Adobe Photoshop CC Bootcamp

Lesson 110 of 118

Introduction to Landscape Workflow & Bridge Organization

 

Adobe Photoshop CC Bootcamp

Lesson 110 of 118

Introduction to Landscape Workflow & Bridge Organization

 

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 Photosho® 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!