Adobe Photoshop CC Bootcamp
Lesson 118 of 118
Bonus: The Color Range Mask in ACR
Adobe Photoshop CC Bootcamp
Lesson 118 of 118
Bonus: The Color Range Mask in ACR
Lesson Info
Bonus: The Color Range Mask in ACR
One more tip here that we have, really good one here. If we go into our little grab bag here and we go to our image, I covered the luminance range mask pretty well in Adobe CameraRoll, but one of the things that I didn't cover was the color range mask. Okay, so I'm gonna press Control, Shift, and A to go into Adobe CameraRoll as a filter. Let me get this back to full screen. And I'm gonna go into my adjustment brush. So we talked a lot about the luminance range mask, and out of all the masks that I use in Adobe CameraRoll, the luminance range mask is typically gonna be my favorite. But let's just go ahead and reset these settings to just make our exposure a little bit darker, and I'm just gonna take my brush, I'm gonna turn AutoMask off. You can leave it on if you want. Just for the sake of this tutorial, I'm just gonna brush right here, okay? Turn my mask on to see what it is that I'm affecting. If I use the color range mask, though, the color range mask allows me to pick a color on t...
his image that I want to be affected within this brush, okay? So you brush on the area that you want to affect, but then you say, you know what, within this brush, only affect these colors that I select. So I brushed the whole image, or I brushed a big swatch of that image, and then within that brush, I said only affect this color. If I press and hold Shift, it'll accept another color, press and hold Shift, another color. Right here this color range is how much of those colors are being accepted within that range mask. So if I bring this up to about here, that means that that's what's gonna be affected there. You can still see that some of the background is being selected in here, too. It's very faint. Again, that's why I pull the opacity really high up on my masks in Adobe CameraRoll. By default, they're not set that high. This allows me to see that this is gonna be the most potent version, and I Look like I'm from the Magenta Man Group. (audience laughs) Not the Blue Man Group. (laughs) And then if I, I can further brush the area out if I wanted to, also, by clicking on here after I get out of my color picker. If I Alt or Option + click, Alt or Option + click is going to reduce the areas and just paint that away there. Okay, but the main thing that I was doing here was just trying to get the skin tone features that would be on my face. If I turn AutoMask on, paint away those areas, and now I pretty much just have my skin tone selected within that grouping. Notice how my arms aren't in there, though. Why are my arms not in there? 'Cause I didn't brush down there. If I brush down here now, because that skin tone is very much the same as the skin tone that's in my face, I'm now gonna get those arms in there. But it's not gonna get gray or any of the other colors around there because I'm restricting it to the color that would be most, be closest to my skin tone, especially my face. Make this a little bit smaller, Alt or Option, click on my hair. Don't want my hair to be magenta. And then if I turn that mask off, whoa. What is wrong? Oh. Make sure it's set to color. Go up to the top here. Add a little bit more of the magenta and yellow in there to bring it closer to a nice fake and bake sun tan. There we go. Oh yeah, tan Blake. (audience laughs) Dun-dun-dun. Heading to the beach. Okay. That's basically how I use the color range mask. You can use that, and that's really helpful for things like skies, too. If you just wanna affect the blue sky, you could select the, you could use a gradient tool for that, 'cause if you look at the gradient tool, the gradient tool also has your range masking in it. You can also use a radial filter. It also has your range mask in it, too. So that could be a color range mask or a luminance range mask. The one you see me use most often as I process is gonna be the luminance mask unless I really want a specific color to be the color that I select. In this case, it was skin tones, but on maybe a landscape, it would be the blue sky in the background, or maybe the green foliage or something like that. Just know that whatever you paint and then what, that, you have to paint first, then restrict. If you just try to select the color, it's not gonna work the same way. You have to paint first, then restrict. Press OK. The last and final thing that I have for you is we talked about opening Photoshop, but we didn't talk about closing Photoshop. So to properly close Photoshop and take a nap, click right here on the X and you're done.
Class Description
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:
- Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
- Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
- Smart Objects, Transforming, Actions, Filters, and Editing Video
- 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
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!!!!