Adobe® Photoshop® CC® Bootcamp


Lesson Info

Helpful Practical Filters

Let's go ahead and take a look at some more practical things. Those, I would say, are probably more of your creative effects, but let's take a look at some practical effects with filters. And more specifically, let's do noise reduction and sharpening. We're gonna do the same on this one image. So if I zoom in to this photograph, we can see that this is a relatively noisy image to start with right there. And I wanna fix up the noise on this. Noise reduction and sharpening are some of those things that, there's always the "When do you do them?" Do you do it first? Do you do it last? Do you noise reduction first and your sharpening last? I'm kind of a person who's like "You know what? I do it when I do it." There are people that avidly say "No, no, you can't sharpen that now, you've gotta sharpen that at the end." Well, maybe, but you can wherever it fits comfortably in your work flow is where you can do these things. If you're doing a lot of pixel-based things during your work flow, then...

yes, sharpening at the end is probably a good idea. If you're compositing and adding all these pixel-based layers on top of layers, you would do your sharpening at the very end of that whole stack. But if I'm just starting this off and I'm gonna be doing adjustment layers on top, adjustment layers don't technically care about the sharpness that's underneath because they're just calculation layers based on gradients, or gradient maps, or curves adjustment layers that aren't really gonna affect the sharpening of my image too much. So, I guess it just depends on your work flow and where you want to use them. For our sake, I'm just gonna do it right now at the very beginning of this work flow before we would move on. I'm gonna press Command or Ctrl + J on the background and I'm gonna start with noise reduction first. If we click on this, we'll just say "Noise Reduction." Go up to Filter, and go to Noise, and go to Reduce Noise. And you're gonna see something that looks totally different from Adobe Camera Raw. It's not the same engine. It's a different engine. You could, however, if you really like Adobe Camera Raw as a noise reduction engine, use that now instead of the Noise Reduction filter. There's nothing wrong with that. This is all just a matter of what you want to use in your work flow. Looking at this, there are two settings here, Basic and Advanced. You have your preset settings that you can create and then Remove JPEG Artifacting are your main tick boxes. Strength is gonna be how much of your sharpening are you doing and Reduce Color Noise is gonna be how much of that color noise gets reduced. As we've already talked about color noise when we talked about Adobe Camera Raw, if we boost up that color noise, if there is color noise in this image, it's gonna reduce that color noise. There's not a whole lot in this one. So, as we increase the Strength though, take a look at areas in the image that need noise reduction, like back here in this area. If I bring this strength up to something like 10, it's gonna be a lot of noise reduction happening really fast on the photograph and really hard. The one underneath it is called Preserve Details. If you move the Preserve Details up, it's going to try to preserve the detail areas within the image with that Strength setting that you have set. A strength of 10 is typically something that you're not gonna see too much, so I'm gonna drop the Strength down to something like seven and then bring down the Preserve Details a little bit here. What you'll find in here, also, is that there is, in the Advanced Settings, this would be just about it. I mean, it's pretty much that simple and it's pretty powerful when used in conjunction with Blend If and I'll show you that in a second but if you put Advanced on, this allows you to go into each individual channel within the image. So you have channels like your red channel, your green channel, and your blue channel. Typically, a lot of your noise is gonna exist in the blue channel. The blue channel just carries a lot of that data in with it. Green channel is typically gonna be more of your lighter, brighter areas, and then your red channel is kind of like a blend between the two of them. It just depends really, but typically, where I'm gonna find a lot of that noise is gonna be in the blue channel. So, I could go into the blue channel. It's gonna show you a black and white version of the image. If you bring up the strength on that, it's going to happen just in that channel, so essentially what it's doing is it's taking that channel that we have and we've showed you channels before, it's going into the channel of blue and blurring a little bit of that to make that noise reduction happen. In years past, noise reduction in Photoshop was not a very valid place to do it; it really wasn't. It was just that the engine that they had in there before would just blur the junk out of your photographs, and it didn't really look like it was reducing noise, it looked like it was just smudging your image and smearing your image a little bit. But now, it's awesome, so much so that I don't find myself ever leaving Photoshop. It has everything that I need, even now with the noise reduction being so great in both Adobe Camera Raw and the filter. So if I press okay here and commit to that, it might be a pretty heavy-handed noise reduction and that's okay because we still have all of our settings to use with that layer. It's its own layer, right? So we can use things like Opacity. We can use things like Fill. We can use things like Blend If and Blend If is definitely something that I do when I reduce my noise. Typically, noise reduction needs to be done on dark areas, right, because that's where a lot of our noise tends to live. So if I wanna protect my highlight and midtone areas from that noise reduction and allow that midtone and highlight area underneath my image to show through, if I double click on this Noise Reduction and I look at my Blend If settings, let's go ahead and turn on our Color Overlay to make this easier to see. I'll turn on Color Overlay, go back to Blend If, and move this down. Now, what that's telling me is "Hey, anything that's magenta right now, "that is where our noise reduction is happening." Everywhere else on this photograph, these areas that are showing through, no noise reduction is happening there. And that's ideally what I would like. I don't want noise reduction to be a global thing. I want noise reduction to be a local thing. So as we talk about noise reduction in Adobe Camera Raw, on your raw file, the noise reduction in Adobe Camera Raw is global. The sharpening is local. Here, we're making a very local noise reduction on just the areas that are dark, and not the areas that are light or midtone. And if I wanna clean that up a little bit, Alt or Option to split and feather that, and now we've got a really nice noise reduction that's pinpointed on our shadow areas. If you don't wanna see the magenta anymore 'cause we're done with our Blend If, just turn that off, press okay. Now if I zoom into this image, turn this layer on and off, especially right back in here, look at this area and then look at this area. Very little noise reduction is happening on here, and the only noise reduction that's happening on here is the noise reduction that needs to happen because this dark area matches the profile of that dark area. If I turn that back on, nice, smooth noise reduction there, that's something I can live with. I don't tend to be very heavy-handed with my noise reduction. I tend to be very delicate with it. I don't like going too far.

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


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
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


  • 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