Adobe® Photoshop® CC® Bootcamp


Lesson Info

Introduction to Compositing & Bridge

Everything comes together in this very last course, this last lesson of the course, which is the Adobe Photoshop CC Bootcamp. We're gonna talk about compositing. Compositing is basically taking one image and putting it on top of another image. So you can see how all of the things we've learned about layers, masking, selections, Blend If, everything, it's all gonna come together right now. So really if there's certain things that you're not quite sure on, go ahead and review those things in the past lessons before coming to this because this is where it's all gonna come together, okay? So what is a composite? The combination of two or more images of different scenes, or environments, to create a story. I like to do this to create a story, but there's many different things you can do. It's not necessary to create a story. Sometimes it can be just replacing a background in an image, or replacing a sky in an image. But typically when I do composites, I think about things from, I guess I do...

n't really, they are composites if you're taking two images and putting 'em together, but replacing a background to me, or replacing a sky just doesn't feel like the storytelling type of composite that I'm talking about. And I want you to think like a painter. So if you look at this painting and you see how it's a series of events that are creating this entire story. But then you also have things that are totally different that you wouldn't see in normal everyday life kinda happening over here in this corner. Parts of the story are happening down here that are then being brought up into here. So the whole thing is coming together as one big story. And painters, they don't necessarily have to care about what reality looks like. They just paint whatever comes to their mind and then put it onto their canvas. The things that brought me into Photoshop were not necessarily compositing, but it was putting the pictures together that I had within the spaces that I would shoot. So I didn't even know what a composite was. I was just going to the zoo and I was shooting a rhinoceros. And then this is a building in San Francisco that's like a dome that has these lights. It's actually shooting up this way. It's like a greenhouse, but to me it looked like this other worldly type of, I don't know, collection of things that could blow up the world if I put 'em all together. This big silver ring right here is actually a part of a sewing machine. And then these are just little nuts and bolts that were sitting around my house. This is not a little seismograph that will predict the end of the world. It was a seismograph in a museum that I had taken a picture of and then put into this. Adding some text here to basically tell a story that maybe we're in this ship looking at the destruction of Earth, trying to find our new place that we're gonna live in. Just a story that's being told here. What's the story being told in this? I don't even know. I was just playing around and I was learning Photoshop. I was making a lot of bad rasterize decisions. (audience laughs) But it ended up teaching me a lot about Photoshop by just going off on my own, having fun with my images, and putting them together. As I was developing composites like this, I started to get a little bit better at photography, so I started to enjoy photography and kinda separate myself from these composites. This one was a challenge to myself to say, okay, how many layers can you use to make this image? And I think it was 115 layers that built this one composite. Here's another composite that we've seen before. I was at a little da Vinci exhibit in Kansas City. The Mona Lisa was at the end, and all of his drawings were throughout the whole exhibit. So I took a bunch of pictures of all his drawings and then I composited at the very end onto the wall to make it look as if all of it was somehow unified. It's really cool. It makes a really nice canvas print. There's the before. There's the after. So kind of a boring, just picture of the Mona Lisa, but compositing other images on top of it to make it more appealing. This is a really fun one. This is a cannon that's actually in Platte City, where I live. This is a howitzer cannon that actually just hangs out in Platte City at the end of our street. It doesn't, like nobody even cares about it, but it's so cool, the history behind this howitzer cannon just blew me away. So I composited together to make it look like search lights were going throughout the sky and make the image look a little bit older, almost some border edge on here, which I typically don't use borders. I don't really care for them, but this made it look like an old, maybe Polaroid or something like that, that was peeled off from a print. Here's what it looks like if you actually go to that scene. It's kinda boring. But when you add paratroopers to the sky and searchlights all over the place, it starts to tell a story. And the history behind this cannon starts to come out, almost as if it's shooting something over here. This is shaving cream. It's shaving cream spilled in my hand and then take a picture of it to make it look like smoke happening over in the distance, whether it's smoke from this cannon, or smoke from the war that's happening in this image. The paratroopers, as we talked about before, was a brush that I just brushed along the sky to create a bunch of different paratroopers really quickly. Christmas cards. Our family Christmas cards are the bomb. I challenge you to try and beat us on our family Christmas card, okay? There was another side to this, where here we are looking like this, and then on the other side we were all LEGO characters. So it was a two-sided card. But each one of these pieces to this is a different picture. It's very difficult to get my family to do what I need them to do, especially with three boys, to get them to do exactly what I say to do all at once and then take one picture. So I take them over a series of pictures on a white seamless, it's not actually seamless, it's actually, you know what that is? I'm like the total budget studio guy. I went to like Jo-Ann fabrics or something like that and bought the long piece of material that is typically used for like swimsuit liners so that I could stretch it out and then put weights at the bottom and kinda make it appear like it's a white seamless. But that way I don't have to worry about all of the crinkling of things and buying a white seamless all the time. So when we put that together, we take all of us off of our white backgrounds, I can very easily put a Christmas card together with a background behind us and make it look seamless and then also add text. This takes everything that we've learned throughout this course, puts it all together onto one Christmas card, so to speak. Every year I do these for our family and our friends. And they're the ones, they actually, people tell us that they keep these on the refrigerator all year-round, which I think is kinda crazy. But we have a lot of fun with our Christmas cards. But this is a composite. This is a practical composite. Before I was telling a story with some of those elements being pulled together. This is more of us just putting together a Christmas card that doesn't necessarily tell a story, but it is a composite of images. Instead of it being one image, it's a bunch of images with a backdrop behind it and make it look like it all fits together. So let's go and jump into Photoshop and do some compositing.

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