Adobe® Photoshop® CC® Bootcamp

Lesson 110/118 - Introduction to Landscape Workflow & Bridge Organization

 

Adobe® Photoshop® CC® Bootcamp

 

Lesson Info

Introduction to Landscape Workflow & Bridge Organization

Landscape Workflow Lot of this is going to seem pretty similar to what we talked about with the Portra Workflow only we're going to spend a little bit more time on the editing side because I love landscapes. (laughing) No, there's a lot that we can do with it, so. The Workflow, let's just keep that in mind. Bridge, cataloging, organizing, prioritizing. Adobe Camera Raw, basic adjustments, chromatic aberration, reduction, noise reduction, mild sharpening and then Photoshop for advanced things like color grading and our personal effects. Things that we're considering there are going to be tone, color, and effects. Now if you use Lightroom, you can supplement these with Lightroom, I won't hold it against you. (laughing) I need to show you some before and after examples of this and how Workflow can be pretty powerful. This was from the Notre Dam. Beautiful ten millimeter spread. Both of these here is one shot, one take. This would be what I would consider probably where most people would s...

top. You got the tone right, you got the color right but it's the artistic effect that takes a little bit further. It's subtle but it's important. Notice that we also did here with this images there's even a little bit of perspective correction that's happened here, some of that custom perspective correction, that warping that happened in this image that needed to happen to make the symmetry just fit and feel a little bit better. This the delicate arch in Moab. Beautiful sunset. You don't see the other 400 people behind me that were trying to take pictures either. But again this is where most people would stop, but that's not where we stop. We get the tone, we get the color, we push that image to its extremes, to its maximum. Here's another example. I was going to throw this image away. It's a complete accident this photo. This ended up being my favorite photo from Second Beach when I went to Olympic National Park. Took this shot. If you see the whole which one of these is not like the others, you look at my contact sheet from this, this image is blue and all the rest have perfect white balance. I have no idea what happened. I can't explain it to you. For some reason this one didn't turn out right. I had to scramble to put my camera down to find this spot. I think it had something to do with the neutral density filter that I was using as I put it on as I was basically setting up. It looked horrible. But of all the shots I took of Second Beach this was the one shot that was the best. It just needed to be rotated a little bit, add a little bit of headroom for it so that after I straightened it I didn't lose the top of this image, fixed the white balance, add my effects to it and it was cream of the crop. This one I printed 24 by 36 onto a canvas and it sits in my office. Beautiful shot that I would of thrown away if I didn't know anything about Workflow. If I didn't know anything about Photoshop or what I could do in Photoshop, this is a perfect example of something I would of just dumped and there was no other images that were like this and if you see what makes it so unique is that as right when I took the shot, longer exposure, you can see some of the reflections of the water pools that were there and then there's a wave coming up over within the last five or six seconds that makes it feel kind of eerie and like there's a haze going on between these rocks with the water underneath. So let's go ahead and jump in. We're going to first go through Bridge again as we did before, go through Bridge, then go to Adobe Camera Raw, and then go into Photoshop so I can show you how to push and pull some of these landscape images to make them absolutely brilliant. So here we are in Bridge. This is a landscape shoot that I did in Olympic National Park. What you're going to see is a major difference between a landscape photographer and a portrait photographer is happening right now between this lesson and the last lesson. In this lesson, when you look at these images you see a lot of the exact same shot of the exact same thing. This tree, I shot so many photographs of this tree just to get that one perfect shot that was right. Looking at this waterfall, how many different angles do I need to take of that same waterfall? Now the difference between this and that portrait shoot that I showed in the last lesson was that those kids run around like crazy. You know you get that one shot, that's all you get. Here you take a ton of shots to get that one shot, that's all you get. So, just to start this out, if I was going to go ahead and keyword this out, I would go under places and I would add not to them, going to my places, and add a new sub keyword and that sub keyword would be Olympic National Park and I'd probably even sub keyword that to say Marymere and Sol Duc or I could even go even further and just make it Marymere and then another one that's Sol Duc. So I'm going to go ahead and click all of these images here, shift click and call this Olympic National Park. These are all from Marymere and Sol Duc so I can go ahead and click that one as well. Now they're all tagged with Marymere and Sol Duc. So let's go ahead and look at the film strip view so we can see these. You know, as landscape photographer you take a lot of the same, a lot of shots of the same exact thing making sure that the light is right, your exposure is perfect and you have the time to do that. It's not like a portrait photographer where the portrait photographer you don't always have the time to get, I should say the movement just perfect because this landscape doesn't move, the water moves but the landscape itself kind of just stays the same, so as long as I sit there, as long as I stand there to take those pictures, I can take many different shots of that exact same scene and just wait for the light to change and wait for the light to get better or the light to get worse. What I do on sunsets and sunrises, I show up probably about two hours before the sun is stated to set, I stay until probably about two hours after the sunsets just to get different examples of everything in between. I've been known to even stay in the exact same spot. Once I get that one shot that's dialed in, and it's like a form of insanity too because I'll sit there and every five minutes I'll take a picture of the exact same thing. It's like nothings really changing here man, why do you keep doing this? And then once you get to the very end though then you see all those pictures and how the light has changed over the course of time and then you get to pick the one shot that looks perfect. This isn't a sunset or a sunrise, this is just walking through Olympic National Park but what I really wanted to talk about is this tree. You know, photography, especially when we talk about landscape photography, we have to think about things in the round, we have to think about things in the 360. This tree on the way to the Marymere Falls is absolutely gorgeous. It's one of the most beautiful trees I've ever seen in my entire life. I had about a one hour moment with this tree where I just, I shot the living junk out of this thing. So I shot it from the front. I shot it all around that tree. The thing about this tree is that right here, this is 101. People are driving by just oblivious that this is the most beautiful tree that some Podunk guy form Missouri has ever seen. So I went all the way around that tree. I shot it with a 16 millimeter lens, I shot it with different varying millimeters and then I went down to a 10 millimeter lens to really get as much of this tree as I could get until I got the one shot that was just perfect for me, which the one that I processed is this one right here. And you can see the difference between this. It took all that time for me to walk up to this tree to get that one shot that would just bring the whole thing all together. And this was the one shot from that day, this is the one that I processed of it. So here's the before, here's the after. You can see the difference between some of the cloning that's happened there and everything. So while I'm there, I'm thinking about what's gonna happen and then I do things like this too where sometimes I just do some wild things with my lenses or maybe I was just walking by and I'm telling you that I do some wild things but it was clearly an accident. (laughing) But I'm thinking about the post production of the image while I'm on the scene. I'm looking at the area around it. Here I'm bracketing, I'm bracketing because I want to make sure that I get a good photo. I might not actually do the HDR process on this image but I'm bracketing because I want to make sure I get a good image that I can use afterwards. So let's go ahead and go more over towards Sol Duc. So here's Sol Duc, we'll just go through here and here I'd be going through and calling these images in control one, control two, control three, again the ones I want set up. But typically what I'm doing here with landscape which is a little bit different than the one I do with portrait photography is I'll go through here and sometimes I just see that one where I'm like, yep, that's it, boom. Control three like that. And then one of my favorites was on the way to Sol Duc which is this little stream set of falls that's just absolutely awesome I think. So I'll just go through and we're going to process one of these ones. Let's process, let's do this one. Or let's do one of the side ones that way I can give it away cause this one's one of my portfolio ones. This one, I'll use this one that way you can work along with me. (laughing) So, I'm going to get one that has a good longer exposure on it, like this, right there. That's a little over exposed. How bout that one? SO looking at these two, this one's a little bit over exposed. Looking at this image I can see this one's a little overexposed cause the whites here are kind of blowing out, so I'm going to go with something that's a little bit darker so I'll use this one. And I'm just going to open this up. Landscape processing and how I landscape process and how I portrait process are two very different things. A lot of times I go through and I call these things and I just very seriously look at the image and I say, that's the one. And I don't really need to worry about the rest. I don't delete the rest, I just hold 'em like they're my little precious little things that are mine and only mine. But I will only process one image from that entire thing, of this whole series of shots that you see here. Two of what I would consider portfolio images came out of three to 500 photographs from that one thing. And of those, are they really that great of portfolio images or do I just still have some emotional attachment to them. Sometimes we have to separate ourselves from the emotional attachment and what's actually good. Some of these images, I'm really emotionally attached to. So I'll just go ahead and open this up. And we're going to start in Adobe Camera Raw. I'll always start in Adobe Camera Raw and a lot of times what I'm doing for my landscape work which is a little bit different from my portrait work is I want to get a good quality baseline image. I don't want it to be perfect in Adobe Camera Raw, I want to fix minor blemishes, I want to fix minor problems, I want to straighten horizons. But I'm not trying to make something amazing here. I want to use Photoshop and all that Photoshop entails and gives to me to really exploit this image. So what I'm going to do, is I'm going to start by pressing auto. And auto in Adobe Camera Raw now or Lightroom gives you a really good bad looking HDR image. (laughing) Right but that's what I want to start with. Believe it or not, this is something that I would want to start with going into Photoshop and the reason why is this gives me, if you look at the history it's just a very basic image, there's no really high highlights, there's no really deep shadows. I don't want to make those decisions right now, because I'd rather make those decisions with highlights that I know are highlights, shadows that I know are shadows and mid tones that I know are mid tones. You can say, well you have these sliders here Blake, well you're right, but I can't click on any of them to see where my highlights are and I can't individually go in and add mass to those things to really fine tune that highlight or that mid tone or that shadow. So I actually do appreciate the way this came out pretty well, it looks pretty good. So you know what I'm going to do? First of all I'm going to drop down my saturation and my vibrance and I'm just going to open this up Photoshop. I could open it up as a smart object if I want, press shift and open it up as an object. So if I ever need to go back to this in Adobe Camera Raw I can.

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!