Adobe® Photoshop® CC® Bootcamp

Lesson 112 of 118

Introduction to Compositing & Bridge

 

Adobe® Photoshop® CC® Bootcamp

Lesson 112 of 118

Introduction to Compositing & Bridge

 

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.

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!