Let's take an image here of a mug. What I would like to do here is take a photograph and actors with it's been printed onto the mug. So let's go find a photo to use, and this happens to be a raw file. Now, with the raw file, I could just choose open image. It would open in Photoshop, and then I can convert it into a smart object. But there is a different thing I could do, which is look at the button at the bottom right of my screen that's called open image and watch what happens to it. If I hold down the shift key, you notice it changes to open object. That means open. This is a smart object. When I don't have shift tell down, it just says open image. So if I hold down shift and I click where it says open object now I'm opening. That image is a smart object from the beginning, and in the case of a raw file that's special. Because now when I double click on the thumbnail image for that smart object, instead of just opening another document that contains a picture, it's gonna open camera...

because that's what we started with was a raw file. And whenever you open a raw file, it shows Kamerad so you can adjust it. And therefore, I could make changes to this image when it comes to the brightness in the colors later on. I don't think we're gonna utilize that in this particular example, but we will in a future one. Now, I'm gonna use the move tool. I'm gonna click within this document. I'm gonna drag to the other document and make sure my mouse is contained within the document before I let go. Now, I would like to take this in, acted as if it's been wrapped around the monk to do so. I'm first going to scale this down, so I'm gonna type command T that's control team windows. And that's the same as going to the edit menu and choosing free transform. I'm gonna make this just a little bit smaller so I can easily see the mug that's behind it. And then I'll return to the edit menu, choose transform, and I'm gonna work. This warping is gonna allow me to bend it now, this time, instead of choosing a preset warp like what I did before from this menu. I'll leave it set to custom. And what I'll do is grab the four corners of the image one at a time in place them where I think it would be if this in which was actually printed on the mug. I think this corner would be somewhere up this way. This one would be contained within the mug itself and maybe a down about there. Ah, this one's in a relatively good position to begin with. Then I'll grab this corner, drag it up, and I think it would be about there. After doing that, I'm gonna click on the line that makes up the edge of the photograph, maybe right about in the middle and see if it will allow me to move this around. It looks like it didn't like it when I was right in the line. So just to me, that would be the tiniest bit below. And then here I'll be just the tiniest bit above, and I'll drag down trying to get the angle toe look good. I confined to where these corners are if need be, and these little handles that come off for the corners. They determine what angle the edge of the photograph will be out right when it leaves the corner. So if you point it straight down, the photo will go straight down immediately when it leaves that little corner point. If I were to move it, this way would start going over towards the right. Well, I'm just going to tell that to mimic Lee edge of the mug, and I could do the same thing with the other one. I can also click in the left edge, pull it in and out if needed to bend it and near the right edge as well, if I needed to find Tune it. But I'm just trying to get this toe look like a reasonable idea of it being bent in here. You can also click in the middle and drag up and down if you need to reposition ah, portion of the it Maybe about like that, Then I'll press returner enter, and that doesn't really look like it's printed on the mug, though, because they're the shading of the mug is not showing up. So I'm going. Then go to my layers panel and I'll change the blending mode for this layer. We have a whole separate lesson on blending modes. Is part of Photoshopped a complete guide. In there you would learn that multiply mode acts like ink, and if so, it's gonna be like printing this on the mug. And at any time, I can always go back to edit, choose, transform and choose warp again, and it's going to act like I never left there and I could find Tune this as much as I want. Even after saving the image closing the image, it can still be fine tuned. All you gotta do is reopen it, so I'll get that to be set up. Press returner. Enter and let's just say that's good enough. But now I think the image looks a little on the dark side. I wish I had brighten it up, and it be best if I could brighten it up before I even opened it like it's a raw file. Right when I was in camera raw Well, we can remember when we opened it, we double clicked on it. It was a raw file. It brought us into camera in right there. We had a button where we could open it as a smart object. So if I double click of the thumbnail for this layer, watch what happens. It brings me into camera raw. Now it doesn't show it to me on the mug, but I can come in here now and bring up the shadows. Slaughter. Maybe bring up the overall exposure a little bit and then I can click. OK, and it updates. I think that's nice. All right, But then let's say that I took the original picture. I closed it. Not going to say the changes, and maybe for some odd reason, I lost that file. I took this file, and in my case, I see if I could drag it to the trash. It's gone. Imagine I emptied my trash in for some reason that file I just lost track of. Well, at any time you can take the contents of a smart object in, have it literally generate a separate file of whatever's inside. In this case, what's inside this layer is a raw file. So if I go to the layer menu and I choose smart objects, you're gonna find a choice called export contents. And that means do the equipment to double clicking on the thumbnail for that layer in whatever opens up, go to the file menu and choose save hours and make it a separate file. But in the case of ah, raw file, it's just going to spit out a brand new raw file. I choose export contents tell put it on my desk top end up here. You can see it's gonna be a raw file. So now if I look at my desktop, there's an extra file right there that I just generated, and it was taking it right out of the smart object and actually quite frequently used that, because I'll create some sort of project that is complex in that might have something like this, and I might double click on this layer to change its name. And if I do, then it's going to be difficult for me to remember the name of that file so that I might not know where it iss. But it's just so easy to say, export contents in it will generate a new file. But the other thing, Aiken Dio, is if I have another file that happens to be the same size, then let's see if this will work. I'm not sure if I have one of the same size, but if I go to the layer menu and I choose smart objects, there's also a choice called Replace Contents. And if I choose replace contents. I can come in here and try to find an image that would be a good replacement. No, not that one. Take me just a moment to see if I have one needs to be approximately the same dimensions. Otherwise, it's not gonna line up. Let's try that one. I'm gonna hit place. It's a raw file. So brings up camera Robert. All I have to do is click OK and now notice that it brought it in and it remembered the warping. It will remember any settings that replied to it, but I can tell you that the file was slightly larger. That's because it's taking up more space here. They need to be the same pixel dimensions, the same number of pixels in the with in height in order to do that. But that means I can set up a template that does something complex masking this picture, bending it, doing all sorts of things and later on decided like use a different picture as long as that pictures of the same dimensions

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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Scale and Warp Smart Objects

Scale and Warp Smart Objects

Lesson Info

78. Scale and Warp Smart Objects

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