Lessons
Bootcamp Introduction
16:22 2The Bridge Interface
13:33 3Setting up Bridge
06:55 4Overview of Bridge
11:29 5Practical Application of Bridge
27:56 6Introduction to Raw Editing
11:00 7Setting up ACR Preferences & Interface
07:39 8Global Tools Part 1
16:44Global Tools Part 2
20:01 10Local Tools
22:56 11Introduction to the Photoshop Interface
07:13 12Toolbars, Menus and Windows
25:07 13Setup and Interface
11:48 14Adobe Libraries
05:57 15Saving Files
07:39 16Introduction to Cropping
12:10 17Cropping for Composition in ACR
04:44 18Cropping for Composition in Photoshop
12:40 19Cropping for the Subject in Post
03:25 20Cropping for Print
07:34 21Perspective Cropping in Photoshop
07:11 22Introduction to Layers
08:42 23Vector & Raster Layers Basics
05:05 24Adjustment Layers in Photoshop
27:35 25Organizing and Managing Layers
15:35 26Introduction to Layer Tools and Blend Modes
21:34 27Screen and Multiply and Overlay
09:15 28Soft Light Blend Mode
07:34 29Color and Luminosity Blend Modes
12:47 30Color Burn and Color Dodge Blend Modes
07:43 31Introduction to Layer Styles
11:43 32Practical Application: Layer Tools
13:06 33Introduction to Masks and Brushes
04:43 34Brush Basics
09:22 35Custom Brushes
04:01 36Brush Mask: Vignettes
06:58 37Brush Mask: Curves Dodge & Burn
06:53 38Brush Mask: Hue & Saturation
07:52 39Mask Groups
05:52 40Clipping Masks
04:11 41Masking in Adobe Camera Raw
07:06 42Practical Applications: Masks
14:03 43Introduction to Selections
05:42 44Basic Selection Tools
17:41 45The Pen Tool
11:56 46Masks from Selections
04:22 47Selecting Subjects and Masking
07:11 48Color Range Mask
17:35 49Luminosity Masks Basics
12:00 50Introduction to Cleanup Tools
07:02 51Adobe Camera Raw
10:16 52Healing and Spot Healing Brush
14:56 53The Clone Stamp Tool
10:20 54The Patch Tool
06:38 55Content Aware Move Tool
04:56 56Content Aware Fill
06:46 57Custom Cleanup Selections
15:42 58Introduction to Shapes and Text
13:46 59Text Basics
15:57 60Shape Basics
07:00 61Adding Text to Pictures
09:46 62Custom Water Marks
14:05 63Introduction to Smart Objects
04:37 64Smart Object Basics
09:13 65Smart Objects and Filters
09:05 66Smart Objects and Image Transformation
10:57 67Smart Objects and Album Layouts
11:40 68Smart Objects and Composites
10:47 69Introduction to Image Transforming
04:34 70ACR and Lens Correction
09:45 71Photoshop and Lens Correction
14:26 72The Warp Tool
11:16 73Perspective Transformations
20:33 74Introduction to Actions in Photoshop
09:27 75Introduction to the Actions Panel Interface
05:06 76Making Your First Action
03:49 77Modifying Actions After You Record Them
11:38 78Adding Stops to Actions
04:01 79Conditional Actions
07:36 80Actions that Communicate
25:26 81Introduction to Filters
04:38 82ACR as a Filter
09:20 83Helpful Artistic Filters
17:08 84Helpful Practical Filters
07:08 85Sharpening with Filters
07:32 86Rendering Trees
08:20 87The Oil Paint and Add Noise Filters
15:08 88Introduction to Editing Video
06:20 89Timeline for Video
08:15 90Cropping Video
03:34 91Adjustment Layers and Video
05:25 92Building Lookup Tables
07:00 93Layers, Masking Video & Working with Type
15:11 94ACR to Edit Video
06:10 95Animated Gifs
11:39 96Introduction to Creative Effects
06:08 97Black, White, and Monochrome
18:05 98Matte and Cinematic Effects
08:23 99Gradient Maps and Solid Color Grades
12:20 100Gradients
04:21 101Glow and Haze
10:23 102Introduction to Natural Retouching
05:33 103Brightening Teeth
10:25 104Clean Up with the Clone Stamp Tool
08:07 105Cleaning and Brightening Eyes
16:58 106Advanced Clean Up Techniques
24:47 107Introduction to Portrait Workflow & Bridge Organization
14:47 108ACR for Portraits Pre-Edits
21:27 109Portrait Workflow Techniques
18:46 110Introduction to Landscape Workflow & Bridge Organization
12:17 111Landscape Workflow Techniques
37:36 112Introduction to Compositing & Bridge
06:59 113Composite Workflow Techniques
34:01 114Landscape Composite Projects
24:14 115Bonus: Rothko and Workspace
05:15 116Bonus: Adding Textures to Photos
07:05 117Bonus: The Mask (Extras)
05:18 118Bonus: The Color Range Mask in ACR
04:54Lesson Info
ACR and Lens Correction
So, we're gonna open up this number two transforming distortion in Adobe CameraRoll follow-along image. So, in Adobe CameraRoll, Adobe CameraRoll comes equipped with a lot of things, as we discussed before. And if I wanted to fix this lens correction in Adobe CameraRoll, there are a couple of different tools that I can use for that. If I come over here to Lens Corrections, this gives me the option to look at not just the make, the model of the lens and maybe the lens profile from that lens, and it'll give you the opportunity to either check my remove my chromatic aberrations or enable those profile corrections. By default, if you do not have this checked, these will be grayed out, meaning it's not doing any lens correction for you at all. So, if I click Enable Profile Corrections, you'll notice that it takes the warping that's happening from barrel distortion of the lens, and it starts to push it back into the back of the image. So, let me go and turn that off so you can see that again...
. Before, after. Now, you all also notice is that we had a vignette around here. We had a vignette around here because lens is naturally vignette. Where vignettes come from, vignettes come from what happens within the lens and how the light is gathered within the lens, and we add it later for effect. Now, if we press that Lens Correction button, it's gonna analyze the profile of this lens, and it's gonna go ahead and fix that as well. But what really want you to pay attention to is not the fact that it's getting lighter or darker because that lighter or darken thing then can be like why is my image getting lighter, especially after you make all of these corrections. If you do all these corrections over here in the Basic settings, and then you see your image just get lighter, I'm like, what's going on? That's the vignetting that's happening. What it's also doing is it's trying to fix the warp in the barrel distortion within the image. And it does a pretty good job of fixing the bowing that's happening in the middle of the photograph, where we might get some bowing kind of coming up along the top of here, look along this line right here, and when I change that Enable Profile Corrections, notice how that kind of bowing that was happening, that's the barrel distortion there is now getting straight. So that helps, but you notice that we still have our perspective kind of like this, it's still like a V shape there in the back, where lines should be vertical. There are some other corrections here where if you go into the correction amount, you can change the amount of distortion that's happening there, to make it more or less distortion, and you can see how that barrel is changing at the same time, if you want. If the profile didn't select exactly what you wanted to select to fix, you can do that there. And then, the vignetting, like I said before, we can make less vignetting or get that vignetting back, based on the settings that come by default. So let's just change this back to 100, and this back to 100. Because in here, we got into a point now, we look at this image, we did our lens corrections, and we're like, well, that really didn't fix our problem. So we don't have to jump into Photoshop at this point. There's still some things in Adobe CameraRoll that we can use to fix that warping, and that's up here under the Transform tool. Under the Transform tool, you're gonna see a couple of different settings here. The Hover over is gonna tell you exactly what's gonna happen here. If you press A, it's gonna try to automatically balance to photo out for you based on what it believes horizontal and vertical lines are. If you go with this one, it's gonna apply a level correction only. If you apply this, it's gonna be level and vertical correction. And if you try this, it's gonna be level, horizontal, and vertical correction all happening at the same time. And then, this guy right here is where you get to draw guides to tell it what those vertical and horizontal lines are. So let's go ahead and break those down for a minute. If we're to press A, for the Apply balanced perspective correction, what happens here is that it does a pretty good job of aligning our image up. We've had a really nice balance here, but you see here how, as we've talked about before, once things go out the scale of the image, you start to get those transparent spots around your photograph. Well, there are some things in Adobe CameraRoll that are smart enough to fill those in. This is, unfortunately, not one of those tools, so it can't fill that stuff in for us. So if we wanted to go with this balanced setting here, we'd have to come down to where it says Scale, and Scale is gonna basically be a zoom, to zoom us in and out of this photograph. So, if I were to zoom this over, it's gonna get us further into the picture, right there, and that looks a little bit better. Then we have the offset of X and the Y. If, after we zoom in, we still wanna see more of the top or the bottom, we can change the offset by moving this up or down to get it more in line of where we want it to be. If we wanted to change the offset to the left or to the right, we have the X-axis and the Y-axis. It even shows you little arrows there for us that might not be smart with graphs. I tend to like math, so I can get the offset of X and Y. The Aspect, if we move the aspect ratio, it's gonna either make the image fatter or thinner to try and get the aspect ratio to fit within what it is you're trying to do for that balance correction. We can change that back to zero. And then, Rotation would be, maybe you wanna line up one of those lines a little bit more and get it more straight. You could rotate this image without using something like the Straighten tool. This would be a manual version of straightening. Let's go ahead and change these back. So, by default, once we click that upright, it's gonna clip us in on the sides, we'd have to zoom into this. And when we do that, though, we're losing that shadow there, which is actually kind of cool. So, if I were to click just the level, it's just gonna try and level out the bottom of the photograph, or the back of the photograph, I should say. And if we go with vertical lines, it's gonna try to make an application. It's gonna make our vertical lines more straight. So it's pretty smart with it finds those things. So you're shooting with the wide-angle lens, sometimes you shoot with that, knowing that you're gonna lose something. And if you shoot with that, knowing that you're gonna lose something, and you're okay with scaling into this image, then this is perfectly acceptable. But there are also times, if we press this button, this is just gonna try and balance all of what we see right here, your straighten, your horizon, your verticals, and any perspective correction at the same time, too. I'm just gonna press the Cancel on this. This guy right here, this one is where you can draw guides to tell Adobe CameraRoll what the straight lines are in the image. So, this is a pretty cool feature. I'm gonna press Control and Spacebar, and click to zoom in here. If I know that this is a straight line, and I click right here, and I drag up, I can press the Alt or Option key and move that over. And what Alt or Option is gonna as I move it over, notice how if I just do this, it's flying, and it's getting really hard for me to get this perfect. If I press Alt or Option, it's gonna restrict my movement to a really slow movement. I'm moving this mouse pretty crazy to the left and to the right, and it's not getting me go out of the confines, basically, of where I want to make that straight line. So, if I put that line right here at the edge of this and unclick, and then I click over here to this side, maybe click right here, and drag this up, and then Alt, oops. It's flying all over on me. Ah, I never learned to fly. It's like that up-down thing when you are flying. (chuckles) Okay, stop, calm down, you're drunk. Press Alt or Option, and then just click right over here. Stop, there you go. And then, I'll just press Control and Spacebar, Fit in View, and again, you see what it's doing there is, I'm telling it what those vertical lines are, and then, if I wanted to get even more precise with this, I can come in to another area within the photograph, say right here, and tell it what I want. A horizontal line to be, press Alt or Option. There is the horizontal line, and then pick another horizontal line from here, Alt or Option to see what I'm doing, there we go. So that would be me telling Adobe CameraRoll, hey, these are the lines that are straight. I got a straight line over here, I got one over here, I got one over here, and then it's going to go ahead and take what I've given it, and it's gonna morph the image to the way it needs to be in order to fix that perspective. But again, we still have those areas that are cropped off on the sides. As we've talked about before, we don't have to be stuck with that. We know that we can use something like the Content-Aware Fill tool 'cause we've already talked about that. We've talked about how we could fill in areas that aren't necessarily there. So what I would do is something like this at that point, is then I just press Open Image, and I can open this up in Photoshop. And if I wanted to select those areas on the outsides, I could grab the Magic Wand tool, click outside here, and it's got both of them select because the Contiguous is unchecked. If I press Shift F5, to Content-Aware Fill, it's gonna do its best to try and fill something in. Look, it even made its own sculpture here. (chuckles) Look at that, like, whoa, yeah, that can definitely, it even looks like it fits. (chuckles) and then from there, I could clean things up a little bit, use parts of pieces on the other side and fix that up. That's basically using Adobe CameraRoll to fix basic lens corrections that you'd find with a wide-angle image.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
a Creativelive Student
Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.
Robert Andrews
Blake Rudis is the absolute best in teaching photoshop. His knowledge and how he presents the instruction is clear and concise - there is NO ONE BETTER. Yes, his classes require some basic skills, and maybe I'd organize the order of (or group) the classes in a different order, but, let me be clear - if anyone is to be successful or famous in the Photoshop world, it should be Blake Rudis. I strongly recommend his teaching. I started photography and post processing in 2018, and because of this class, I'm know what Im doing. The energy you get when you create something beautiful is profound, it makes you bounce out of bed (at 4AM) like a 5 year old, to go create. It's a great ride! Thanks Blake, & Thanks Creative live.
Esther Gambrell
WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!