Adobe® Photoshop® CC® Bootcamp

Lesson 101 of 118

Glow and Haze

 

Adobe® Photoshop® CC® Bootcamp

Lesson 101 of 118

Glow and Haze

 

Lesson Info

Glow and Haze

One of the last ones I wanna hit on is gonna be the glows and the flip side, the haze. So we've already talked about this glow quite a bit. Because I told you, it's one of those things that I love doing with my images. By blurring that background, adding soft light to it. But we're gonna add another thing into the mix with that. So let's press Command or Ctrl-J on our background layer. We go to Filter. Actually, let's change to the Soft Light first. Soft Light, Filter, Blur, and then Gaussian Blur. Now, it's gonna give us that Gaussian Blur effect that we have on our image. Now, how I make this kinda unique other than just doing that is with a little hidden thing in Photoshop that we haven't talked about yet. And it's in the Highlights and Shadows adjustment. Very similar to what you would see on something like Adobe Camera Raw or Lightroom. It's in Photoshop, it's just hidden. It's not an adjustment layer, it's hidden. So if we go up to Image, we go to Adjustments, you're gonna see so...

mething right here called Shadows and Highlights, right above HDR Toning. If I click on Shadows and Highlights, where we need to kind of think about this real quick. When I move these sliders, I'm not doing anything to the background, okay. I've got this Shadows and Highlights box open and it's specifically applying itself to this layer, which is gonna be our glowing layer. So anything I do to this, Highlights and Shadows, is only going to affect that glowing layer and not the rest of the image. So if I move this up, notice how you can increase or decrease the intensity of that glow. So I'm not just stuck with whatever I get out of that Gaussian Blur effect. I've got that glowing effect here too. Now, the thing about this is that if you made this a smart object and you're making an action from this and you made a smart object from this and you added modal stops to your Gaussian Blur and to your Shadows and Highlights, you've got one click, awesome kind of glowing, hazy type of, we will make it a haze in a second, glowing type look to the image. The main kicker here when you're adjusting these is gonna be in the Tone sliders of both the shadows and the highlights. The Tone slider's gonna be the main kicker and then the amount is just gonna be a slider that's gonna help make that effect more impactful. The higher the amount and the higher the tone, the more it's gonna affect those shadow areas or not. The same thing's gonna happen here with the highlights. I usually start with the tones and then I work my way from the amounts back and forth to see what I like there. And then the Midtone slider here is gonna also increase the intensity of that as well. And then if we drop the color down, we don't have any color there. This right here is our glowing effect that we're getting on this image. It sets a soft light. If we change this to the blend mode of Screen, look at that, we now have more of a haze type of look. Because what does Screen do? Screen drops out all the black and applies the white. So what it's doing from this is it's dropping out all the black, applying the white, and all the dark colors and applying the light colors. So we get a hazy type of look, as opposed to Soft Light, which would be more of a robust type of glow. On the flip side of Screen, we change it to Multiply and we're gonna get a really dark-looking image, 'cause it's gonna drop all of the highlight areas and allow all the shadow areas to rest on top of there and amplify them in the same time. Not that great. If you're gonna use these, I would use Soft Light or I would use Screen. Now, check this out. Here's where things get a little bit deeper. Let's just double-click this and call this Glow. If I add another layer on top of this, an adjustment layer on top of this, whether that's a Curves adjustment layer or even a Hue/Saturation adjustment layer and I use something like a clipping mask by pressing Alt or Option and clicking on that, now this Curves adjustment layer is not going to affect the background. It's only going to affect that glowing area that we created there. So now, I get even more control over that glowing area and what's happening with that glow in that image by boosting up those colors. If that combine that with something like the color blend mode or something like Soft Light, we get even more intensity coming out in that image, just really quickly from doing that. Open up that Gradient Spotlight. Boom, look at that. Now we got a really nice, it's actually really... I could probably work on this a little bit more, 'cause we got a lot of contrast coming on over here. This is a little bit too much contrast. We got a really nice sunset though. We're really exploiting that sunset. I could work on masks, I could mask out that area. All of these project files are there for you to work on as well. So as you see me working on this, you can work on that as well and see what you would do with something like this by combining all of these effects together. Now, if we go into that black and white image that we started at the beginning of this. If we drag this Gradient Spotlight onto here. Oop. And double-click on it, we can move that Gradient Spotlight all over the place. So you see, this image here has become kind of like a conglomeration of all the things that we've been doing and building up to get this artistic style and this artistic look and this creative effect that only I could've created. Now, you could've too, 'cause you watched me do it. But that's the whole point. The viewer doesn't see the approach. They just see the end result. So they don't know what happened to get this image. Someone might even think you got this right outta a camera, for some reason. They don't know. They just see the end result. But what we have to do as the artist-photographer is communicate with them what we want them to feel, what we want them to see, and maybe you make them feel what we felt when we were there. And you can only do that with artistic styling. You cannot do it with toning color alone. Even if both of you, like, even if me and wife were in the same location and I took a picture and I showed it to her, she'll be like, that's cool. If I take that picture and I process it and then she sees it, she's like, man, that's beautiful, that's exactly like I felt. It's a huge difference, it's a mindset difference. It's a mindset change. So what I want you to take away from this is get yourself away from just being a technician of toning color and start transitioning into the creative effects. A lot of the stuff that we talked about up until now was just utilizing all of these things and understanding what an adjustment layer is and understanding how to manipulate that adjustment layer. But now that you have that knowledge, you have all kinds of power to create your own custom creative effects by stacking these things on top of each other and seeing what happens in that build process. We've taken everything that we've just talked about throughout this entire course and started stacking it here in this layer stack. Look at it, it's a representation of a lot of things that we've come across over the last 16 days at this point. So if we were to go ahead and... None of these actually have Blend If incorporated in them either. We really didn't even go into that Blend If route, but we could have dug deeper into that too. There's really no holds barred when you are an artist. Okay, you will restrict yourself as a photographer. But there's no holds barred if you're an artist. You'll restrict yourself because you'll feel the pressure to want to make things as realistic as they possibly were. But nobody knows what you saw. You know what I mean? And they wanna feel something when they see your images. Look at any photographers out there that are the greatest of the greats. The reason what separates them apart is that artistic styling. It's not the fact that they can take a technically perfect toning color photo. If Ansel Adams just regularly processed his black and white images, do you think he would be Ansel Adams? Absolutely not. He went to a certain extreme with his black and white process and his images that he created in the darkroom that made his images what they are. And we have to do the same thing with ours. So we have any questions on custom creative effects? At one point, you mentioned that you don't really use the Eraser much. But is there any time in there where you may, like, double up on a layer or something like that and use the Eraser? No, I don't use the Eraser tool. The question was, do you ever use the Eraser tool and is there ever a time when you, like, double up on a layer and use the Eraser tool? Not necessarily. I only use masks. I won't use the Eraser tool. The Eraser tool becomes a permanent deletion of pixels, whereas the mask becomes a temporary deletion of pixels by removing that effect with black and white. And you can always go back and paint back in with more white or more black to reverse or get more of the effect. If you wanted another mask, you could put any of those into a group and get two masks, 'cause now you have the group mask and now you have the mask for that layer. So the group mask would be your primary mask that would take precedence over everything that's inside of it. So if there was a time where I ever felt the need, I guess, for that Eraser thing, 'cause you're talking about doubling up on layers, you could just double up on your masks. And you don't have to worry about it, you know what I mean? Yeah. So could somebody in theory take the Eraser out of Photoshop so they don't ever have to keep going and using it and going, oh. When the set up the interface here, did you see we keep Eraser? Nope. You erased it. I took it right out. Gone with the Eraser. Men in black, I erased it from your mind. There is no more Eraser, don't use the Eraser. It's bad juju, okay. So that concludes our course on custom creative effects. You'll be seeing a lot more of this as we get into workflow, because when we start building these images through the workflow process, I'm gonna be talking about tone color and effects. You're gonna see a lot more of it, so fear not. If you'd like to follow me, you can follow me at f64.co/cl at f64 Academy. Sign up for that email list there. I love taking questions and helping people out, so. The next thing that we're gonna discuss is natural portrait retouching.

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:

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

  1. Bootcamp Introduction
  2. The Bridge Interface
  3. Setting up Bridge
  4. Overview of Bridge
  5. Practical Application of Bridge
  6. Introduction to Raw Editing
  7. Setting up ACR Preferences & Interface
  8. Global Tools Part 1
  9. Global Tools Part 2
  10. Local Tools
  11. Introduction to the Photoshop Interface
  12. Toolbars, Menus and Windows
  13. Setup and Interface
  14. Adobe Libraries
  15. Saving Files
  16. Introduction to Cropping
  17. Cropping for Composition in ACR
  18. Cropping for Composition in Photoshop
  19. Cropping for the Subject in Post
  20. Cropping for Print
  21. Perspective Cropping in Photoshop
  22. Introduction to Layers
  23. Vector & Raster Layers Basics
  24. Adjustment Layers in Photoshop
  25. Organizing and Managing Layers
  26. Introduction to Layer Tools and Blend Modes
  27. Screen and Multiply and Overlay
  28. Soft Light Blend Mode
  29. Color and Luminosity Blend Modes
  30. Color Burn and Color Dodge Blend Modes
  31. Introduction to Layer Styles
  32. Practical Application: Layer Tools
  33. Introduction to Masks and Brushes
  34. Brush Basics
  35. Custom Brushes
  36. Brush Mask: Vignettes
  37. Brush Mask: Curves Dodge & Burn
  38. Brush Mask: Hue & Saturation
  39. Mask Groups
  40. Clipping Masks
  41. Masking in Adobe Camera Raw
  42. Practical Applications: Masks
  43. Introduction to Selections
  44. Basic Selection Tools
  45. The Pen Tool
  46. Masks from Selections
  47. Selecting Subjects and Masking
  48. Color Range Mask
  49. Luminosity Masks Basics
  50. Introduction to Cleanup Tools
  51. Adobe Camera Raw
  52. Healing and Spot Healing Brush
  53. The Clone Stamp Tool
  54. The Patch Tool
  55. Content Aware Move Tool
  56. Content Aware Fill
  57. Custom Cleanup Selections
  58. Introduction to Shapes and Text
  59. Text Basics
  60. Shape Basics
  61. Adding Text to Pictures
  62. Custom Water Marks
  63. Introduction to Smart Objects
  64. Smart Object Basics
  65. Smart Objects and Filters
  66. Smart Objects and Image Transformation
  67. Smart Objects and Album Layouts
  68. Smart Objects and Composites
  69. Introduction to Image Transforming
  70. ACR and Lens Correction
  71. Photoshop and Lens Correction
  72. The Warp Tool
  73. Perspective Transformations
  74. Introduction to Actions in Photoshop
  75. Introduction to the Actions Panel Interface
  76. Making Your First Action
  77. Modifying Actions After You Record Them
  78. Adding Stops to Actions
  79. Conditional Actions
  80. Actions that Communicate
  81. Introduction to Filters
  82. ACR as a Filter
  83. Helpful Artistic Filters
  84. Helpful Practical Filters
  85. Sharpening with Filters
  86. Rendering Trees
  87. The Oil Paint and Add Noise Filters
  88. Introduction to Editing Video
  89. Timeline for Video
  90. Cropping Video
  91. Adjustment Layers and Video
  92. Building Lookup Tables
  93. Layers, Masking Video & Working with Type
  94. ACR to Edit Video
  95. Animated Gifs
  96. Introduction to Creative Effects
  97. Black, White, and Monochrome
  98. Matte and Cinematic Effects
  99. Gradient Maps and Solid Color Grades
  100. Gradients
  101. Glow and Haze
  102. Introduction to Natural Retouching
  103. Brightening Teeth
  104. Clean Up with the Clone Stamp Tool
  105. Cleaning and Brightening Eyes
  106. Advanced Clean Up Techniques
  107. Introduction to Portrait Workflow & Bridge Organization
  108. ACR for Portraits Pre-Edits
  109. Portrait Workflow Techniques
  110. Introduction to Landscape Workflow & Bridge Organization
  111. Landscape Workflow Techniques
  112. Introduction to Compositing & Bridge
  113. Composite Workflow Techniques
  114. Landscape Composite Projects
  115. Bonus: Rothko and Workspace
  116. Bonus: Adding Textures to Photos
  117. Bonus: The Mask (Extras)
  118. 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.

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!!!!

Sonya Messier
 

I'm been using Bridge, Adobe Raw and Photoshop for 12 years. I thought I knew those programs until I started to follow Blake and do this Photoshop CC Bootcamp. This course is AMAZING. I love the way Blake teach, brakes down concepts and tools... excellent teaching qualities! I'm half way in this course and I change all my workflow already. Much better results and better use of what Adobe offer me. This course is an investment! When I will be done, I will listen it again. Great job and congratulations on your success Blake!