Adobe® Photoshop® CC® Bootcamp

 

Lesson Info

Bonus: Rothko and Workspace

I got a couple extra tidbits here that either you could probably consider bonus content or maybe, I don't know, maybe I wanted to put it in there and I just glanced over it 'cause we had a hundred lessons to go over and it just slipped my mind. (laughs) Either way you look at it, this bonus content is gonna be some tips and tricks that we kinda just missed along the way that I think are really important, that I don't want to leave you with without getting these things and understanding these things. So let's just go ahead and get started. We're gonna jump into Photoshop, and I'm gonna first set this up with talking about the interface of Photoshop. So, let's go all the way back to Lesson Number Three, where we talked about setting up our interface. Photoshop has three, four, four different interfaces that you can choose from as your background or your backdrop to Photoshop. You have white, you have like a medium white between medium gray, a darker medium gray, and then a dark backgroun...

d. Now, what I wanna point out about that is, if you go up to Edit and you go up to Preferences or, what was that keyboard shortcut, Control K, you're gonna see under Interface, here's where you can select what color you want as your background. Now I'm gonna just trip you up a little bit here with some color theory, okay? So what I've done is I've taken all of the different interfaces that you can have for Photoshop and I've done some color theory kind of studies on this. If you wanna look into a painter that does this kind of stuff, his name is Mark Rothko. He's a color field painter more in the modern era of painting, and what Mark Rothko would do is he would takes these giant swatches of color and put them on, put smaller swatches of color on these giant swatches of color, and we're talking like a canvas that might be 15 feet by 30 feet tall, huge canvases. It would just be one color on another color, and you're sitting there thinking to yourself, like, "This is ridiculous, this is really what we call "modern-day painting?" it's not until you experience it, until you see it, that you can actually appreciate what he was going for there, just looking at it on the computer really doesn't help. But all what the color field painters do is they look at how colors interact with other colors. The thing about this is if we look at these two different colors here, this color fill layer that we have on the top of this, and you can play around with this, 'cause I'll leave this as a .PSD document, just like this, so you can experiment with it. This color fill layer right here is the exact same color. It's not changing, you can see that it's a color fill with the masks. If we were to put this into full screen mode and allow you to see this, look at what's happening with this blue color when it's set to gray and look at what happens when it's set to this darker gray. Here it appears more bright, more vibrant, more intense. Here it appears more dull and actually closer to that gray background. Then if we go and do the lightest and darkest interfaces, look at the extreme difference that we have here. Here this gray-blue swatch almost appears like a white color because it's on this black, whereas this grayish-blue swatch appears much darker. It's a big difference that's happening between this color and this color. Now how does this, where am I going with this is what you might be asking, Blake, right? Well, the whole point of this is that the colors that are surrounding your image or the interface that's surrounding your image will have an effect on what you do with your photographs as you edit them, because you have to think about how our eyes get adjusted to things and what we average as we're looking at that. Our eyes are gonna be calculating the darkness of the interface and the image that we're working on. So, play around with this. Double-click on this color a little bit here, change this color to something like an intense blue and see what happens with that intense blue. With that intense blue, on this lightest and darkest Photoshop interface, when it's on white, it almost doesn't appear quite as intense, does it? It looks like it's kinda just fading into that lighter gray background, but here it looks like a really deep, really intense color that's coming through. So now if you can imagine an entire photograph that you're working on now, very colorful photograph that you're working on now, and you're working on that on a light background, it's not gonna be quite as colorful as you would imagine. Looking at it on a darker background, it's gonna appear a lot more colorful, so you will make different decisions with your images based on the interface that you work with. With that being said, which interface is the best? I don't know if there's necessarily a best interface to work with, it's just the interface that works for you. You can see that throughout this entire course I've been using the, not the darkest gray, but the lighter gray and this, all of this stuff is color theory related, so play with this color swatch, change the color on here to see what happens when you use different colors, different variations of colors, look at that right there, that's an interesting one. On the darkest one it almost appears white. Over there it appears almost like a light magenta. Color theory is really important stuff, it's really powerful stuff, it said this is how colors interact. This is a color field-type of assessment of what happens with the interface background that you choose and the colors that you're gonna use on your image.

Adobe® Photoshop® CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you’ll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop® expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop®. Topics covered will include:

Week 1
• Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
Week 2
• Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
Week 3
• Smart Objects , Transforming, Actions, Filters and Editing Video
Week 4
• Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow

Don’t let the many aspects of Photoshop® prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.

Software Used: Adobe® Photoshop® CC® 2018

Lessons

Bootcamp Introduction
The Bridge Interface
Setting up Bridge
Overview of Bridge
Practical Application of Bridge
Introduction to Raw Editing
Setting up ACR Preferences & Interface
Global Tools Part 1
Global Tools Part 2
Local Tools
Introduction to the Photoshop Interface
Toolbars, Menus and Windows
Setup and Interface
Adobe Libraries
Saving Files
Introduction to Cropping
Cropping for Composition in ACR
Cropping for Composition in Photoshop
Cropping for the Subject in Post
Cropping for Print
Perspective Cropping in Photoshop
Introduction to Layers
Vector & Raster Layers Basics
Adjustment Layers in Photoshop
Organizing and Managing Layers
Introduction to Layer Tools and Blend Modes
Screen and Multiply and Overlay
Soft Light Blend Mode
Color and Luminosity Blend Modes
Color Burn and Color Dodge Blend Modes
Introduction to Layer Styles
Practical Application: Layer Tools
Introduction to Masks and Brushes
Brush Basics
Custom Brushes
Brush Mask: Vignettes
Brush Mask: Curves Dodge & Burn
Brush Mask: Hue & Saturation
Mask Groups
Clipping Masks
Masking in Adobe Camera Raw
Practical Applications: Masks
Introduction to Selections
Basic Selection Tools
The Pen Tool
Masks from Selections
Selecting Subjects and Masking
Color Range Mask
Luminosity Masks Basics
Introduction to Cleanup Tools
Adobe Camera Raw
Healing and Spot Healing Brush
The Clone Stamp Tool
The Patch Tool
Content Aware Move Tool
Content Aware Fill
Custom Cleanup Selections
Introduction to Shapes and Text
Text Basics
Shape Basics
Adding Text to Pictures
Custom Water Marks
Introduction to Smart Objects
Smart Object Basics
Smart Objects and Filters
Smart Objects and Image Transformation
Smart Objects and Album Layouts
Smart Objects and Composites
Introduction to Image Transforming
ACR and Lens Correction
Photoshop and Lens Correction
The Warp Tool
Perspective Transformations
Introduction to Actions in Photoshop
Introduction to the Actions Panel Interface
Making Your First Action
Modifying Actions After You Record Them
Adding Stops to Actions
Conditional Actions
Actions that Communicate
Introduction to Filters
ACR as a Filter
Helpful Artistic Filters
Helpful Practical Filters
Sharpening with Filters
Rendering Trees
The Oil Paint and Add Noise Filters
Introduction to Editing Video
Timeline for Video
Cropping Video
Adjustment Layers and Video
Building Lookup Tables
Layers, Masking Video & Working with Type
ACR to Edit Video
Animated Gifs
Introduction to Creative Effects
Black, White, and Monochrome
Matte and Cinematic Effects
Gradient Maps and Solid Color Grades
Gradients
Glow and Haze
Introduction to Natural Retouching
Brightening Teeth
Clean Up with the Clone Stamp Tool
Cleaning and Brightening Eyes
Advanced Clean Up Techniques
Introduction to Portrait Workflow & Bridge Organization
ACR for Portraits Pre-Edits
Portrait Workflow Techniques
Introduction to Landscape Workflow & Bridge Organization
Landscape Workflow Techniques
Introduction to Compositing & Bridge
Composite Workflow Techniques
Landscape Composite Projects
Bonus: Rothko and Workspace
Bonus: Adding Textures to Photos
Bonus: The Mask (Extras)
Bonus: The Color Range Mask in ACR
 
 
 
 

Reviews

  • 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.
  • 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!!!!
  • A superb course and excellent overall job, beautifully presented and easy to grab the material, in total the material the style and the whole set of classes is just great love to g back and watch again and again