Skip to main content

Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 84 of 118



Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 84 of 118



Lesson Info


then a second, more standardized technique is one known as HDR. Your camera can Onley record a certain brightness range, and oftentimes the scenes that you're shooting are going to be on be beyond that range. And when that happens, either the brightest portion, your image will end up solid white with no detail or the darkest portion. Your image will end up solid black with no detail. And so, if you want to look at a example Ah, here I was in Southeast Asia, and I found this scene in This is generally what I captured. When here I'm near Angkor Wat, and if you look in the dark portion of this image, it's really hard to see any detail now. I could have changed my exposure and gone brighter and maybe even brighter, and I didn't go any brighter than this. But if I wanted to see the detail that was actually in this area down here at the bottom, I could have gone even brighter. Maybe two more shots to get brighter in order to see that detail. But when I do look at the sky, we're not getting t...

he detail up there in order to get up the detail in the sky and have to shoot darker, darker. I want to get the detail over here on the edges, maybe darker. If I do that, I do. It's known as bracketing my exposures. Then I can combine together those multiple exposures that vary in brightness into a single file that contains that full brightness range and that's known as high dynamic range HDR. When you shoot that, I'll usually end up, uh, setting my camera toe auto bracketing in the menu system for the camera, and I'm in aperture priority mode. So the aperture setting this consistent between all the shots and so it's only changing my shutter speed. You can do this handheld, although it will be, ah, higher quality result. Usually if you end up doing it with a tripod, I'm gonna take these images, select all of them, and there's two different ways you could merge this into HDR. The first is you go to the Tools menu. You could use Photoshopped, and there's a choice called merged HDR Pro. If I choose that option, it's going to load those files into layers and Photoshopped, and then it's gonna merge them together and it's gonna present me with this list of adjustments to apply in using those sliders you're gonna find some for make rather radical changes to your picture. That don't necessarily always look good like that Looks pretty terrible in other ones will just make radical changes. So you have to be rather subtle with the way you move these. Otherwise, it'll look very much fake. Well, I don't use that very often. I only use that when the feature I'm about to show you fails me and doesn't give me an acceptable result that this is my back up. So let me cancel this and show you the way I would usually do it. I would still select the same images. But this time I would go to the file menu here in bridge and I would choose opening camera raw. When I'm in camera in the upper left, I would go to a side menu and tell it to select all the images. I'd return to the same menu and then choose merge to HDR. Now you can do the same thing in adobe light room. If you select the images and you go to the photo menu, there'll be, ah, choice. I think it's just called merge or might be called photo emerge, and it'll offer you the choice of stitching a panorama or doing hdr, which is what I'm doing here. Now I get a preview in here, and there are some checked boxes on the right, a line images I almost always have turned on. The only time it wouldn't is when I'm on are extremely stable tripod and I'm using a cable release or another method for triggering the camera where I'm not touching the camera. Ah, then I wouldn't have to try to align the images. But you need that on if you're going to shoot handheld because the image won't be in the exact same location and each shot, then at the bottom is a choice. Go d ghost. And if there's any movement in the scene, if there is any wind and let's say there's a flag flapping in the wind or there's Ah River and the water is in a different position and each shot, then you're going to change this D ghost amount. If there's absolutely no motion whatsoever, you could set it off and then it's not gonna look it's not gonna compare the shots and look for motion. But if there's any chance that there was wind in your picture that might be moving things around, I would at least put it on low. There's a little check box called show overlay, and that will cause it to put red and top of the picture where it's compensating for motion. And so if it's obvious where the motion is in, the red is not covering all of the areas of motion, then you could bump this up to medium. The red will expand theory it's covering, or you could bump it up too high and it would work on an even larger area for this particular image. I don't really see any red in it. If I zoomed up, there be a small chance there be some area, so I'm gonna leave it on low because I'm assuming there be some sort of motion in there, and then I'm gonna choose merge, and when I dio, it will ask me where to save the resulting file you save, and then the end result. Lip here at the bottom of the list of thumbnails on the left side of my screen and what's special about this. It's not only is it an HDR image HDR, meaning a wider brightness range than a single shot, uh, it's also still a raw file. And that means changes to things like White Balance are going to give you a higher quality the result than if you used the first technique that I showed you, which is the technique I use as an alternative to this. Only when this technique messes up and can't combine images. So at this point, none of the adjustment sliders have been moved. That's because I did not have the check box turned on that, said Auto in. Now I can optimize this picture just like you would any other most of time with HDR to start off with. I just max out the shadows. As high as it goes. I bring the highlights as low as it goes, and then I just contrast to control. How big of a difference is there between bright and dark? After I do that, I treat it like any other photograph, and it doesn't mean I leave. Highlights is high, there's lows, it goes and shadows as high as it goes I might deviate if I don't need that much shadow detail or to darken the highlights that much. But now I'm going to treat this like any other photograph in when I'm processing it. I'm not going to spend too much time on the image itself, though, because this is more about the process of merging it, then how to process images. We had a separate lesson on his part of the complete guide That was just about camera raw and use all the techniques I discussed there. When you're done, click OK, and then you're gonna end up with your original exposures in somewhere else will be your HDR file. I saved mine on my desktop so that I could throw it away later because it was just for demo purposes. But it will usually have the letters hdr near the end of the file names. So you can tell that it's, uh, that now we can combine those two ideas hdr to get a wider brightness range in, then panorama to get a wider view. So here is an HDR panorama. Ah, there. This is where I took one dark shot, one medium shot, one bright shot, then I panned my camera over. Took another dark, medium bright pan over. Repeat process paying over repeat process pan over. Repeat process. And I probably could have gone even one darker than this, but, um, here they all are. Well, I'm gonna come in here and just select all type command A to do. So I'm gonna go to the file menu and choose opening camera. I'm gonna go to the menu in the upper left, Select. All in this time we have a special command called Merge to HDR Panorama and that's going to end up doing the HD. Ours first left one first next one, the next one, the next one till we have the individual exposures. Then it's going to do the panorama stitch, and it presents me here with the end result, and I can choose which kind of distortion it can use to combine them together. And I have auto crap turned on so I could see if I would like to do a boundary warp. This is an instance when boundary right might be useful because you see how curved these lines are in the building and by doing boundary where it might end up, straighten him out a little bit more. It's a personal preference would be critical right near the corners because sometimes you get odd kinks there, and if they're not usable, then you might not used boundary warp You might in, said Phil Edges, but I think this needs to specific of info. Phil Edges is usually only good. When you have organic material like dirt on the edges, then it works fine. But when you have straight lines like this that need to remain straight, they will not usually do a good job. So in this case, I'm just going to use auto crop in order to get a clean looking result. Then I choose merge in its right then that it asked me for where I should save it and under what file name. And then, of course, it will appear at the bottom of my thumbnail. So this is an HDR panorama, which is pretty interesting. It used to be there was a lot of work to accomplish that, and now it's a single command which could merge it for you and the end result. If you started with raw files, is a raw file and so I find when I do. HDR panorama is very frequently used, a technique that I demonstrated in a difference, um, complete guide class, which is the class that was about smart objects where I can interpret this image more than once. And I might need to do that one for this middle portion that needs a lot more brightness to it, another different setting for the area outside and all that to create an optimal results. All right, so those are the more traditional ideas. Now let's look at what else we can do or we think about photo shop at the time were shooting.

Class Description

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


  • 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


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.


  • 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.


Adobe Photoshop 2020 (V21)


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


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!!!


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

Madelaine Enochs

Ben's class has been extremely helpful for understanding how everything works in photoshop. I am so grateful for his classes. Easy to understand and thorough. Thank-you Ben!