Adobe® Photoshop® CC® Bootcamp

Lesson 69/118 - Introduction to Image Transforming


Adobe® Photoshop® CC® Bootcamp


Lesson Info

Introduction to Image Transforming

When I talk about image transformation, I'm not talking about manipulating the image to the point that it's transformed into something else. Its not like a transformer. This is mainly going to be about... There's things that are gonna happen in our photographs that are due to either lens or barrel distortion or things that are outside of our control that happen inside the camera that would just look a little better for our viewer if we fixed 'em. This is the process of manipulating the pixels in a photo to make it more visually appealing. As I said before, when it comes to landscape photography this would be things like perspective correction, or lens and barrel distortion correction, and when it comes to things like portrait photography this would be like wrinkled clothing with something like the liquefy tool or minor feature retouching in something with the liquefy tool also. What we're gonna be focusing on specifically for this lesson is gonna be landscape-driven things. Not portrai...

t-driven things. When we get into the portrait workflow series where we talk about natural retouching, we'll touch on some of these ways we can transform an image and still maintain the integrity of the photograph. But for now, we'll be talking about things that are gonna be perspective correction, and lens and barrel distortion correction for the things that happen within our camera that we need to fix in order to make the viewer find that image more appealing or more attractive. Now with that being said, there are times when a very nice forest perspective with the huge wide-angle lens is perfect but then there's other times where it just looks better if you fix it. So this would be one of those examples. Where this is inside the Nelson Atkins museum. We have the sides of the image where the perspective is forcing back to kind of narrowing down like this. Now we do want the forced perspective in there but when we have another perspective line that's meeting down here it kinda makes it feel like we're warping down into the back of the image. Where, as if we do something like this, just a very simple fix, very quick and easy fix, just snap those lines back to where they were, it gives us more of that symmetry . Now, this is where symmetry, I would say, doesn't necessarily work so well. This is where it's a symmetrical image but there's something that's throwing it off that doesn't allow me to enjoy it as a viewer. When I look at this image, I like the symmetry here. The symmetry is working the symmetry with the forced perspective is coming in here and because the vertical line ends are now straight, it's more visually appealing and I can enjoy it a little bit more. If it was something that required a really forced, warped perspective from a wide-angle lens then I'd say don't do that, just go ahead and keep it if you're doing it for effect but this is not an image that I would do that for effect. Here is another example. We're shooting some buildings in, I should say, photographing some buildings in Chicago and they're just like shooting right up into the sky. And I prefer, my vision for that was I liked the way it looked when I was staring at it but no lens that I chose was going to get me that option other than using a wide-angle lens, but then we can use some of the things that are in Photoshop to fix that for us and straighten those buildings up a little bit. This same thing happens with an image like this. We've seen this image a couple times before, we've played with this a little bit before but look at this barn. It's leaning. And the reason why it's leaning is because it might be a combination of the fact that it's falling over but it's also the fact that this is a wide-angle lens and I really wanted to get everything in this image. Especially because during the post-production of this image, this is not the actual finished image. I like the relationship between the sun and you can barley see it, but that's a sliver of a moon. So I like that, I wanted to get all of that in the same frame but in doing so, with the wide-angle lens, I start warping things that are at the edges. So because this is at the edge, everything just starts to fall inside the canvas. So with an image like this, instead of worrying about modifying the whole image, you can just grab this one little section here and just fix it. Just tilt it back up a little bit. Just, He-Man style. Go up to that barn and (explosion sounds). Push it back up to where it belongs. So let's go ahead and jump in first. We're gonna go into Adobe Camera Raw and talk about how we can use Adobe Camera Raw and some of the lens corrections that are in there to try to fix our image before we have to do the tedious things in Photoshop.

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


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


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!