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Adobe Photoshop: The Complete Guide Bootcamp

Lesson 67 of 118

High Pass Filter

Ben Willmore

Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

67. High Pass Filter


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

High Pass Filter

Let's look at a way of sharpening your image that's known as high pass sharpening. And let's see how the smart filters can help us out to make it a more enjoyable experience. First, let me show you what it's like without smart filters, uh, usually to do high pass sharpening enough to duplicate the layer that contains my original picture. One way of doing that is the type command J control jam windows to jump something to a new layer. I just typed that. Then I'm gonna go to the filter menu, I'm gonna choose other. And that's where I'm gonna find high pass. And when I apply high pass, I can adjust this. If I bring it all the way down, you just see 50% gray and as you bring it up higher and higher, you Seymour contrast in here in the more contrast I give it, the more sharpening this image is going to get for. The problem is I see this gray that we're not gonna have in our end result because after I click OK, I'm going to change the blending mode of the top of my layers panel to a choice c...

alled either over layer soft light. And when I do, the grey goes away. And if I zoom up on my picture, though to at least 100% view Now, if I hide this layer before and then I turn it back on after you can see that it's been sharpened, you can see the detail popping out. Well, what I didn't like about that process is at the time I was in the filter choosing the settings that I wanted. I couldn't see this end result. He was only after applying the filter that I saw them. So let's see how to do the exact same thing but use smart filters and make it a friendlier process. I'm gonna throw away that layer instead of duplicating the layer and all that. I'm just gonna convert this into a smart object. Then I'll go to the filter menu. I'm gonna choose other, and I'm gonna choose high pass. But when I first apply high pass, I'm just gonna turn all the way down. When it's at 0.1, which is lowest setting, you can get all you get a solid 50% gray click. OK, then I want to apply this using a blending mode. And if you're using smart filters, which is what we're doing now, I can go over here on the right side and double click on this icon to choose a bloody mode, and I'm gonna choose the blending mode of overlay. That's the same mode that I used when I showed you the first time click. OK, so now I'm seeing the image as it originally appeared, and because High Pass was applied with such a low setting, you actually wouldn't see any change in the image whatsoever. But now I'm going to go back into high pass by double clicking on the words high pass in my Layers panel that's gonna pop open the high pass little dialogue here and now I confined to In this I can say, well, how much how past I want because it's already in the blending mode that I want. And if I turn it all the way down, I see an unchanged image, and if I inch it up, I can get a sense for exactly what I'm gonna get. But to me, that's much friendlier than the manual process that you would use if you hadn't uh, use smart objects and then high pass brings out all this texture in the image. I think that's great for the truck and all its little scratches on the paint and all that. But the sky I don't want the detail of the sky to become too gritty in, so I'd like to remove it from the sky. So to do so, I'm gonna come over here and maybe used the quick selection tool to see if I could click here and drag across my sky to get a basic selection of it. And I'm not going to be precise about the selection. We have sessions about selections, everything where we could make sure that this is perfect. But right now I'm just trying to teach you the general concepts, so I'm not going to refine the selection any further than this. But I'm gonna go in my layers panel now and click on the mask that's there. Make sure it's corners are highlighted in a mask. Black hides things. In this case, it's gonna hide this filter. So I'll go to the edit menu and shoes fill, and I'm gonna tell it to fill it with black. Now, if you look at my layers panel, you'll see that the sky area has been covered with black. Get rid of my selection. And so now we know that that's Onley applying to the truck itself. That is, if my selection was accurate and I might further come in here and decide that I don't want those edges where it's really dark, where the fenders are to have the sharpening either. And so I'll grab a large, soft edged brush and I'll just paint right down there. If you look at but my layers panel, you'll see the paint and I'll paint over there and maybe just a little bit across the bottom, where it's dark like that. So now I can really vary that. And so I really enjoy the fact that we can convert something to a smart object. And then the filter that we're applying is something that is not permanent. I can always double click on its name, go back here in fine tune. It it's is if I never left it to begin with and we can have a blending mode to help it apply in a different way. So that's kind of that some of the basics of how I think about filters. Now let's see if we can push that and create some really interesting images. Here's the end result of applying a creative filter to an image, and let's zoom up on it and see what it looks like here. I'm trying to make it look a bit like an oil painting where it's got brushstrokes to it, and I could do this using the paint brush tool. It does have what's known as bristle Brush Brush is available, but then I would have to paint in all these areas, and it would take me a lot of time to be able to get this to actually look good. But instead I decided to use filters to do this. But this wasn't just a single filter application, and that's because if you look at how painterly the body of the car is, you can see this kind of wild, painterly look. Well, if I were to apply that to everything, the picture would look like this. And when it looks like that, too much of the car to me looks fake. If you look at the wheels and the detail that's found there and you look at small details like it up here, where you'd usually see the brand of the car and everything. It's just too obscured. So what I ended up doing here is I apply to filter more than once, and I'm asked it so I could selectively apply to different areas. I'm gonna turn on another version of it and watch the wheel on the right side of the screen and notice that more detail came in. Turn that on and off. Look at the little, uh, light here that's in the bumper. You see, it suddenly has detail, and then I did it again. And let's see, in this case, if I turn this on, if you look at the hood ornament of the car and you stare at it when I turn this on, it has a little bit more definition. And then finally, there's one mawr. And if I turned that on, watch that hood ornament. And now really, the detail comes in where I can't really see what was in there, whereas before it was obscured in often times. That's what makes the difference between a generic looking and result in one that's really refined in that is being able to apply it multiple times. So let's take a look at how that can be done. I'm gonna do it with this particular image in the first thing I'm gonna do, he has to go to the filter menu in convert for smart filters. The second thing that I'll do is go back to the filter menu and I'm gonna find something under stylized, I believe, called oil paint. And in the oil paint filter. I can move this off to the side, and I probably want to zoom up on my image to see it at full size. There's a preview check box in here that's currently turned off, so I don't see it on the main window, But I can turn that on to see it. And what I'm gonna do is experiment with the settings that are shown here in try to get a very painterly effect, and I think we already have it at a setting that is giving it a rather pronounced painterly look. But I can experiment here to see how this was going to very the look of this filter. Okay, let's say something like that. I'm gonna click. OK, now, the problem with that is if I zoom up on this robot on the right, I really can't see the detail in as little dial this here. This area in this little tongue that comes off of the trailer is so abstract now that it just doesn't feel right. It just feels like a generic application of a filter. And so what I would like to do next is have a second version of this in to get a second version. All I'm going to do is duplicate the layer. So if I don't have a selection active and I typed command J, that means jump it to a new layer. That's an easy way to duplicate. If I had a selection, though, it would attempt on Lee duplicate the area that selected and that would complicate things. So I didn't want that all collapsed down the bottom layers little triangle on the right side of the layer just to simplify. And now that I have this one on top, I'm going to double click on the word oil paint to get back into the settings for the layer. And I'm gonna go look at this little area right here in the hub of the wheel, and I want to be able to see more detail in it so I might come in here and bring down things like stylization or bring it up just to see what it's gonna make that render with a little better detail. And I might bring down things like Scale so it can do finer details and maybe bring down to something like cleanliness, so it doesn't clean it up quite as much there. I'm starting to get detail that I think is usable for that little hub area. But now it's just too much detail, the fine stuff in the rest of the image to my eye. So I'm gonna click, OK, and I'm gonna then click on the mask that's attached to that second version of the image. I'll go to the image menu, choose adjustments, and there's a choice called Invert that's going to give me the opposite. Then I'll grab my paintbrush tool and I'll paint with white. And wherever I paint with White, we're going to bring in that effect. Although right now I'm surprised that this seems to have disappeared. Hold on a second. Okay, that's underneath. Oh, this is taking away the filter. Let me choose. Undo here. I actually didn't want to do what I did. What I just did is I was going to paint on the mask next to the word smart filters. Glad this happened, cause it would probably messing you up as well. And that would take away the look of the filter. Therefore, rendering the image as unfiltered, meaning the normal photograph. That's not what I want. I want to actually filter the entirety of this layer. I mean, mask the entirety of this layer. So instead of working with this, I'm gonna add in additional layer mask to the layer. So I got the later active. I'm gonna click the layer mask icon down here in that mask, which is gonna take the entire visibility of this layer and control it. I want to invert. There we go. And so now, instead seeing the original version that's underneath, and I'm gonna paint with White and has painted in wherever. I think that detail would be useful. Come over here to the robot, and I'll paint it in where I think it's gonna look good to bring additional detail, and all they have to do is repeat that process for any other area that needs detail. If I end up doing this with maybe about three different filter settings, painting it in where you need medium and find details, I find the end result looks dramatically better. And you have to experiment with where it's gonna look better, just Teoh to see. But what I can do is turn off this mask temporarily by shift, clicking on it. And so then I'll see what it looks like when it's applied. Everywhere I shift click again to turn it back on, and then that can help me decide where I should end up painting anyway. I'd end up doing that multiple times in different settings, and that's gonna allow me create a much more refined looking and result. But I'm not actually going to spend the time to do that right now because we want to experiment with a lot more filters. But I would just duplicate this layer, double click on the oil paint part of it, use different settings, and then the mask that's attached to the layer itself is where I'd be painting control where that's happening if you're not used to layer mask, be sure to watch the layer mass session, but that's how this was done. There was a total of 1234 different applications of the filter using different settings.

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.

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  • 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!!!


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