Adobe® Photoshop® CC® Bootcamp

Lesson 81/118 - Introduction to Filters

 

Adobe® Photoshop® CC® Bootcamp

 

Lesson Info

Introduction to Filters

Filters can be an interesting topic, you know. I mean this is what we're going to talk about, right? Now, this is how I used to use filters when I first started using filters. (laughs) Yeah, a little bit spiral action, sheer all, yeah. No. There are many ways that you can use filters, and we're going to break it down into two very distinct categories, and also talk about how we can use them in our workflow, in a way that actually makes really nice, conducive effects for us. So, the two categories are practical filters and artistic filters. There are filters that we can use in our workflow that actually are practical and work out very well, things like adaptive wide angle, Adobe Camera Raw as a filter, lens corrections, liquefy, if used with a soft hand, and blur, blur gallery, 'cause there are some things in the blur gallery we are going to talk about, noise reduction and sharpening. Over here on the artistic side we have: liquefy, distort, pixelate, render, stylize and filter gallery.

So, as you open up Photoshop and it has a drop down, you are going to see all of these different types of filters that are within Photoshop. Now some of them, as I've said, are going to be better than others for a practical workflow. Others are more for the artistic side of things. In the past, if we go way back to Photoshop 5, when I fist started, filters were one of those things that was just like you would warp your image and do some crazy things with it, like you saw in the opening slide to this, where we twirled the photograph and made it look like this mosaic tile shooting all over the place. That was the thing to do with filters. People like myself, after we got really good with Photoshop for a while, stopped using the filter dialogue because there was a bunch of stuff in there that just doesn't seem right. However, there are filters that can be very practical and very helpful in your workflow. We're going to talk about those. Perfect example, this is an image that I created strictly from filters and brushes in Photoshop. Started with a blank canvas, drew out the grass, and rendered a tree. I rendered a tree. (laughs) Pretty cool, and then the background was a sunset that was built from brushes, blurs, basically just to see if I could make a landscape composition in Photoshop, using things like filters. It doesn't look overly filter-ly processed, though. This would be more of like your creative painting that you can do in Photoshop. On the flip side of that, here is, this is just around the corner from my house, it had just snowed, beautiful sunset happening, and I needed a tree right here. (laughs) I just figured, okay, I'll just plop a tree there and render a tree and see what happens. Well, because you can't just render one tree that looks like that, I rendered two trees, so that the whole thing looked similar. Now what I did was, I put this out there, I put it out on 500px, 'cause that's where you basically know if you did something well or not. And this got like a 96 in less than an hour. So, I was like, do these people know that I faked a tree there? (laughs) I'm just not going to say anything, just not going to say anything. So you can render trees in your images, and I have been known to do that in my landscape photos. I typically do it, though, if there's a tree in the landscape that just looks, and I'll show you during the lesson here, things that just look gnarly that could have been so perfect with that Little House on the Prairie tree just sitting out there in the background. Here's another image. This was a static display at an basically, an Air Force base somewhere, but I went in and I did the blur gallery on a spin blur on these to make them look as if they were in rotation, rendered some flames, and did some stroke pads to make them look like they were shooting, and even path blurred a static propeller to kinda give it that feel like it was actually in action, doing it's thing. So you can use them, even though they are artistic, you can blend them in with your workflow that still makes them look as if, you would have thought, I'm standing right here with my wide angle lens on a moving--, you know, but I wasn't. I wasn't going to do that. Even if I had a harness, I wouldn't do it. But then something like this, where you don't even know that a filter's being used, but there are filters being used in this, in the workflow, as a finishing touch, to smooth everything else out and give it a nice glowing appearance. So, let's go ahead and hop into Photoshop, and I'll show you how to use these practical filters and creative filters in the workflow.

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!