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Adobe Photoshop CC Bootcamp

Lesson 15 of 118

Saving Files

Blake Rudis

Adobe Photoshop CC Bootcamp

Blake Rudis

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Lesson Info

15. Saving Files

Lessons

  Class Trailer
Now Playing
1 Bootcamp Introduction Duration:16:22
2 The Bridge Interface Duration:13:33
3 Setting up Bridge Duration:06:55
4 Overview of Bridge Duration:11:29
6 Introduction to Raw Editing Duration:11:00
8 Global Tools Part 1 Duration:16:44
9 Global Tools Part 2 Duration:20:01
10 Local Tools Duration:22:56
12 Toolbars, Menus and Windows Duration:25:07
13 Setup and Interface Duration:11:48
14 Adobe Libraries Duration:05:57
15 Saving Files Duration:07:39
16 Introduction to Cropping Duration:12:10
20 Cropping for Print Duration:07:34
22 Introduction to Layers Duration:08:42
23 Vector & Raster Layers Basics Duration:05:05
24 Adjustment Layers in Photoshop Duration:27:35
25 Organizing and Managing Layers Duration:15:35
28 Soft Light Blend Mode Duration:07:34
31 Introduction to Layer Styles Duration:11:43
34 Brush Basics Duration:09:22
35 Custom Brushes Duration:04:01
36 Brush Mask: Vignettes Duration:06:58
38 Brush Mask: Hue & Saturation Duration:07:52
39 Mask Groups Duration:05:52
40 Clipping Masks Duration:04:11
41 Masking in Adobe Camera Raw Duration:07:06
42 Practical Applications: Masks Duration:14:03
43 Introduction to Selections Duration:05:42
44 Basic Selection Tools Duration:17:41
45 The Pen Tool Duration:11:56
46 Masks from Selections Duration:04:22
47 Selecting Subjects and Masking Duration:07:11
48 Color Range Mask Duration:17:35
49 Luminosity Masks Basics Duration:12:00
50 Introduction to Cleanup Tools Duration:07:02
51 Adobe Camera Raw Duration:10:16
52 Healing and Spot Healing Brush Duration:14:56
53 The Clone Stamp Tool Duration:10:20
54 The Patch Tool Duration:06:38
55 Content Aware Move Tool Duration:04:56
56 Content Aware Fill Duration:06:46
57 Custom Cleanup Selections Duration:15:42
59 Text Basics Duration:15:57
60 Shape Basics Duration:07:00
61 Adding Text to Pictures Duration:09:46
62 Custom Water Marks Duration:14:05
63 Introduction to Smart Objects Duration:04:37
64 Smart Object Basics Duration:09:13
65 Smart Objects and Filters Duration:09:05
68 Smart Objects and Composites Duration:10:47
70 ACR and Lens Correction Duration:09:45
71 Photoshop and Lens Correction Duration:14:26
72 The Warp Tool Duration:11:16
73 Perspective Transformations Duration:20:33
76 Making Your First Action Duration:03:49
78 Adding Stops to Actions Duration:04:01
79 Conditional Actions Duration:07:36
80 Actions that Communicate Duration:25:26
81 Introduction to Filters Duration:04:38
82 ACR as a Filter Duration:09:20
83 Helpful Artistic Filters Duration:17:08
84 Helpful Practical Filters Duration:07:08
85 Sharpening with Filters Duration:07:32
86 Rendering Trees Duration:08:20
88 Introduction to Editing Video Duration:06:20
89 Timeline for Video Duration:08:15
90 Cropping Video Duration:03:34
91 Adjustment Layers and Video Duration:05:25
92 Building Lookup Tables Duration:07:00
94 ACR to Edit Video Duration:06:10
95 Animated Gifs Duration:11:39
97 Black, White, and Monochrome Duration:18:05
98 Matte and Cinematic Effects Duration:08:23
100 Gradients Duration:04:21
101 Glow and Haze Duration:10:23
103 Brightening Teeth Duration:10:25
105 Cleaning and Brightening Eyes Duration:16:58
106 Advanced Clean Up Techniques Duration:24:47
108 ACR for Portraits Pre-Edits Duration:21:27
109 Portrait Workflow Techniques Duration:18:46
111 Landscape Workflow Techniques Duration:37:36
113 Composite Workflow Techniques Duration:34:01
114 Landscape Composite Projects Duration:24:14
115 Bonus: Rothko and Workspace Duration:05:15
117 Bonus: The Mask (Extras) Duration:05:18

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:

  • Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
  • Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
  • Smart Objects, Transforming, Actions, Filters, and Editing Video
  • 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

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.

Robert Andrews
 

Blake Rudis is the absolute best in teaching photoshop. His knowledge and how he presents the instruction is clear and concise - there is NO ONE BETTER. Yes, his classes require some basic skills, and maybe I'd organize the order of (or group) the classes in a different order, but, let me be clear - if anyone is to be successful or famous in the Photoshop world, it should be Blake Rudis. I strongly recommend his teaching. I started photography and post processing in 2018, and because of this class, I'm know what Im doing. The energy you get when you create something beautiful is profound, it makes you bounce out of bed (at 4AM) like a 5 year old, to go create. It's a great ride! Thanks Blake, & Thanks Creative live.

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!!!!