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Adobe Photoshop CC Bootcamp

Lesson 3 of 118

Setting up Bridge

Blake Rudis

Adobe Photoshop CC Bootcamp

Blake Rudis

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Lesson Info

3. Setting up Bridge


  Class Trailer
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1 Bootcamp Introduction Duration:16:22
2 The Bridge Interface Duration:13:33
3 Setting up Bridge Duration:06:55
4 Overview of Bridge Duration:11:29
6 Introduction to Raw Editing Duration:11:00
8 Global Tools Part 1 Duration:16:44
9 Global Tools Part 2 Duration:20:01
10 Local Tools Duration:22:56
12 Toolbars, Menus and Windows Duration:25:07
13 Setup and Interface Duration:11:48
14 Adobe Libraries Duration:05:57
15 Saving Files Duration:07:39
16 Introduction to Cropping Duration:12:10
20 Cropping for Print Duration:07:34
22 Introduction to Layers Duration:08:42
23 Vector & Raster Layers Basics Duration:05:05
24 Adjustment Layers in Photoshop Duration:27:35
25 Organizing and Managing Layers Duration:15:35
28 Soft Light Blend Mode Duration:07:34
31 Introduction to Layer Styles Duration:11:43
34 Brush Basics Duration:09:22
35 Custom Brushes Duration:04:01
36 Brush Mask: Vignettes Duration:06:58
38 Brush Mask: Hue & Saturation Duration:07:52
39 Mask Groups Duration:05:52
40 Clipping Masks Duration:04:11
41 Masking in Adobe Camera Raw Duration:07:06
42 Practical Applications: Masks Duration:14:03
43 Introduction to Selections Duration:05:42
44 Basic Selection Tools Duration:17:41
45 The Pen Tool Duration:11:56
46 Masks from Selections Duration:04:22
47 Selecting Subjects and Masking Duration:07:11
48 Color Range Mask Duration:17:35
49 Luminosity Masks Basics Duration:12:00
50 Introduction to Cleanup Tools Duration:07:02
51 Adobe Camera Raw Duration:10:16
52 Healing and Spot Healing Brush Duration:14:56
53 The Clone Stamp Tool Duration:10:20
54 The Patch Tool Duration:06:38
55 Content Aware Move Tool Duration:04:56
56 Content Aware Fill Duration:06:46
57 Custom Cleanup Selections Duration:15:42
59 Text Basics Duration:15:57
60 Shape Basics Duration:07:00
61 Adding Text to Pictures Duration:09:46
62 Custom Water Marks Duration:14:05
63 Introduction to Smart Objects Duration:04:37
64 Smart Object Basics Duration:09:13
65 Smart Objects and Filters Duration:09:05
68 Smart Objects and Composites Duration:10:47
70 ACR and Lens Correction Duration:09:45
71 Photoshop and Lens Correction Duration:14:26
72 The Warp Tool Duration:11:16
73 Perspective Transformations Duration:20:33
76 Making Your First Action Duration:03:49
78 Adding Stops to Actions Duration:04:01
79 Conditional Actions Duration:07:36
80 Actions that Communicate Duration:25:26
81 Introduction to Filters Duration:04:38
82 ACR as a Filter Duration:09:20
83 Helpful Artistic Filters Duration:17:08
84 Helpful Practical Filters Duration:07:08
85 Sharpening with Filters Duration:07:32
86 Rendering Trees Duration:08:20
88 Introduction to Editing Video Duration:06:20
89 Timeline for Video Duration:08:15
90 Cropping Video Duration:03:34
91 Adjustment Layers and Video Duration:05:25
92 Building Lookup Tables Duration:07:00
94 ACR to Edit Video Duration:06:10
95 Animated Gifs Duration:11:39
97 Black, White, and Monochrome Duration:18:05
98 Matte and Cinematic Effects Duration:08:23
100 Gradients Duration:04:21
101 Glow and Haze Duration:10:23
103 Brightening Teeth Duration:10:25
105 Cleaning and Brightening Eyes Duration:16:58
106 Advanced Clean Up Techniques Duration:24:47
108 ACR for Portraits Pre-Edits Duration:21:27
109 Portrait Workflow Techniques Duration:18:46
111 Landscape Workflow Techniques Duration:37:36
113 Composite Workflow Techniques Duration:34:01
114 Landscape Composite Projects Duration:24:14
115 Bonus: Rothko and Workspace Duration:05:15
117 Bonus: The Mask (Extras) Duration:05:18

Lesson Info

Setting up Bridge

Why I like Bridge over many other file management systems is Bridge is a modular setup. It's modular, and you're gonna hear me talk about this when we talk about the Photoshop interface. Maybe I'm too analytical, maybe I think a little too much about how about I think, maybe I think too much about thinking, I dunno if that's even a thing. (laughs) But I like to be able to set up any interface that I'm working on in any one of my programs with the way that my brain works and how I can map out my brain, based on the programmer plug-in that I'm using. So Photoshop is great, because I can move the windows, I can go into the menus and I can change things. And I can get it set up just like I want it to, just like you're gonna see in our third lesson on the Photoshop interface. But Bridge is the same way. All of this stuff is modular. I can move anything I want anywhere, so that I get Bridge set up exactly the way that I think. So looking at this now, I just installed this specifically for th...

is course, and it's been a nightmare for me to look at Bridge, because it's not set up to how Blake thinks. This is set up to what Bridge thinks Blake should think. But Blake doesn't think Bridge and Blake think alike. (laughs) Say that 10 times fast. So like things up here, like publish and keywords, I am probably never going to publish anything as an Adobe stock contributor, because just, that's not my form of business. But if you are someone who does publish images, then you might wanna keep that there. I also don't typically use my Adobe portfolio probably the way that I should. And then keywords is up here. I don't really like keywords up there. So I look at this as a modular system and say, okay, how can I best set up the real estate within this area, so that things are where I want them to be, so that when I access them, they're there when I need them? And I don't like the way it is right now. So we're just gonna go ahead and talk about how we can set this up modularly to the way that we think. So I don't necessarily need to see a preview down here, because if I right-click, if I just press control and click inside this frame, I can zoom in and zoom out of my images, and I'm seeing a preview that's bigger than that preview anyway. Now if I were to grab this and pull this over and then pull this up, that preview will get a little bit bigger, but it still doesn't get quite as big as that. So to me, that seems like a redundancy. I'm just gonna go ahead and get rid of it. I can right-click and say, close preview, and it no longer exists there anymore. I'll move this back over, because it's driving me insane. Now up here where it says keywords, I don't necessarily need my keywords to be up here, so I'm gonna drag this over to an area that I think all my keywords and filtering should be. So I'm gonna click this, drag this over, down to here, and now I've got my filters next to my keywords. Publish, I said I don't use it, I'll right-click, and I will go ahead and close publish. And now I've got my metadata over here, like I said before, when we were in the preferences, and it shows all the metadata of this image, it's telling me everything that is in here, down to the time it was taken, the camera it was taken with, is it a RAW file, the exposure mode, everything that's going on within that camera is happening right here in the metadata. So I will leave that there. I actually do like my metadata over here, especially when I'm in essentials view, because that's essentially something that I want to see, so I'm gonna keep it there. If I go ahead and look over here now though, I've got keywords, collections, and filters. Well, to me, when we start talking about collections, you'll understand why I put it where I do. But to me, collections is better suited in an area that looks at my folders. So I'm gonna click and drag this collections up to here. And now I'm getting this more set up to how my brain thinks, okay? I've got my folders, I've got my favorites, and I've got my collections in one spot, because that is essentially the collection of the area that things are gonna be seen when I'm looking at my folder structure. So if we go over two, down here, we see filter and we see keywords now. Those are pretty good. If I right-click in any one of these, you can see all of the different panels that you can bring up within them. So if I ever wanted to bring one of those panels back up, if I accidentally got rid of one that I didn't want to get rid of, I could always just click on, you know, the content panel or whatever panel I wanted to pull into there. So I'll right-click and I'll just go ahead and pull that out and then, looks like I made a good mistake there, because all of that content was there in the middle. So we're good there. But I could right-click any one of those and close those keywords or close that content panel. That's good to go. So everything looks good there. It's getting set up better to the way I want my Bridge set up. But now, notice that if I were to go from the essentials view to the filmstrip view, everything's gonna go ahead and reset. Notice how collections is down there again? That's because that view is a different view than the view that I was looking at before. So you can set up any one of these, in any way, to match the way you think. So this would be my essentials view, this is where I'm looking at all my files in one big spot, but then, when I go to the filmstrip view and I'm just looking at those images, because that's when I start to cull them when I can see them a little bit bigger, maybe I don't need metadata over here. Maybe I don't need previews over here. Maybe I don't need filters and stuff over there. I definitely wanna put those collections where the collections belong. So even though I'm in this filmstrip view, I'm gonna click on collections and bring it right up here. So now collections and folders are in the same spot, and favorites are there as well. So if I go back to the essentials, it's a little bit more set up to how my essentials view looked. Down here, we aren't seeing the keywords area. If I wanted to do that, I could right-click and add the keywords panel. It's completely modular. Then if you go to things like output, these are gonna be different ways that you can output your images. I don't typically use this a whole lot. And you'll find that there's gonna be some things up here that you just don't use as much as you use other ones. I don't use this metadata one, I don't really use the keywords one. I don't typically use the preview one, unless I wanna see a really big preview. But if I did wanna keep this, I could also click this and drag it and move it next to here, because of all of these that I'm looking at, the only three that I really need are essentials, filmstrip, and preview. I do like the big preview that I'm seeing here, because it's set up a little bit differently than something like the filmstrip view. Filmstrip view gives me all of my RAW files that are in this folder along the bottom, a smaller preview screen. This gives me a bigger preview screen with all of those along the left-hand side. More similar to something like I would see right in Adobe Camera Roll, which is actually kinda nice. Well you notice how I clicked and dragged this out, if I drag this in, pull this over, now I'm only seeing the ones that I wanna see, and only the ones that I need to see. I don't need to see all the other ones, they just clutter up my workspace and I don't need to see them.

Class Description

Adobe® Photoshop CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you’ll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop. 

Topics covered will include:

  • Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
  • Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
  • Smart Objects, Transforming, Actions, Filters, and Editing Video
  • Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow

Don’t let the many aspects of Photoshop prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.


Adobe Photoshop CC 2018


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!!!!