Lesson Info
87. Light Painting Composite
Lessons
Introduction To Adobe Photoshop
04:05 2Bridge vs. Lightroom
06:39 3Tour of Photoshop Interface
18:21 4Overview of Bridge Workspace
07:42 5Overview of Lightroom Workspace
11:21 6Lightroom Preferences - Saving Documents
08:19 7How To Use Camera Raw in Adobe Photoshop 2020
05:10 8Overview of Basic Adjustment Sliders
13:09Developing Raw Images
30:33 10Editing with the Effects and HLS Tabs
09:12 11How to Save Images
03:37 12Using the Transform Tool
04:48 13Making Selections in Adobe Photoshop 2020
06:03 14Selection Tools
05:55 15Combining Selection Tools
07:37 16Using Automated Selection Tools
17:34 17Quick Mask Mode
05:07 18Select Menu Essentials
21:28 19Using Layers in Adobe Photoshop 2020
13:00 20Align Active Layers
07:29 21Creating a New Layer
06:15 22Creating a Clipping Mask
03:02 23Using Effects on Layers
11:24 24Using Adjustment Layers
16:44 25Using the Shape Tool
04:39 26Create a Layer Mask Using the Selection Tool
04:39 27Masking Multiple Images Together
15:15 28Using Layer Masks to Remove People
10:50 29Using Layer Masks to Replace Sky
10:04 30Adding Texture to Images
09:11 31Layering to Create Realistic Depth
05:35 32Adjustment Layers in Adobe Photoshop 2020
05:29 33Optimizing Grayscale with Levels
10:59 34Adjusting Levels with a Histogram
03:37 35Understanding Curves
06:18 36Editing an Image Using Curves
18:41 37Editing with Shadows/Highlights Adjustment
07:19 38Dodge and Burn Using Quick Mask Mode
07:14 39Editing with Blending Modes
08:04 40Color Theory
05:59 41Curves for Color
16:52 42Hue and Saturation Adjustments
08:59 43Isolating Colors Using Hue/Saturation Adjustment
13:33 44Match Colors Using Numbers
16:59 45Adjusting Skin Tones
05:25 46Retouching Essentials In Adobe Camera Raw
10:52 47Retouching with the Spot Healing Brush
07:53 48Retouching with the Clone Stamp
06:51 49Retouching with the Healing Brush
04:34 50Retouching Using Multiple Retouching Tools
13:07 51Extending an Edge with Content Aware
03:42 52Clone Between Documents
13:19 53Crop Tool
10:07 54Frame Tool
02:59 55Eye Dropper and Color Sampler Tools
08:14 56Paint Brush Tools
13:33 57History Brush Tool
06:27 58Eraser and Gradient Tools
03:06 59Brush Flow and Opacity Settings
04:17 60Blur and Shape Tools
11:06 61Dissolve Mode
09:24 62Multiply Mode
15:29 63Screen Mode
14:08 64Hard Light Mode
14:54 65Hue, Saturation, and Color Modes
11:31 66Smart Filters
11:32 67High Pass Filter
13:40 68Blur Filter
05:59 69Filter Gallery
07:42 70Adaptive Wide Angle Filter
04:43 71Combing Filters and Features
04:45 72Select and Mask
20:04 73Manually Select and Mask
08:08 74Creating a Clean Background
21:19 75Changing the Background
13:34 76Smart Object Overview
08:37 77Nested Smart Objects
09:55 78Scale and Warp Smart Objects
09:08 79Replace Contents
06:55 80Raw Smart Objects
10:20 81Multiple Instances of a Smart Object
12:59 82Creating a Mockup Using Smart Objects
05:42 83Panoramas
13:15 84HDR
11:20 85Focus Stacking
04:02 86Time-lapse
11:18 87Light Painting Composite
08:05 88Remove Moire Patterns
06:11 89Remove Similar Objects At Once
09:52 90Remove Objects Across an Entire Image
05:46 91Replace a Repeating Pattern
06:50 92Clone from Multiple Areas Using the Clone Source Panel
10:27 93Remove an Object with a Complex Background
07:49 94Frequency Separation to Remove Staining and Blemishes
12:27 95Warping
11:03 96Liquify
14:02 97Puppet Warp
12:52 98Displacement Map
10:36 99Polar Coordinates
07:19 100Organize Your Layers
11:02 101Layer Styles: Bevel and Emboss
02:59 102Layer Style: Knockout Deep
12:34 103Blending Options: Blend if
13:18 104Blending Options: Colorize Black and White Image
06:27 105Layer Comps
08:30 106Black-Only Shadows
06:07 107Create a Content Aware Fill Action
08:46 108Create a Desaturate Edges Action
07:42 109Create an Antique Color Action
13:52 110Create a Contour Map Action
10:20 111Faux Sunset Action
07:20 112Photo Credit Action
05:54 113Create Sharable Actions
07:31 114Common Troubleshooting Issues Part 1
10:23 115Common Troubleshooting Issues Part 2
07:57 116Image Compatibility with Lightroom
03:29 117Scratch Disk Is Full
06:02 118Preview Thumbnail
02:10Lesson Info
Light Painting Composite
now there's a lot of other things that I do with this. Ah, these techniques. Let's take a look at one which would be light painting at night time, usually about 30 minutes after the sun goes down. It's dark enough to do light painting. And if you have a blue sky instead of overcast, I would start taking a photograph, maybe 30 minutes after sunset, and try to just get the sky. That's what I did heroes in Grand Teton. And then I'm gonna leave my camera on a tripod so doesn't move. From what I took this shot, and I'm going to start doing slower are shorter shutter speeds. This one here might have been a minute and 1/2 or something to get that sky to show up. But then I'm gonna start doing maybe 30 seconds to two minute exposures and I'm gonna grab a flashlight and I'm gonna walk into the scene that's here and start lighting objects with my flashlight. I can paint and imagine. It's like a fire hose, and you just need to dampen down a building. Well, you start in the left side, get it wet, ...
and then work your way across except for you during it with light. So here's one of my shots. There's a barn there and I started painting the left side I'm standing. Maybe I don't know about doesn't feed away from this building in I'm painting the light I'm just off to the side and I paint the light across the building during a long exposure. Then I closed my shutter I open it again and I go light another portion in this case the rooftop and I close the shutter. Open it again and shoot another spot and do that again here. I'm right at the camera, I believe, and I'm putting the flashlight near the ground and relating it across the ground. Get the front again edge, maybe get a tree. I walked way over there to get that. I have a little remote that I can hold in my hand so I don't actually have to walk to the camera each time. Well, I'm gonna select all those images with command. A. I'm gonna go to the tools menu in load files into Photoshopped layers. It says it's busy, but I know it's not. Take it just a moment to create a document that contains all those images. I no longer need the timeline. So I'm gonna go to the side menu of the timeline panel and choose clothes, and now I'm gonna combine these layers together. Now, in a separate lesson for the complete guide, we talked about blending modes. I'm gonna use one here. I'm going to select all of these layers and I'm gonna go to the top of my layers panel there. There's a pop up menu and I'm going to change it to a choice called lighten. When I do, all of those layers will combine together, and it's going to make it so the top layer can Onley Brighton what's under it. And if you look at the top layer, most of its solid black and solid black isn't capable of brightening, so that part won't show up. And then the one below it. This is only going to be able to lighten what's underneath it. So these solid black areas wouldn't show up on Lee where there's enough light to be brighter than what's down here. Will it show up? So we get this. There is an alternative mode. If I select all these and it's called Screen Screen is gonna add together the light that was in each one of those layers. It will always produce a brighter result and sometimes could be nice if their end result was looking a little dark. But I'm going to use light mode. But now that doesn't mean you're stuck with this end result. Since we have these on separate layers, I can turn a layer off and back on again, decide if I like it what it contributes to the image. And then I can go to the next layer down and do the same thing in as I find different layers. This one here I wish was warmer. I wish that locum or yellowish, like the front of the barn, well, I can go down here. If I do an adjustment layer, I'd have to clip it to that layers. It only affected it, but if I come here to image adjustments, this would apply to the layer directly. Then, when we talked about adjusting color, I mentioned that each one of these colors has an opposite in the opposite of blue is yellow. So if I bring down blue should get more yellow. There is. But once I do, it looks too green. So I can choose green from here in less than that as well. The opposite of green is magenta. There we go. Good. Okay. And then I can go to the next layer and decide. Do I like it to me? That's too bright. So I click on that layer and I lower the opacity to control How strong is it? And I could do a similar adjustment to make that more yellow if it wanted to go to the next layer down to it off and on to decide. That's too strong. I'm gonna lower its opacity to lessen it. And I wish it wasn't so bright near the edge of the frame out there you could add a layer mask, grab my brush, and with a huge, soft edged brush, I don't want to completely remove it. So I'm gonna lower my a pass ity. I might bring line passing two down to about 20 and I'm just gonna paint down here to try to lessen that. But that's a layer mask with my capacity turned down, and I just continue working the image each one in turn on and off and say, Do I like what that's doing now? It's too much in most of the areas, but I do like what it's doing to the window that's in there. Well, so just at a mask. And if you don't like what it does in most areas, you can invert the mask, which turns it black. It makes it so it's not showing up anywhere. Then I come in here and paint with white to control where it shows up and say, I like that right here where the window is and do the same for the next layer. I don't like their get some spill onto the building itself. So Adam ask. We'll paint with black, get this extra spill off the building here. Maybe I don't like there's a little fence over there. It looks like a car might have driven by. So I add a layer mask, paint with black and say, I don't want that fence. I'd be a little more careful than I'm being, but you get the idea. I see a red line in there. That means a car went by. That's its tail lights, and I'm gonna turn off these layers one at a time to see When does it go away? There it is. So that's the layer. I add a layer mask, too. Paint with black. Get rid of it. So you get the idea that light painting by taking multiple exposures in combining them in photo shop is much more versatile than trying to do it in a single exposure. Then the only other thing I would do here is I'm gonna create a brand new empty layer and there's one little spot right here. A little red light that was on during all the exposures. I'll use a spot healing brush to get rid of it in this little spot above. So there is my light painting. So in Photoshop, you can do a lot more. If you think about photo shop at the time you're behind your camera, and the more you can start making a connection between shooting and Photoshopped, the more you're gonna start developing techniques like these to get more out of your images. And I do all sorts of techniques like these, and I find the more I do, the more I really enjoy the shooting and compositing process. So I hope you've enjoying ah Photoshopped, The Complete Guide
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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!
ford smith
Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!
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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