Lessons
Bootcamp Introduction
16:22 2The Bridge Interface
13:33 3Setting up Bridge
06:55 4Overview of Bridge
11:29 5Practical Application of Bridge
27:56 6Introduction to Raw Editing
11:00 7Setting up ACR Preferences & Interface
07:39 8Global Tools Part 1
16:44Global Tools Part 2
20:01 10Local Tools
22:56 11Introduction to the Photoshop Interface
07:13 12Toolbars, Menus and Windows
25:07 13Setup and Interface
11:48 14Adobe Libraries
05:57 15Saving Files
07:39 16Introduction to Cropping
12:10 17Cropping for Composition in ACR
04:44 18Cropping for Composition in Photoshop
12:40 19Cropping for the Subject in Post
03:25 20Cropping for Print
07:34 21Perspective Cropping in Photoshop
07:11 22Introduction to Layers
08:42 23Vector & Raster Layers Basics
05:05 24Adjustment Layers in Photoshop
27:35 25Organizing and Managing Layers
15:35 26Introduction to Layer Tools and Blend Modes
21:34 27Screen and Multiply and Overlay
09:15 28Soft Light Blend Mode
07:34 29Color and Luminosity Blend Modes
12:47 30Color Burn and Color Dodge Blend Modes
07:43 31Introduction to Layer Styles
11:43 32Practical Application: Layer Tools
13:06 33Introduction to Masks and Brushes
04:43 34Brush Basics
09:22 35Custom Brushes
04:01 36Brush Mask: Vignettes
06:58 37Brush Mask: Curves Dodge & Burn
06:53 38Brush Mask: Hue & Saturation
07:52 39Mask Groups
05:52 40Clipping Masks
04:11 41Masking in Adobe Camera Raw
07:06 42Practical Applications: Masks
14:03 43Introduction to Selections
05:42 44Basic Selection Tools
17:41 45The Pen Tool
11:56 46Masks from Selections
04:22 47Selecting Subjects and Masking
07:11 48Color Range Mask
17:35 49Luminosity Masks Basics
12:00 50Introduction to Cleanup Tools
07:02 51Adobe Camera Raw
10:16 52Healing and Spot Healing Brush
14:56 53The Clone Stamp Tool
10:20 54The Patch Tool
06:38 55Content Aware Move Tool
04:56 56Content Aware Fill
06:46 57Custom Cleanup Selections
15:42 58Introduction to Shapes and Text
13:46 59Text Basics
15:57 60Shape Basics
07:00 61Adding Text to Pictures
09:46 62Custom Water Marks
14:05 63Introduction to Smart Objects
04:37 64Smart Object Basics
09:13 65Smart Objects and Filters
09:05 66Smart Objects and Image Transformation
10:57 67Smart Objects and Album Layouts
11:40 68Smart Objects and Composites
10:47 69Introduction to Image Transforming
04:34 70ACR and Lens Correction
09:45 71Photoshop and Lens Correction
14:26 72The Warp Tool
11:16 73Perspective Transformations
20:33 74Introduction to Actions in Photoshop
09:27 75Introduction to the Actions Panel Interface
05:06 76Making Your First Action
03:49 77Modifying Actions After You Record Them
11:38 78Adding Stops to Actions
04:01 79Conditional Actions
07:36 80Actions that Communicate
25:26 81Introduction to Filters
04:38 82ACR as a Filter
09:20 83Helpful Artistic Filters
17:08 84Helpful Practical Filters
07:08 85Sharpening with Filters
07:32 86Rendering Trees
08:20 87The Oil Paint and Add Noise Filters
15:08 88Introduction to Editing Video
06:20 89Timeline for Video
08:15 90Cropping Video
03:34 91Adjustment Layers and Video
05:25 92Building Lookup Tables
07:00 93Layers, Masking Video & Working with Type
15:11 94ACR to Edit Video
06:10 95Animated Gifs
11:39 96Introduction to Creative Effects
06:08 97Black, White, and Monochrome
18:05 98Matte and Cinematic Effects
08:23 99Gradient Maps and Solid Color Grades
12:20 100Gradients
04:21 101Glow and Haze
10:23 102Introduction to Natural Retouching
05:33 103Brightening Teeth
10:25 104Clean Up with the Clone Stamp Tool
08:07 105Cleaning and Brightening Eyes
16:58 106Advanced Clean Up Techniques
24:47 107Introduction to Portrait Workflow & Bridge Organization
14:47 108ACR for Portraits Pre-Edits
21:27 109Portrait Workflow Techniques
18:46 110Introduction to Landscape Workflow & Bridge Organization
12:17 111Landscape Workflow Techniques
37:36 112Introduction to Compositing & Bridge
06:59 113Composite Workflow Techniques
34:01 114Landscape Composite Projects
24:14 115Bonus: Rothko and Workspace
05:15 116Bonus: Adding Textures to Photos
07:05 117Bonus: The Mask (Extras)
05:18 118Bonus: The Color Range Mask in ACR
04:54Lesson Info
ACR to Edit Video
We're gonna get into, now, doing an editing video with filters. Like Adobe Camera Raw, as a filter. So let's go ahead and close this down. And I'm gonna go ahead and open up another video that I have in here. I do a lot of time-lapse work. So I'm gonna go ahead and drag and drop this time-lapse into Photoshop, and editing that time-lapse, because it's kind of like a photo. I wanna edit it like I would edit a photo. So I'm gonna edit that using Adobe Camera Raw as a filter. So I'm gonna just drag this up and stick it up to the top. Now, in order to use Adobe Camera Raw as a filter, you can't just hop in here and filter it. If you filter it right now, it's gonna filter this one layer, this one individual shot. So what I need to do is, I need to turn this video into a Smart Object. So I'll right-click on this layer, I'll go to convert to Smart Object, and now if I go up to filter, and I go up to Camera Raw filter, I've got all of the tools that i would have with Camera Raw to edit this ti...
me-lapse. So I can brighten things up in the shadow areas, I can maybe use my White Balance tool to white balance this image out, to get the white balance a little more accurate. I kinda like the way it was when it was more of that sunset kind of color there, so we'll just keep that. I also have the ability to go into any of local tools. So when I adjust this shadows, and bring the shadows up, I can't quite open up all of the stuff that I need to open up within this image, so if I were to go into my Graduated filter, I could turn my mask on. So I see my mask, press and hold Shift, bring that mask up so I just get it in those darker areas. Use my Range mask to block out anything that's light, to get all of that dark area into that mask. Adjust my smoothness there, to adjust my mask. And then, if I turn that mask off, because I'm in a graduated adjustment, this is only going to take place on those dark areas. So I can bring up the exposure, highlights, bring up those shadows a little bit. Might wanna drop that saturation down a little bit. Add some dehaze. And looks pretty good. If I were to come over to my Radio filter, I could maybe pop a radio burst right back here. And it's way too high on the exposure. We bump this up, add a little bit of magenta to there to give it that kind of sunset kind of glow. Add some contrast. Boost the saturation there. That's like a little dark contrast, a little spotlight that I can put pretty much anywhere I want in this video. Bump that up. Looks pretty good. Press OK. The really cool thing about this, especially with Adobe Camera Raw, is using Adobe Camera Raw's Noise Reduction features in video. That is awesome. Because a lot of times you get noise in your videos, and this artifacting that you can't get rid of. So let's go ahead and hop back over into Adobe Camera Raw real quick and I'll show you that. We can zoom in into these dark areas, look at that. See, we got some really bad, after I open those up, we got some really bad stuff going on there. So I'll click on the Detail slider, or the Detail tab, bump up my luminance, drop that luminance detail up or down, so I can start fixing, especially the color noise that's happening within that area. Zoom out. That looks pretty good. Drop that luminance down just a little bit more. And again, you can even sharpen things here in Adobe Camera Raw. So if I press OK on this, every frame is gonna have that Adobe Camera Raw as the filter applied to it as a Smart Object. This is where things are gonna be very, very slow on the export. Even on something like a time-lapse like this one is, I think it's maybe a total of maybe four or five seconds? That's gonna take probably five to ten, maybe 15 minutes to export. Quite possibly, depending on how much is there. 'Cause what's happening is Photoshop is telling Adobe Camera Raw, "Hey, every single frame that's in here, I need you to apply all these settings to." So, if you can think of five seconds times 24 frames a second, that's over 120 different frames, if not more frames ... That means basically what's happening is, Adobe Camera Raw's being called up, it's applying itself on that one layer, it's shutting down. It's being called up, applying itself to that one layer, or that one frame, closing down. Getting called up, get the point? So it takes a while to render those things out. So just know that if you use Adobe Camera Raw as a filter, it might take a little bit of time for that to happen. So what I've done is, I've just kinda pre-baked that a little bit, and I've made two different videos. Here's the original, so you can see what it looks like without any Adobe Camera Raw work. And you can see the time-lapse, where we get a little bit of boost inside the shadowy areas, and then an overall boost of all the colors that are happening within that sunset. I pre-baked that 'cause I didn't wanna stand here for five to ten to 15 minutes. And it really just depends on how much other things are going on in your computer, and what your video card is, how much ... Rendering video is a very labor intensive thing, that's why, when I buy PCs, I buy gamer PCs, because gaming PCs tend to have a lot more video rendering power in them, because they're designed for video games.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
a Creativelive Student
Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.
Robert Andrews
Blake Rudis is the absolute best in teaching photoshop. His knowledge and how he presents the instruction is clear and concise - there is NO ONE BETTER. Yes, his classes require some basic skills, and maybe I'd organize the order of (or group) the classes in a different order, but, let me be clear - if anyone is to be successful or famous in the Photoshop world, it should be Blake Rudis. I strongly recommend his teaching. I started photography and post processing in 2018, and because of this class, I'm know what Im doing. The energy you get when you create something beautiful is profound, it makes you bounce out of bed (at 4AM) like a 5 year old, to go create. It's a great ride! Thanks Blake, & Thanks Creative live.
Esther Gambrell
WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!