Lessons
Class Introduction
09:07 2Collecting Source Images
02:41 3Establishing a Workflow
07:12 4Sorting in Bridge
01:43 5Editing in Photoshop: Starting with the Mid-Ground
23:24 6Editing in Photoshop: The Sky and the Moon
12:57 7Editing in Photoshop: Flowers in the Foreground
10:11 8Editing in Photoshop: Global Adjustments and FX
09:52Lesson Info
Collecting Source Images
you can come from anywhere. Uh, I didn't shoot profit a large longest time with the that one. If I go back a little bit, too, with a swan, right that that picture all J pigs. And even with J pegs, just because you're not shooting and raw doesn't mean you throw it away and it's not work. There's so much information, especially when I'm compositing piece by piece doesn't mean you need this huge image. We're adjusting the highlights and all that. You really just need to work with some pixels and you're really painting in pixels. Your photos are more of a photo palette in which you're taking sources from and drawing those into where they should be. So you have to think beyond just photographic like I always have to be raw always has to be this even phone images special if they're used in certain ways, that technology has just gone to such huge leaps. It's pretty inspiring. It's awesome, so always take advantage of that. I'm always shooting with my texts in my phone, shooting textures Every...
where I go, Mike office would be great for this, right? So always keep your I o S o J peg is not necessarily the enemy. I'll see in generally, I'm gonna convert everybody to be Ah, digital quarter like I am, right? Never throw away your shots. Just get bigger. Hard drives, memories cheap, right. Memories so cheap. So get larger hard drives when you can afford it. Get backups of things because you might use it for something. If you're really interested in this kind of work, hold onto everything, even shots that well, that has some poll there in a telephone line. Yeah, but that tree was amazing, right? That tree just had the light at the right angle. You might use that. So, you know, try to think beyond just the literal photograph and the photographic elements that you're seeing. Look at the objects in the lighting on then. Yeah, build your own archive from there, right? Always be building it again. Memories cheap. So start adding to it. I'll talk about how use bridge to build. An archive will just sort of, ah, show a demo version of what I have here. But it is good them or you can bring together and tag things. Whatever you're using. Light room or bridge. Just make sure you have an organized way, and you're always flushing out in building it. And you can find the images that you need, right? It's no good if you can't find them. So always be keeping that in mind as well. So as far a source images for this one for that. That one with the, you know, explosively. All have explosives, guys. But the one with that statue, that lady Nike in the middle, this is again trip to Europe. These are just some of the images here, Mike. Okay. This this could be something. Yep. So those are the some of the pieces that are there in there, and those were most of them were shot with a little power shot. You know, point shoot camera somewhere shot with my canon. A lot of them are not right. You can mix and match as long as you're using your adjustments, right?
Class Materials
Bonus Materials
Ratings and Reviews
Timary Lee
This is a great class. Bret is a terrific teacher and speaker. This is fast paced, however, and he does move quickly through things but that is actually a pro instead of a con to me. I absolutely loved his thoughts about creating your own gallery of 'stock' images, background and textures. I feel inspired by this class and capable of creating my own fantasy landscapes. Thank you!
a Creativelive Student
Very clear, practical and easy to understand tips that make significant and amazing changes in what otherwise will be regarded as a normal photograph - he brings normal to extraordinaire in a very clear and organized set of steps. Very well organized workflow. I loved this class.
Lynda Adlington
This was very good. I know Bret knew what he was doing when he was zooming through his layers, but I found it very hard to follow and really understand everything he was doing. I nice chap and good class.