Adobe® Photoshop® CC® Bootcamp

Lesson 41/118 - Masking in Adobe Camera Raw


Adobe® Photoshop® CC® Bootcamp


Lesson Info

Masking in Adobe Camera Raw

There is one more area that we didn't really talk about masking yet and that's in Adobe Camera Roll. Adobe Camera Roll has masking and it works a little bit differently than what we would see here in Photoshop. So I'm gonna go and minimize this and open up Adobe Camera Roll with a photograph. Let's go ahead and open up... this one. And we already have stuff on it. So let's go ahead and delete all this. Okay, so Adobe Camera Roll. We can access Adobe Camera Roll by opening up that image into Adobe Camera Roll through bridge. If I right click on this and say "Open in camera roll", it's gonna open up this image in Adobe Camera Roll and allow me to edit it right there in Camera Roll. So, in the basic settings we're not gonna find any of these masks but we will find some of these masks in anything that is a brush, or a gradient, or a radial. There is the ability to protect certain areas in our photograph. And these masks are actually really clever because they incorporate not just what we k...

now of from masking with black and white in our selections in Photoshop. It also allows us to use, kind of like blend if settings right there within those masks. So I'm gonna go ahead and click on the brush tool. So if we look at the brush tool down here you're gonna see and option that says mask. And you're gonna turn that mask on and off and we can look of the color of that mask and what it's gonna be when we turn that mask on and off and also have the ability to auto mask. And this is gonna be your main. Right here, this is gonna be your main section that's going to control that mask. If I were just to brush on this image right now it's going to make the whole image a little bit brighter because my exposure is up. My contrast is up and my highlights are up. I'm gonna go ahead and delete that. But let's go ahead and look at our mask. We'll turn it on so we can see what our mask is gonna look like and we'll click on this color. Again, I'm gonna change this to magenta. I'm also gonna use, I'm just gonna paint at first without using auto mask. So if I paint on here whatever I'm gonna make a little bit brighter using these settings here. As I start to paint you'll see it come up in magenta. You see that? If we look at the mask that we have here and turn that on we can turn it off. And that's showing us exactly where that's affecting We also have the ability to use something called auto mask. Which is pretty clever because you can see here that we have a little bit of over spray that's happening up here on the top area. So if I were to go ahead and turn auto mask on I'll go ahead and delete this. And turn auto mask on and start painting It's going to assess the pixel that'll that I first started that click and that drag with. And it's gonna try and not let anything get selected outside of that. Now if I take this little cursor and go a little bit outside of that there it might start picking up areas that are very similar to the area that I started with. Just click and drag right on these buildings and that will be good there. If I turn this mask off I don't see that magenta color anymore. So I can drop down those shadows, bring up those shadows of just that masked area within those buildings there. Pull this up, pull this down. Now this isn't working the exact same way as masking in Photoshop though. So this is, it is and it isn't. It's allowing you to see this mask when we paint on it. It's allowing us to see the effect that we are putting on that image within that masked area. But it's not using black and white as your principals. Which can sometimes throw you off when you're doing masking within Photoshop. When you're doing masking than Adobe Camera Roll. Now beyond that, we also have something down here called range masking. So I'm gonna go ahead and make a new mask here. Just a whole new brush selection and I'm gonna go ahead and make this a little bit brighter. Drop down those blacks a little bit. And I'm gonna start brushing up here on the top of the sky I wanna be able to see my mask. So I'm gonna just start brushing up here. In this sky area. Let's take a look at the opacity of this mask. We click on this mask. Let's bring the opacity all the way up. When I look at masks in Adobe Camera Roll. I like to ensure I can see exactly where that mask is affecting my image. And when the opacity is all the way down like that it doesn't help me at all. So I'm gonna pull this all the way up. And notice out here the color indicates to whether this is the affected area or the unaffected area. So depending on how you think about masks you can click, if I click unaffected area it's gonna show me the mask for the areas that are not being affected by what I'm about to do. But I like to have that for the affected areas. So I'll go ahead press okay. And I'll paint on here and notice how things are much more bold in that mask and that's exactly how I want to see it. By default Adobe Camera Roll will not be set up this way. You're gonna have to go into those settings and do that. But it will keep those there for the next time you use that mask. Press okay. Well down here there's this thing called range masking. Which is kind of like using that blend if that we used before along side with that mask. It's really clever use of masking. And it's built into Adobe Camera Roll which makes it easy to use in Adobe Camera Roll. Not necessarily as easy to use for us in Photoshop. Now we can use Adobe Camera Roll as a filter. So we can bounce back and forth between it if we need to. And we'll talk about that when we talk about filters. I'm gonna go ahead and click on this range. I'm gonna go ahead and go to illuminance range. And you'll see here that we have a slider that looks almost exactly like the blend if sliders that we had before right? So what I'm gonna do is I'm gonna go ahead and click on the illuminance range here. Bring this up and what that's doing is it's saying that this masked area is no longer going to be affecting those black areas that are in the image that might be there. So if I bring this, you can probably see it a little bit better in the highlights if I bring this down notice how the highlight areas are not being affected by the changes that I've just made with all of the things that are happening above. Changing the smoothness is essentially changing the contrast of that mask just like we looked at before when we change the contrast of the mask using the image settings in Photoshop for that hugh saturation adjustment level that we discussed with changing the colors of the stairs. This is changing the contrast of that mask and what is actually being seen within that mask. Where as this the mask that you're limiting it to. If we bring the contrast up or down we have a harder edge. Here we have a more feathered edge. If I turn that mask preview off we can see the settings that we're having taking place on this image drop this down make it darker. We add a lot more drama to those darker areas. And it's only effecting those darker areas because we're telling it not to affect those highlighted areas. See the difference there? It's much more natural. Much more smooth transition and a great way to use Adobe Camera Roll. This is all relatively new for Photoshop C-C. And it's a great addition to the software. It really changes the way I work in Adobe Camera Roll.

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!