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Adobe Photoshop: The Complete Guide Bootcamp

Lesson 84 of 118


Ben Willmore

Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

84. HDR


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


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)


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!!!


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