Adobe® Photoshop® CC® Bootcamp

 

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.

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