lightroom Classic to their limits since the beginning.

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topics covered in this class

Adobe Photoshop Beginner Fundamentals Photo Editing

Ratings and Reviews

Noel Ice

I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!

ford smith

Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!

a Creativelive Student

Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!

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Common Troubleshooting Issues Part 2

Common Troubleshooting Issues Part 2

Lesson Info

115. Common Troubleshooting Issues Part 2

Lessons

Introduction To Adobe Photoshop

Bridge vs. Lightroom

Tour of Photoshop Interface

Overview of Bridge Workspace

Overview of Lightroom Workspace

Lightroom Preferences - Saving Documents

How To Use Camera Raw in Adobe Photoshop 2020

Overview of Basic Adjustment Sliders

Developing Raw Images

Editing with the Effects and HLS Tabs

How to Save Images

Using the Transform Tool

Making Selections in Adobe Photoshop 2020

Selection Tools

Combining Selection Tools

Using Automated Selection Tools

Quick Mask Mode

Select Menu Essentials

Using Layers in Adobe Photoshop 2020

Align Active Layers

Creating a New Layer

Creating a Clipping Mask

Using Effects on Layers

Using Adjustment Layers

Using the Shape Tool

Create a Layer Mask Using the Selection Tool

Masking Multiple Images Together

Using Layer Masks to Remove People

Using Layer Masks to Replace Sky

Adding Texture to Images

Layering to Create Realistic Depth

Adjustment Layers in Adobe Photoshop 2020

Optimizing Grayscale with Levels

Adjusting Levels with a Histogram

Understanding Curves

Editing an Image Using Curves

Editing with Shadows/Highlights Adjustment

Dodge and Burn Using Quick Mask Mode

Editing with Blending Modes

Color Theory

Curves for Color

Hue and Saturation Adjustments

Isolating Colors Using Hue/Saturation Adjustment

Match Colors Using Numbers

Adjusting Skin Tones

Retouching Essentials In Adobe Camera Raw

Retouching with the Spot Healing Brush

Retouching with the Clone Stamp

Retouching with the Healing Brush

Retouching Using Multiple Retouching Tools

Extending an Edge with Content Aware

Clone Between Documents

Crop Tool

Frame Tool

Eye Dropper and Color Sampler Tools

Paint Brush Tools

History Brush Tool

Eraser and Gradient Tools

Brush Flow and Opacity Settings

Blur and Shape Tools

Dissolve Mode

Multiply Mode

Screen Mode

Hard Light Mode

Hue, Saturation, and Color Modes

Smart Filters

High Pass Filter

Blur Filter

Filter Gallery

Adaptive Wide Angle Filter

Combing Filters and Features

Select and Mask

Manually Select and Mask

Creating a Clean Background