Introduction to Compositing & Bridge

 

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.

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

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