Adobe® Photoshop® CC® Bootcamp

 

Lesson Info

Introduction to Masks and Brushes

Next to layers, and layer tools, and all the layer properties that we've already discussed before, these can be one of the most tricky things to wrap your head around. Because you've got this layer that's now, kind of visible but invisible on top of everything else but now it's got thing other thing attached to it that allows it to also change the properties of that layer as well. So layer masks, what are they? Well we talked about the apps, the different apps that we have for our cell phone of a layer yesterday in layers. So we think of our layer as cell phone, at the root it makes a phone call, our layer, at its root, is just a layer within that layers palette. But its got different applications in it that allow it to do different things just like a phone becomes better than just making phone calls. So if we think about this in terms of that analogy of this, of the cell phone and the layer, this will be our fourth app that that layer has. And those four apps, those other apps we've t...

alked about in the layers were of course the opacity and fill, blend modes, and blend diff, well now we have the fourth app which will be the layer mask. A layer mask is nothing more than a temporary state that allows you to see what layers are underneath it. It's exactly like a party mask. So if you think about a party mask, let's just take a little look here. This plate by itself is just a plate, essentially, with a sunflower drawn on it, right? You see that black opening right there. Basically, what layer masks allow us to do is take whatever is black on that mask, so we can see what's underneath it. So then this sunflower, on a regular white piece of paper, if we think of this white sheet as a layer with data on it, or pixel data on it, we now remove that black area temporarily, and we essentially have a nice little sunflower party mask. And you can either see or not see what you want underneath that. It reveals what's under that mask, whether you wanna see my pretty face in the sunflower or not. Now, as silly as that might sound, you 're never gonna forget that when it comes to masking now because if you ever want to reveal what's underneath that area, all you have to do is think about using the brush and using black to reveal that area. So I need you to think like a sculptor here. This is a process, there's the additive process that's building with clay, and there's a subtractive process that will be chiseling out a stone. So if you think like a sculptor, this would be the subtractive process. The additive process within your layer stack is building up a series of layers, that's an additive process. The subtractive process is masking the layers. So if any one of those layers that you're adding onto that layer stack has something that you don't want, you can very easily remove it without deleting that area. If you also notice that when we set up our tools we didn't use the eraser tool. You would think, well why wouldn't we just use an eraser on this? Well you don't wanna use an eraser because the eraser will delete those pixels and they're gone. As I said before, masks are basically a temporary state change for that layer that can be easily changed by using black or white to make it either go away or come back. Layer mask basics here, we've got the layer masks you'll always find next to a layer. So if you don't have a layer mask there, there's the ability to add a layer mask there. We can make it so that all of our adjustment layers that come into Photoshop come in with a layer mask, and they can be linked to any type of layer. So as we talked aboutthe different types of layers, with Rasterized layers, Vector-based layers, and adjustment layers, every one of those layers can also have a mask on it. So it doesn't matter what type of layer it is that you're working with, they can all have masks. They can be applied to a group as well. So we talked about grouping our layers. So imagine you have a bunch of layers that also have masks on them, you can group them together and make a big primary mask for all of those layers that have masks or any properties inside that group. The thing here to remember is as I teach you Photoshop and I'm teaching you layers, I'm teaching you to work and think of that top layer as being the primary layer that dictates basically what's happening below it. So a mask, if you paint with black, it will reveal any of those underlying layers from the current effect that's on that top layer. So always be thinking about, not necessarily how is this layer here interacting with the top layers, but how is this top layer interacting with the layers below it. So we'll go ahead and jump into Photoshop at this point and I'll show you, before we even begin talking about masking, we have to talk about the brush. Because we haven't talked about the brush in Photoshop yet, and the brush is what's going to control a lot of the things we do with masking.

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

Bootcamp Introduction
The Bridge Interface
Setting up Bridge
Overview of Bridge
Practical Application of Bridge
Introduction to Raw Editing
Setting up ACR Preferences & Interface
Global Tools Part 1
Global Tools Part 2
Local Tools
Introduction to the Photoshop Interface
Toolbars, Menus and Windows
Setup and Interface
Adobe Libraries
Saving Files
Introduction to Cropping
Cropping for Composition in ACR
Cropping for Composition in Photoshop
Cropping for the Subject in Post
Cropping for Print
Perspective Cropping in Photoshop
Introduction to Layers
Vector & Raster Layers Basics
Adjustment Layers in Photoshop
Organizing and Managing Layers
Introduction to Layer Tools and Blend Modes
Screen and Multiply and Overlay
Soft Light Blend Mode
Color and Luminosity Blend Modes
Color Burn and Color Dodge Blend Modes
Introduction to Layer Styles
Practical Application: Layer Tools
Introduction to Masks and Brushes
Brush Basics
Custom Brushes
Brush Mask: Vignettes
Brush Mask: Curves Dodge & Burn
Brush Mask: Hue & Saturation
Mask Groups
Clipping Masks
Masking in Adobe Camera Raw
Practical Applications: Masks
Introduction to Selections
Basic Selection Tools
The Pen Tool
Masks from Selections
Selecting Subjects and Masking
Color Range Mask
Luminosity Masks Basics
Introduction to Cleanup Tools
Adobe Camera Raw
Healing and Spot Healing Brush
The Clone Stamp Tool
The Patch Tool
Content Aware Move Tool
Content Aware Fill
Custom Cleanup Selections
Introduction to Shapes and Text
Text Basics
Shape Basics
Adding Text to Pictures
Custom Water Marks
Introduction to Smart Objects
Smart Object Basics
Smart Objects and Filters
Smart Objects and Image Transformation
Smart Objects and Album Layouts
Smart Objects and Composites
Introduction to Image Transforming
ACR and Lens Correction
Photoshop and Lens Correction
The Warp Tool
Perspective Transformations
Introduction to Actions in Photoshop
Introduction to the Actions Panel Interface
Making Your First Action
Modifying Actions After You Record Them
Adding Stops to Actions
Conditional Actions
Actions that Communicate
Introduction to Filters
ACR as a Filter
Helpful Artistic Filters
Helpful Practical Filters
Sharpening with Filters
Rendering Trees
The Oil Paint and Add Noise Filters
Introduction to Editing Video
Timeline for Video
Cropping Video
Adjustment Layers and Video
Building Lookup Tables
Layers, Masking Video & Working with Type
ACR to Edit Video
Animated Gifs
Introduction to Creative Effects
Black, White, and Monochrome
Matte and Cinematic Effects
Gradient Maps and Solid Color Grades
Gradients
Glow and Haze
Introduction to Natural Retouching
Brightening Teeth
Clean Up with the Clone Stamp Tool
Cleaning and Brightening Eyes
Advanced Clean Up Techniques
Introduction to Portrait Workflow & Bridge Organization
ACR for Portraits Pre-Edits
Portrait Workflow Techniques
Introduction to Landscape Workflow & Bridge Organization
Landscape Workflow Techniques
Introduction to Compositing & Bridge
Composite Workflow Techniques
Landscape Composite Projects
Bonus: Rothko and Workspace
Bonus: Adding Textures to Photos
Bonus: The Mask (Extras)
Bonus: The Color Range Mask in ACR
 
 
 
 

Reviews

  • 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.
  • 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!!!!
  • A superb course and excellent overall job, beautifully presented and easy to grab the material, in total the material the style and the whole set of classes is just great love to g back and watch again and again