Adobe® Photoshop® CC® Bootcamp

Lesson 15 of 118

Saving Files

 

Adobe® Photoshop® CC® Bootcamp

Lesson 15 of 118

Saving Files

 

Lesson Info

Saving Files

So along with interfacing and talking about the interface and talking about this Creative Cloud, dig into this and just see what's offered to you. You have this capability, you can dive into this, you can take a look at this, you also have this ability to save some of your files there, But one thing that we do need to talk about also while we're in this interface is saving files and file saving and methods for saving files. So the big question usually comes up, okay you got this layered document now, this layered document that you see here, what do we save it as? Do we save it as a TIFF, do we save it as a JPEG. Do we save it as a PNG, what do we wanna save this as? Well, the big thing to think about is what are you gonna do with it? So, not just what am I gonna save it as, but what is the intended purpose for that when I'm done? If it's, you want to maintain all of the layered document data, I recommend doing what's called a PSD file. So if I were to go up to File, on this image speci...

fically, and say Save As, and look down here at Save As type, you see all the different types that I can save this as. If I save this as a PSD, it will save all of the layered content within that file in that PSD file. It won't save the history states but it will save all that layered data. So if I do any color-grading, if I do any curves or adjustment layers, all that is saved in that, even masking, no matter what I'm saving, it's saved in that PSD file. Like-wise you can do the same thing with a TIFF. A TIFF is a lossless compression way of saving your images. But if I save this as a TIFF, not only is it going to save all those layers, it's gonna make it huge. So if we had a 150 megabyte PSD file, depending on how much content is in each one of those layers and it's all dependent on the content, that TIFF could be 300 megabytes. So if you are doing layered work, I highly suggest saving it as a PSD because that is Photoshop's primary, what do you call it, it's their primary, I'm losing it, it's their primary, proprietary, it's their proprietary file for saving images, to have layers in them. If you save it as a JPEG, if anything was done in 16 bits, so if you went from 16 bits in Adobe Camera Roll over to Photoshop and you're working in 16 bit in Photoshop and save it as a JPEG, it's automatically gonna be saved as 8 bit, so you're gonna lose all of that other data, because it is a, it's not a lossless compression. It is a compressed file. Now, that doesn't necessarily mean that JPEGs are bad. It just means that JPEGs have a certain purpose, and that purpose is typically, you're done, you're good, you're finalized, right? This is beautiful, it's perfect, send it off to the printer. A JPEG can be good for that. Also, sharing your documents with clients, do you wanna give them your RAW files? No. One, copyright purposes. Two, they wouldn't know what to do with the RAW file, because a RAW file in and of itself is just a collection of data that isn't actually an image. You have to think of a RAW file as a negative. That is a digital negative. If you were to do portrait work in the analog days and someone said "Can I see that picture?", you say yeah sure, and you give them the negative, that's not the picture. So you don't wanna share those RAW files, you would save that out as a JPEG. The other one that we commonly will see is a PNG file. Which typically, a PNG is something that you will do if you're working with transparencies and you wanna maintain those transparencies. So, with this image for instance, if I were, see how that has the checkerboard block in the back, and you can still see some of that checkerboard block underneath? That's essentially telling it me that that is transparent data. So if I were to save this as a JPEG, that transparent data would be flattened down and turned into a white background. If I were to save it as a PNG, all of that transparency data remains the same. So, logos for instance, if you're doing a logo for a company and you send them the logo and it's on a white background, they're not gonna want it on a white background, they're more than likely gonna want it in a PNG form. So you have to the difference between PNG, JPG, TIFF. If you want lossless, so that image doesn't lose a whole lot of quality, you can use a TIFF, save it out as a TIFF, some printers, depending on the printer, might want a TIFF, that's where you would save it as a TIFF. So a RAW file, what do you save a RAW file as? Well most RAW files haves something, an identifier that identifies them as a Sony RAW file, Canon RAW File, Olympus RAW file, Sony's ARW, CR2 for Canon, you can't really actually save the RAW file. But you can save it as Adobe's proprietary DNG file. And a DNG is a digital negative, and that's a proprietary thing that works on all things. So if I have a Sony A7R3 and I give someone that RAW file, they haven't updated some of their software in a long time, they might see a pink screen because there RAW editor that they're using doesn't allow them to see that RAW data. So if I saved it as a DNG first, and then sent it to them, they'd be able to see it because DNG is like a JPEG. Think of DNG as the universal RAW file save, just like JPEG, with the universal flattened image state. So I know in this lesson we covered quite a bit, we covered setting up our interface from scratch, setting it up from zero. And the reason why I really wanted you to get that, is just, not only for your knowledge of where to find these things, but also setting this up to make you the most efficient you possibly can. Another kind of trick there is, if you accidentally nub the tab key everything disappears, and I need you to know that, because this happened to me the other day, I accidentally pressed tab and didn't realize what I had done, I was like "oh my god, where my windows go? Where did everything go?" Well, tab, and it's all back. But what I ended up doing was, instead of pressing tab, I went up to window and I turned everything back on. So that's a good tip to know, I should've added that in the very beginning there, but we talked about windows, we talked about toolbars, we talked about the menus, setting up your preferences, saving all of this out so that you a saved workspace that you can always go back to and we even touched on libraries that we have with our Creative Cloud subscription, and we also talked about saving files. So do I have any questions on this topic? So, I had a question about saving, when we're saving something in a PSD or in a TIFF, you said that, so it saves the layers, so does that mean you can then open that TIFF and it'll show all of the layers if you're not opening it from your CC? Yes Okay. Absolutely Okay So the question was does a TIFF open up with layers if you've saved it from one version to another, yes. So if you had a TIFF file of a PSD file, those are universal files that contain that data, so it's not just for your computer, that would be for any one of them, so if you had a PSD file, had layers in it and you shot it over to me with a thumb drive, I could plug that in, I could open it up and I'd see all your layered work. I wouldn't see your history states obviously but I'd see all your layered work. Okay, and you could then go in and edit those, Absolutely Layers yourself. Absolutely, that's why you wouldn't give a PSD or a TIFF file to a client. Right. You would reserve that for yourself and you would give them something like a JPEG.

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

  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!