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Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 102 of 118

Layer Style: Knockout Deep


Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 102 of 118

Layer Style: Knockout Deep


Lesson Info

Layer Style: Knockout Deep

so I often structure my documents using those groups, and here is a very complex image. But when I open the image, you'll see that my layers panel is very easy to understand that obviously what's in here is my retouching and refinements for me means adjustments from just optimizing the image. And then, with this particular serious of images, I do a partial black and white effect which is contained in there. So if I turn off all the eyeballs for these groups, you can see the original image. And then I could turn on the eyeball for my retouching to see how extensive of retouching have done. If I expand the group, I can see that there's a total of three layers. And if you look at him once called weeds be gone, that's usually my overall retouching. And then here I wasn't certain if I really wanted to in the end, get rid of the stuff that was on the right side, but I wanted to try it, so I put it on a separate layer so I could turn on and off. And then I made a separate one for a moving on ...

electronic sign. That's on the left side of the picture, and here's the right side of the picture. I wasn't sure if I wanted to do so anyway. Those are organized, then I usually have my retouching directly above the original picture, and if you structure your document that way above that, you can have adjustment layers and everything works out nicely. So here I'm gonna now Tanami refinements, and let's see if the image changes at all. Yeah, it seems like the color within various areas. I've been enhanced, and if I open that, you can see all the adjustment layers that are contained within each one of them is either curves, adjustment layer or a hue and saturation. Those are the two adjustments that I use most the most, and that's why we covered them. We covered curves in a tonal and adjustment layers lesson as part of Masters Academy, and we covered hue and saturation in a color adjustments lesson. So if you have those lessons, Frito Watch and you'll see that those are all stacked or so many of them now that I put them in a folder. Then up here we have 10 to black and white and there. I have a black and white adjustment layer that's in this layer down here, and then I have some special stuff going up here in. This is stuff we haven't talked about yet. So that's what I want to dive into and show you some special settings we can use related to groups. So if I look here and I turn off the eyeballs and some of these layers would I have inside of this group that's doing the majority? The work here is a black and white adjustment layer. Now I could at a mask to the black and white adjustment layer toe limit where it can affect the picture. The problem I find is having a single mask isn't versatile enough for me in Oftentimes, I want to come back and make additional changes later on. If all the masking I've done it's in a single mask, that makes it much more difficult to be able to have the versatility to come back and adjust things later. So let me show you how I have this set up here. I have a layer where if I hit the backslash key that's right above her Turner, enter the layer mask that's attached to that layer. We'll get over late on the picture so only the area had not seen Read on is affected by this layer. That layer is what is commonly referred to as an empty adjustment layer. What's an empty adjustment layer? It needs an adjustment layer that would not change the look of your picture at all. That would be like going in to do ah levels adjustment layer and just never moving a single slider in levels. Then that would be levels waiting to be used, waiting to have the sliders move, but not actually making a change to the image yet. Well, this one is set up for the trees, and what I wanted it this later to do is to be special. I want this layer to act as a mask for the layer that's below toe limit, where it can affect the image, and I want to be able to dial in exactly how strong that adjustment is applied. Well, let me show you how that could be done. All create a brand new one of these layers, just in case you're not completely falling. What I mean by an empty adjustment layer and then I'll turn these back on to get a better sense. So I'm gonna come down here and create an empty adjustment layer. I could use a, um, brightness and contrast and just don't move the sliders levels don't move the sliders, curves, hue and saturation. There are many different adjustments you can use. The actual type of adjustment does not matter as long as you can get it to not change the appearance of your picture. And that means you shouldn't use a black and white adjustment because it's not possible to not change your picture. Using that, it always makes your inch black and white. So anyway, here I have a levels adjustment layer not going to touch the sliders at all. So I leave this as an empty one. Then I'm going to make a selection or just paint on its mask. However, I like eso. I'll grab this. I'm gonna fill that mask with black and then I'll grab my paintbrush and I will try to get this round circle right here. Can't, uh, I gotta paint with White. You're not actually seeing anything changing the image yet, but I am playing with the mask. So when I let go of the mouse, if you look in the mask, you'll see I painted with white in a tiny air. If I do my little overlay with the backslash key, that's what I've painted on in my mask. So how can I get this toe act like a mask for the layer that's under it? Well, the way I could do that is with a special feature that barely anybody ever notices exists. Um, here's what it is. I'm working on an empty adjustment layer. The empty adjustment layer has a mask attached to it. I go to the bottom of my layers panel. I click on the letters FX and I choose blending options, and that brings up this screen full of choices. We're just gonna look at one choice that's contained within here, and it is called Knockout. The default for knockout is set to none. I'm gonna change it to shallow. What a shallow, mean shallow means Look at the folder I'm currently working on, which is known as a group in caused this layer wherever this layer would usually be visible to poke a hole or mac out any layers that are below it within this folder. So if I choose knockout shallow suddenly it's causing Ah hold to be poked through the layer that is found underneath, and it's allowing it so it preventing it from affecting that area. All he did was set knockout too shallow in what it's doing is looking at this layer in the mask is controlling. Where would this layer usually show up on Lee, where it's white in the mask? So that little part. So then I could create another one of these. I could come in here and let's do another levels adjustment layer. Not gonna move these sliders at all, and I'll fill the mask with black so usually wouldn't apply anywhere. And I'll choose a different area to come in here and paint on. Ah, here. I'm gonna come in and with my paint brush painting with white, I'll get you on the pump and I'm not being precise right now. But imagine I waas. Then I'm going to take that layer, go to the letters FX, choose blending options and say, Let wherever that layer would usually be visible. That's where there's white in the mask. Make that knockout in shallow means Onley through the contents of this folder. So, folks a hole in it and I can continue painting on the mask. Maybe I pain up here. There we go. So now I can have more than one layer that's poking a hole through that black among adjustment layer. Well, what I want to frequently dio is I want the black and white adjustment layer to partially apply to areas just not at full strength. So now what I can do is click on either one of those adjustments and go up to the opacity setting that the top of my layers panel. And I'm just gonna lower it. If I wrote down to 0% it means it's going to affect the image 0% of the way. But if you bring it up a little bit, I can now make it so I'm controlling how much is the black and white adjustment layer able to affect this area? So I'm gonna throw those two adjustment layers away that I just created and show you the ones that were already in here. So if we look at the first adjustment layer that was here, if I overlay the mask you noticed the area that doesn't have red in it is where there are trees, trees both in the left side of the photograph and trees you can see through a window in the building. And if I turned the eyeball on there, that is causing the black and white adjustment layer to apply 73% of the way to those areas. So they're almost black and white. How do I know it's 73% of the way? Ah, actually, it's 63% of the way because it's the opposite of whatever this number is. This is how much we're preventing that from showing up to removing 37% of the adjustment. The next one is this area, and that's where I want your eye to be drawn. So I want that to be the most colorful area in the photograph, and so that one, if I turn it on, is set to 100%. That means block 100% of the black and white adjustment. Then there's here, and I see on the building their system stars in those little lights that are above it. In that one is set to 77% because I just didn't want it to be quite as vivid as the areas where I wanted your eyes to go to. Then we have one that is, of the station itself in that is set to 53% so about half amount can apply to the station. So by stacking a bunch of empty adjustment layers adjustment layers that wouldn't change the look of the image at all. I can use the masks that are attached to them. And if I set the layers to knock out shallow, those masks are knocking a hole in this black and white adjustment layer, and I could isolate various areas within the photograph and then adjust the opacity of each one to control how much of the black and white adjustment layer is prevented from being applied in. So this is something that I do that it was a very advanced use of layers to give me much more versatility and in this case, have four separate masks that are controlling where that black and white adjustment layer applies to the image. The key to it is that when I go to the letters f x and choose blending options that this right over here is set to knock out shallow. So then that begs the question. What is knockout deep? Do knock out deep will knock through all layers that are contained below this layer that set to knock out deep until it hits a layer called background. And so, if I said this to knock out deep and I up the opacity to 100% said 53 right now there is not a layer in my document called background, and so it just knocks a hole all the way through the bottom of the document. If the bottom most layer within the document was a background, then it would have knocked through until it hit the background. And so that's an advanced feature in layers that I love using. But I showed you it's mainly knockout shallow because I'm usually trying to knock through things that are contained within a group. I'm guessing not everybody will use that one. But for those of you that do, I think it will be bring you to another level with what you can do

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!