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Adobe Photoshop: The Complete Guide Bootcamp

Lesson 32 of 118

Adjustment Layers in Adobe Photoshop 2020

Ben Willmore

Adobe Photoshop > Adobe Photoshop: The Complete Guide Bootcamp > Adjustment Layers In Adobe Photoshop 2020

Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

32. Adjustment Layers in Adobe Photoshop 2020

Lessons

Class Trailer
1 Introduction To Adobe Photoshop 04:05 2 Bridge vs. Lightroom 06:39 3 Tour of Photoshop Interface 18:21 4 Overview of Bridge Workspace 07:42 5 Overview of Lightroom Workspace 11:21 6 Lightroom Preferences - Saving Documents 08:19 7 How To Use Camera Raw in Adobe Photoshop 2020 05:10 8 Overview of Basic Adjustment Sliders 13:09
9 Developing Raw Images 30:33 10 Editing with the Effects and HLS Tabs 09:12 11 How to Save Images 03:37 12 Using the Transform Tool 04:48 13 Making Selections in Adobe Photoshop 2020 06:03 14 Selection Tools 05:55 15 Combining Selection Tools 07:37 16 Using Automated Selection Tools 17:34 17 Quick Mask Mode 05:07 18 Select Menu Essentials 21:28 19 Using Layers in Adobe Photoshop 2020 13:00 20 Align Active Layers 07:29 21 Creating a New Layer 06:15 22 Creating a Clipping Mask 03:02 23 Using Effects on Layers 11:24 24 Using Adjustment Layers 16:44 25 Using the Shape Tool 04:39 26 Create a Layer Mask Using the Selection Tool 04:39 27 Masking Multiple Images Together 15:15 28 Using Layer Masks to Remove People 10:50 29 Using Layer Masks to Replace Sky 10:04 30 Adding Texture to Images 09:11 31 Layering to Create Realistic Depth 05:35 32 Adjustment Layers in Adobe Photoshop 2020 05:29 33 Optimizing Grayscale with Levels 10:59 34 Adjusting Levels with a Histogram 03:37 35 Understanding Curves 06:18 36 Editing an Image Using Curves 18:41 37 Editing with Shadows/Highlights Adjustment 07:19 38 Dodge and Burn Using Quick Mask Mode 07:14 39 Editing with Blending Modes 08:04 40 Color Theory 05:59 41 Curves for Color 16:52 42 Hue and Saturation Adjustments 08:59 43 Isolating Colors Using Hue/Saturation Adjustment 13:33 44 Match Colors Using Numbers 16:59 45 Adjusting Skin Tones 05:25 46 Retouching Essentials In Adobe Camera Raw 10:52 47 Retouching with the Spot Healing Brush 07:53 48 Retouching with the Clone Stamp 06:51 49 Retouching with the Healing Brush 04:34 50 Retouching Using Multiple Retouching Tools 13:07 51 Extending an Edge with Content Aware 03:42 52 Clone Between Documents 13:19 53 Crop Tool 10:07 54 Frame Tool 02:59 55 Eye Dropper and Color Sampler Tools 08:14 56 Paint Brush Tools 13:33 57 History Brush Tool 06:27 58 Eraser and Gradient Tools 03:06 59 Brush Flow and Opacity Settings 04:17 60 Blur and Shape Tools 11:06 61 Dissolve Mode 09:24 62 Multiply Mode 15:29 63 Screen Mode 14:08 64 Hard Light Mode 14:54 65 Hue, Saturation, and Color Modes 11:31 66 Smart Filters 11:32 67 High Pass Filter 13:40 68 Blur Filter 05:59 69 Filter Gallery 07:42 70 Adaptive Wide Angle Filter 04:43 71 Combing Filters and Features 04:45 72 Select and Mask 20:04 73 Manually Select and Mask 08:08 74 Creating a Clean Background 21:19 75 Changing the Background 13:34 76 Smart Object Overview 08:37 77 Nested Smart Objects 09:55 78 Scale and Warp Smart Objects 09:08 79 Replace Contents 06:55 80 Raw Smart Objects 10:20 81 Multiple Instances of a Smart Object 12:59 82 Creating a Mockup Using Smart Objects 05:42 83 Panoramas 13:15 84 HDR 11:20 85 Focus Stacking 04:02 86 Time-lapse 11:18 87 Light Painting Composite 08:05 88 Remove Moire Patterns 06:11 89 Remove Similar Objects At Once 09:52 90 Remove Objects Across an Entire Image 05:46 91 Replace a Repeating Pattern 06:50 92 Clone from Multiple Areas Using the Clone Source Panel 10:27 93 Remove an Object with a Complex Background 07:49 94 Frequency Separation to Remove Staining and Blemishes 12:27 95 Warping 11:03 96 Liquify 14:02 97 Puppet Warp 12:52 98 Displacement Map 10:36 99 Polar Coordinates 07:19 100 Organize Your Layers 11:02 101 Layer Styles: Bevel and Emboss 02:59 102 Layer Style: Knockout Deep 12:34 103 Blending Options: Blend if 13:18 104 Blending Options: Colorize Black and White Image 06:27 105 Layer Comps 08:30 106 Black-Only Shadows 06:07 107 Create a Content Aware Fill Action 08:46 108 Create a Desaturate Edges Action 07:42 109 Create an Antique Color Action 13:52 110 Create a Contour Map Action 10:20 111 Faux Sunset Action 07:20 112 Photo Credit Action 05:54 113 Create Sharable Actions 07:31 114 Common Troubleshooting Issues Part 1 10:23 115 Common Troubleshooting Issues Part 2 07:57 116 Image Compatibility with Lightroom 03:29 117 Scratch Disk Is Full 06:02 118 Preview Thumbnail 02:10

Lesson Info

Adjustment Layers in Adobe Photoshop 2020

today, we're gonna talk about tonal adjustments and adjustment layers. What I mean by a tonal adjustment is one that is not designed to a just color instead is designed to adjust the brightness of your picture, so that means you want to brighten it, darken it, add contrast, reduced contrast, were. Do anything that's not related to color. Eso. Let's just don't dive right in and get in a photo shop and do as much as we can. Now the first thing to think about is if you're going to be adjusting the extremes of color, meaning things that are very close toe white or very close to black. And your original image was captured as a raw file, not as a J peg, not as a tiff, not a something else. But it captured the raw data that your camera's sensor collected, and you have all of that data available. Well, then you want to adjust. That image will. It's still a raw file, and that means you should do things in Adobe camera raw. I'm gonna show you an example. Here I have a raw file that I'll double c...

lick on, which brings it into camera and If you see how bright the highlights or bright areas are, it looks like there's pretty much almost no detail down here with just the exception of a few lines. Well, if I take this image all the way into photo shop, but I just choose open image ignoring camera now, there's nowhere nearest much information available here because there's a large number of things that happened to the picture once it gets into photo shop. And it just what happens is, let's say in the highlights. Your images met out of three pieces red, green and blue. Well, if there's only information that your camera captured in one of those three colors, that information doesn't usually make it the Photoshopped camera rocket still use it, but Photoshopped can't. It just wasn't sent there only where we had information and all three colors would get something. And so let's see what happens. We attempt to adjust this. I'm just going to actually use the camera raw filter, and you can get that from the filter menu with. The difference is I'm not working on a raw file because the moment and images all the way open into Photoshopped. It's no longer a raw file. It's only raw before it went through Adobe Camera once it came out the other side. It's a normal image now, so if I do the camera raw filter, I want to get this highlight detail to show up. So I'm gonna bring the highlight slider all the way to the left, and I noticed that it pretty much didn't do anything. Then we learned a trick. If you happen to have watched the class on camera on, that is, if you lower this the highlights all the way down and you wish you could go further, you could take the exposure slider in lower it and see how much you can get. And you can see that there is a little bit of information there in the brightest part of the picture. But by the time I've done, this theme is just starting to look rather dull. Now there's a lot I could do to it, and I'll just move around some sliders to try to brighten up the rest of the picture and tried to adjust it overall. But I don't find this toe Look all that great. Now I'll click OK and I'm gonna open that image a second time. I'm gonna go over here and I'm just so it doesn't complain. The image is already open. Let's go over here and duplicate this image. I'll call it non wrong, and then I'll close the original before I duplicated it. All right, then, let's go back to bridge. Let's open that image one more time. A double clicking since it's a raw file comes into camera and I'm gonna do the same process. I'm gonna bring the highlights down. I'm gonna bring the exposure town and right away. Right now, I can tell that the image looks more normal when I do this. It doesn't look quite as hazy and and just not as it's nice looking. And so I can go over here like, for instance, on the other one. I needed to bring my whites up dramatically to make the rest of the image look normal. Now I don't At this point, I didn't move these anywhere near us far. I did move the highlights as far as I could in the exposure down, But once I've done that, the other sliders I didn't need two minutes later all that much I'll click open image, and now we have two images that we could look at side by side. Then here, I'll tell it to tile them to up so that right next to each other. And so this is adjusting the exact same picture. The image on the right was ignoring camera. The image on the left was taken advantage of all the information that was contained within that raw file, and I dramatically prefer the image on the left. I might adjust the blue sky, little bits, a little overdone for my tastes. But there's a simple control in camera where you could, like, um, bring down the saturation on the blues, and that would be no problem. So I show you this because we're about to get into tonal adjustments and Photoshopped and I want to make sure that you are aware that that doesn't mean that I'm replacing Adobe Camera raw with these features and Futter shop. I try to get as much out of my images as I possibly can in adobe camera or light room. Light Room has the same features as camera when it comes to adjustments, because that's the only time when it can look all the way to the original data the camera captured. Once an image is opened in photo shopped. A lot has happened to it to simplify the data that is there and just make it ready for photo shop. In the process, you lose some and your highlights and shadows that you could have taken advantage of had you adjusted that image in camera raw.

Class Description

All individual classes that make up this bootcamp are also available here for individual purchase.

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Develop an understanding of how Photoshop works
  • Create your ideal workspace
  • Configure the essential preference settings
  • Set up Adobe Bridge and Lightroom for optimal integration with Photoshop
  • Navigate multiple images seamlessly

ABOUT BEN’S CLASS:

Adobe® Photoshop® 2020 is a feature-rich creative force, perfect for turning raw ideas into audience-wowing images. With Ben Willmore as your guide, you can master it faster than you think and take on a new decade of projects.

Ben takes you step-by-step through Adobe Photoshop 2020 as only he can. With an easy pace and zero technobabble, he demystifies this powerful program and makes you feel confident enough to create anything. This class is part of a fully-updated bundle – complete with 2020 features and more efficient ways to maximize the tools everyone uses most.

Whether you’re a 20-year designer or you’re opening the app for the first time, this is the perfect way to learn and love using Photoshop. From retouching to masking to troubleshooting, Ben unpacks all the essentials and hidden gems, while giving you real-world examples to drive each lesson home. By the end of the class, you’ll feel eager to make serious magic with Photoshop 2020.

WHO THIS CLASS IS FOR:

  • Beginner, intermediate, and advanced users of Adobe Photoshop.
  • Those who want to gain confidence in Adobe Photoshop and learn new features to help edit photos.
  • Students who’d like to take ordinary images and make them look extraordinary with some image editing or Photoshop fixes.

SOFTWARE USED:

Adobe Photoshop 2020 (V21)

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!

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!!!

marianne
 

The short lessons makes it easy to find things. Clear explanations, structured content, great examples, handbook plus practice images - this class is worth x10 the price! I have seen many of Ben's classes and I'm so happy you created this one, love it