Lessons
Introduction To Adobe Photoshop
04:05 2Bridge vs. Lightroom
06:39 3Tour of Photoshop Interface
18:21 4Overview of Bridge Workspace
07:42 5Overview of Lightroom Workspace
11:21 6Lightroom Preferences - Saving Documents
08:19 7How To Use Camera Raw in Adobe Photoshop 2020
05:10 8Overview of Basic Adjustment Sliders
13:09Developing Raw Images
30:33 10Editing with the Effects and HLS Tabs
09:12 11How to Save Images
03:37 12Using the Transform Tool
04:48 13Making Selections in Adobe Photoshop 2020
06:03 14Selection Tools
05:55 15Combining Selection Tools
07:37 16Using Automated Selection Tools
17:34 17Quick Mask Mode
05:07 18Select Menu Essentials
21:28 19Using Layers in Adobe Photoshop 2020
13:00 20Align Active Layers
07:29 21Creating a New Layer
06:15 22Creating a Clipping Mask
03:02 23Using Effects on Layers
11:24 24Using Adjustment Layers
16:44 25Using the Shape Tool
04:39 26Create a Layer Mask Using the Selection Tool
04:39 27Masking Multiple Images Together
15:15 28Using Layer Masks to Remove People
10:50 29Using Layer Masks to Replace Sky
10:04 30Adding Texture to Images
09:11 31Layering to Create Realistic Depth
05:35 32Adjustment Layers in Adobe Photoshop 2020
05:29 33Optimizing Grayscale with Levels
10:59 34Adjusting Levels with a Histogram
03:37 35Understanding Curves
06:18 36Editing an Image Using Curves
18:41 37Editing with Shadows/Highlights Adjustment
07:19 38Dodge and Burn Using Quick Mask Mode
07:14 39Editing with Blending Modes
08:04 40Color Theory
05:59 41Curves for Color
16:52 42Hue and Saturation Adjustments
08:59 43Isolating Colors Using Hue/Saturation Adjustment
13:33 44Match Colors Using Numbers
16:59 45Adjusting Skin Tones
05:25 46Retouching Essentials In Adobe Camera Raw
10:52 47Retouching with the Spot Healing Brush
07:53 48Retouching with the Clone Stamp
06:51 49Retouching with the Healing Brush
04:34 50Retouching Using Multiple Retouching Tools
13:07 51Extending an Edge with Content Aware
03:42 52Clone Between Documents
13:19 53Crop Tool
10:07 54Frame Tool
02:59 55Eye Dropper and Color Sampler Tools
08:14 56Paint Brush Tools
13:33 57History Brush Tool
06:27 58Eraser and Gradient Tools
03:06 59Brush Flow and Opacity Settings
04:17 60Blur and Shape Tools
11:06 61Dissolve Mode
09:24 62Multiply Mode
15:29 63Screen Mode
14:08 64Hard Light Mode
14:54 65Hue, Saturation, and Color Modes
11:31 66Smart Filters
11:32 67High Pass Filter
13:40 68Blur Filter
05:59 69Filter Gallery
07:42 70Adaptive Wide Angle Filter
04:43 71Combing Filters and Features
04:45 72Select and Mask
20:04 73Manually Select and Mask
08:08 74Creating a Clean Background
21:19 75Changing the Background
13:34 76Smart Object Overview
08:37 77Nested Smart Objects
09:55 78Scale and Warp Smart Objects
09:08 79Replace Contents
06:55 80Raw Smart Objects
10:20 81Multiple Instances of a Smart Object
12:59 82Creating a Mockup Using Smart Objects
05:42 83Panoramas
13:15 84HDR
11:20 85Focus Stacking
04:02 86Time-lapse
11:18 87Light Painting Composite
08:05 88Remove Moire Patterns
06:11 89Remove Similar Objects At Once
09:52 90Remove Objects Across an Entire Image
05:46 91Replace a Repeating Pattern
06:50 92Clone from Multiple Areas Using the Clone Source Panel
10:27 93Remove an Object with a Complex Background
07:49 94Frequency Separation to Remove Staining and Blemishes
12:27 95Warping
11:03 96Liquify
14:02 97Puppet Warp
12:52 98Displacement Map
10:36 99Polar Coordinates
07:19 100Organize Your Layers
11:02 101Layer Styles: Bevel and Emboss
02:59 102Layer Style: Knockout Deep
12:34 103Blending Options: Blend if
13:18 104Blending Options: Colorize Black and White Image
06:27 105Layer Comps
08:30 106Black-Only Shadows
06:07 107Create a Content Aware Fill Action
08:46 108Create a Desaturate Edges Action
07:42 109Create an Antique Color Action
13:52 110Create a Contour Map Action
10:20 111Faux Sunset Action
07:20 112Photo Credit Action
05:54 113Create Sharable Actions
07:31 114Common Troubleshooting Issues Part 1
10:23 115Common Troubleshooting Issues Part 2
07:57 116Image Compatibility with Lightroom
03:29 117Scratch Disk Is Full
06:02 118Preview Thumbnail
02:10Lesson Info
Raw Smart Objects
Now let's explore the concept of using a raw, smart object, open a finished image first, and then I'll kind of give you an idea of how it was created. Here is my finished image, and the original version is picture I really didn't like. Let's go back and look at it. I'll get rid of any settings that are attached to this so that you can see purely what the camera captured. This is what the original picture looked like into me. It looks dull. These areas on the side need to be brighter. Need to be more vibrant. The sky I wish had detail down here on my wife is I could barely see any detail in her face and her pants, and it just really didn't like it. Well, it was a raw file, so I double clicked on the raw file, which opened in Adobe camera raw, and it decided I wanted to make the sky look better. So I did things like I brought the highlight slider down until the sky started to look good. But any time you do that, anytime you adjust sliders like highlights, shadows, clarity in De Hayes, th...
ose four sliders have a tendency of creating halos, little glowy things, and I can start to see it right along here. You see, it kind of looks like this is glowing, A brighter shade. I can also see it along here where it looks like a darker little halo. They're so I might decide the highlight slider is not the best one to get this guy to be darker. Instead, if I brought exposure down, the entire picture would get darker along with it. And the sky would look good eventually. But I would avoid those halos, so I opened the image. But when I open it, I don't open it normally, not by clicking the open image button I hold down the shift key knowing that is gonna change that button toe open object. When I opened it as an object, I know I'm gonna have a smart object. And so if I have a smart object and I double click on the thumbnail for it, if it was a raw file that it contains, it should send me right back into camera so I could make additional changes. But I want to make changes that I can mask in using photo shops masking tools. So I want to duplicate that layer. There are many different ways of duplicating a layer. If I go to the layer menu right, there's duplicate layer or layer new FIA copy or drag it down the new layer icon. It doesn't really matter right now, but I'm gonna double click on the thumbnail for that copy of the layer, and I'm gonna make a radical change to it. It's not actually gonna be a change I desire. I just want to show you what's gonna happen in photo shop when I click on OK, watch my layers panel. Do you notice that both versions of the picture updated? It didn't just change the one I double clicked on. It changed them both. And that's because any time you duplicate a smart object, it thinks that you have multiple instances of the exact same content, not dissimilar to if you're in a word processor or a page layout program, and you place a logo that's stored on your hard drive more than once. You just placed the exact same file two or three times. Well, if it's linking back to the original contents and you make a change to that original contents, It might update all of those were going to get into that when it comes to it, actually being a useful feature, but for now, it's getting in our way. So I'm gonna choose, undo by typing commands E. And I'm gonna throw away that top layer because we need to duplicate it in a special way. I'm gonna choose layer smart objects. New smart object via copy. The key word here is new. This means to create a new, independent smart object that has no idea that it happened to be the same as another one is contained within it. It's not thought of as being two instances of the same content. No, when I choose new smart object via copy, it looks like I just duplicated the layer. But that layer is now independent of the women's below it. Let's double check to me. Sure, I'll double click on the thumb now for the layer. I'll change my exposure like it did before. Click OK. And if you look in the layers panel, you can now tell that that one is independent of this. I'll choose on Duke's. I didn't really want to make that change. And so remember, I did that by layer. Smart objects. New smart object via copy. Now let's actually double click on it, and I'm gonna optimize that for a different area. Let's say I'm gonna optimize this one for the area where my wife is standing. So for that, maybe I need to brighten the image a bit. Maybe I wanna lower the contrast a little, and may I want to bring out little shadow detail and I don't care what the rest of the picture looks like. Maybe adjust the white balance, warm up her skin a bit, and I'm gonna click. OK, well, we have two versions of the image, one that looks good. Where the sky is one that's gonna look good where my wife is. So now I'm going to make a selection. Let's say I made a selection here of where this guy is, and I need to take away the area where my wife is because it got that selected. Imagine I spent the time which I'm not going to do right now to get a relatively accurate selection around her. Well, now I'm gonna get the opposite of that because I'm gonna use the sky from the image that's underneath, and I'll add a layer mask. A layer mask is only going to keep the areas that are selected. The only area that's selected currently is everything. That's not the sky in the mountain behind. So now that could be put in. Now. If you followed our advanced masking session, you could figure out how toe touch up this selection over here because this is no different than working on ah Bird's wing, where you might end up with a selection that's inaccurate. But we could get that to be accurate in what I would end up doing here is simply duplicating this multiple times, each time making sure it's creating a new smart object and then masking where I need to use each version. I've already done that in a separate document, so I'm gonna close this one. I just want to make sure you knew how I got to there, and I will show you the end result. Here's the end result and I actually interpreted the settings for this file a total of five times. Let's turn off all those different versions, get to the base image. Here's the first version of the image in. So let's say we're going to use that version just for where these vines are were in a vineyard here, and I wasn't concerned with what Karen looked like. I wasn't concerned with what the sky looked like. I was just trying to get the vines toe look good. Then I said, New smart object via copy, and I ended up processing the image again. In this time, I did it for Karen's skin, and I'll put that in here. This one was actually done near the end. Eso it could be put in underneath because it would be covered up already. So here the masking didn't have to be precise. I can show you that at the end. For now, let me turn that off. Then the next one up was for just Karen's pants because she's wearing black pants. It was next to impossible to see any detail in it, so I processed the image just so you can see a little detail. The one above that was just for her shirt, and I went into Kamerad, adjusted it until I thought her shirt look good. The one on top is used up there or it's not red, and that was for the sky. Put in like that and then working a little bit lower than this. If I hide the very bottom layer just so you can see that's what's used on the upper layers, and you can see little holes where her hands are in things. If I had to put something underneath here to fill in those areas, that's where I did. Since that was put on later on, it didn't need to be masked. Quite is precisely. But it all depends if you know how to think about layer mast unmasking. So this is a total of five different camera raw settings applied to the exact same image and then using masks, I combined them together and be able to use a smart object. Made it so I could duplicate the layer into a new smart object. Double click on it in applied different camera settings, repeat the process over and over again and use layer mass to control where they show up. After doing that, I ended up doing a little bit of retouching, so if I turn on the layer above did just see like a yellow flower at the bottom, going away and a few other little distractions. And then I ended up applying some adjustments. And so here's what happens after I just the picture that's like what you would learn in the tonal adjustments lesson or the color adjustments lesson to put this image together. But one of the key elements of pulling it off was the use of a raw file loaded as a smart object and then duplicating it into a new smart object with that special command, which is layer smart objects. New smart object via copy. And that's what I often need to do to optimize a picture where I can't get it to look satisfactory using a single set of camera settings.
Class Materials
Bonus Materials with Purchase
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!!!