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Adobe Photoshop CC Bootcamp

Lesson 13 of 118

Setup and Interface


Adobe Photoshop CC Bootcamp

Lesson 13 of 118

Setup and Interface


Lesson Info

Setup and Interface

So as I said before in the intro to this, when I opened up Photoshop for the first time and it had that new dialogue and it also had the recent files. For me, being rather more advanced in Photoshop, that's something that I don't necessarily need to open up every single time. So you'll see here in the general preferences, under options, I can say, "Show Start Workspace "When No Documents Are Open." I can click that and turn that off. And I can say, "Use Legacy New Document Interface." So that's what I was telling you before. When I said I like to open up my images like I did in Photoshop CS5 and CS6, that's a legacy way of opening up an image rather than the CC way of using the new image dialogue. Which, it looks completely different. The new image dialogue is pretty, it's fancy, it's got some templates there. The old one, which you'll see here in a second, is completely different. So if I were to press okay, and press control N, for new, that's what the new document looks like now. If...

you notice and recognize that this looks a lot like the image size dialogue. So for me, this looks like the image size dialogue, a dialogue that I use quite a bit in Photoshop. And when I'm opening up a new document, this is what I want to see. I wanna see the nitty gritty of what that new document is gonna be when I press control N to make a new document. So we'll go back to those preferences. Again, let's just get in the habit of using hotkeys and press command or control K. So now, if I go through this, this is gonna give me a lot of different things in Photoshop that will even help you set up your efficiency with some of the tools. So if we go to interface, I'm gonna talk about interface quite a bit here once we get done going through all of these inner workings, because I feel very strongly about this topic. And you're probably gonna see why in a second. So with the interface, we can set how large or how small we want the UI to be within the interface. You can make things larger. You can make things smaller. We can even change the screen modes. Some of these borders have drop shadows on them. Well, we can say we don't necessarily want that to have a drop shadow on it. Or maybe we want it to be a line instead of a drop shadow. We could do that as well. If we go into show channels in color, that's an interesting one. Where we were over in the channels before, and the channels were all black and white. If you pressed show channels in color, it will show you the red channel as a red color. The blue channel as a blue color. And the green channel as a green color. The other thing here is workspace. I like to have smaller tabs. Notice how the tabs on mine are rather large for the thing that says library and properties and history. I'll just click this box that says, "Large Tabs." And turn that off to make all those tabs a little bit smaller. Again, it's just about real estate. It's just about opening up a little bit more real estate in my work flow. In my work space I should say. I like this one right here, too. It's called enable floating window docking. The thing about this one, or open documents as tabs is what I should say first. You see how this image, when I open it up, it opened up as a tab along the top of my Photoshop? I think that's great if you're just working on one photo at a time. But when you start getting into compositing and moving one image on top of another image, this can be a nightmare. 'Cause then you've gotta pull them all away from the top and it's just a pain. So if you don't want that to happen every time you open up an image in Photoshop, you can just turn off open documents as tabs, and it will no longer open up as a tab along the top like you would see in some of your internet browsers. The enable floating window docking. That, we can just give you an example here. This is a floating window. Floating window docking is when I bring it up here and it docks up to the top. Notice how it's not docking up to the top right now. That's 'cause I turned that off. I turned that off, so that that can't happen. That's a personal preference all around. Sometimes I like it, sometimes I don't. I usually just leave, in that workspace, I will leave enable floating window docking checked, so that when I come here, I can actually move this and connect it to the top. For some things, especially when I'm using panels, plug-ins and panels for Photoshop, those panels sometimes get overridden by the document. So the document slides in behind it. Notice how now the document is slid behind the actions panel that we have over there on the right hand side. This is floating windows. This is floating window docking. A couple other things that are in here, too, that are really important as you go through, too, is tools. You can look at the types of tools and what they do, whether they have an animated zoom or a non-animated zoom. That animated zoom, it looks cooler, but it is actually more graphic intense. So if you don't necessarily have the graphics processor to handle an animated zoom, just go ahead and turn that off. There's an area of other things that you can do within here as well. The history log can be saved into the file as metadata or as a text file. Sometimes, you can keep that checked if you're doing some compositing work, but it will make the file size a lot larger. That's why, a lot of times, I just shy away from that. And just understand that when I'm working in the history, which I'll show you the history in a second here, the history doesn't necessarily get saved within that document. That I know that when I open up that document, the history's gonna reset. Which can be good and bad depending on how you work with your images. If you work very destructively, that can be very bad. If you work non-destructively, then you shouldn't have to worry about that. And that's the things that we're gonna be talking about throughout this course. File handling. Different ways to handle how files open and close. One of the things I really wanna talk about here is performance. Notice how here it says, "History States at 50." Well, right here, I have what looks like 29.4 available gigs of ram available in this machine. And I can actually allocate how much ram Photoshop uses over all the other programs in my computer. Now, if you've only got, let's say old school, four gigs of ram. I don't think they even make that anymore, but if you only had four gigs of ram and you jacked up to four gigs of ram, Photoshop is gonna be very intensive and take up all the ram on your machine. So everything else is ultimately gonna slow down. So what you wanna do is you wanna do a happy medium, usually something between 70 and 80 percent. If I'm doing a big composited document and I know that I'm only really using Photoshop, I'm gonna put that up to 80, 85 percent. And I might just do it just for that image that I'm working on while I'm working on that photo. Doesn't happen very often. So I usually keep that somewhere between 75 and 80 percent to boost up the amount of ram that my computer is now gonna be using for Photoshop. The other thing, too, here is use graphics processor. Some things you can only do in Photoshop with your graphics processor up to date. So along with using your graphics processor, make sure that the graphics processor that you have, or the graphics card that you have, has up to date drivers. If your drivers are not up to date, this is going to be, you're not going to be able to use things like the oil paint filter. The oil paint filter, I know for a fact, is one of those ones that if you're graphics card is not up to date on the drivers, it just will not run. It'll even pop up and say that you can't use this. It'll give you some type of a dialogue that you are like, "Wait a second, I should be able to do this." Make sure that, not only having a graphics processor on your computer, but also having that up to date is good to go. Another thing you're gonna see in here is the history states. That's got 50 history states listed there. Well, what that means is that, it'll record 50 things that happened in Photoshop. If I get to a point where those 50 things are beyond, it starts deleting the other history states from the very beginning. So if you go 55 states, the first five history states disappear. I like to turn this up to something like 90, 99. You can turn it up to whatever you want. But just know that it might slow down your machine as you do that. Because it's a calculation thing. All these layers are in place, so Photoshop wants to give you the ability to go back that many times to 99 different things that you might've done within your image. Or even more, for that matter. 99's a good number. If I make more than 99 mistakes in one shot, then there's probably a bigger problem than just my history states. Cash levels and cash tile size. These I usually keep set by default for whatever Photoshop has, but those can help you speed up your version of Photoshop. If we go ahead and press okay. We're good to go there. Another thing I wanna show you though, under edit and under keyboard shortcuts. Alt shift control K or command shift option K on a Mac. If we click that and open that up, this is an awesome place to go if you work within a collaborative group with a lot of people that use the same Photoshop, maybe, I don't know, a graphic design studio, this could be kind of fun April Fool's Day place to play around in. 'Cause you can change all the hotkeys to whatever you want them to be. Hotkeys are the things that I've been doing where I press control alt shift, and control and alt, and control and A, and shift and A. Well, one of the things that does not have a hotkey that you would think probably should have a hotkey is under layer and flatten image. We look next to any of these tools, they all have hotkeys. Well, flatten image, if we had things in here, so let's just put another layer here. Flatten image right here does not have a hotkey for it, so what I can do is I can go over to that edit and go to the preferences. That keyboard shortcuts, and I can find in here layer. So notice how this document area here, this dialogue area here that says, "File, Edit, Image, Layer, Type, Select." Mimics and mirrors exactly what's happening on the top of the menus in Photoshop. So if I go into layer now, you can expect to see flatten image. So if I scroll down to where flatten image would be. It might be pretty far down. Right here. This doesn't have a hotkey associated with it. But I can associate a hotkey with it. And look what Photoshop says down there. "This menu command and the panel menu layers, "flatten image must have the same shortcuts. "Changes will be applied to both commands." Basically, what happens is if something already has a shortcut somewhere else, you can override that, so I'd be careful with that. But you can create and customize your own shortcut for this. The keys that you can use are control and alt. Let's just say control E. If I press control E, notice what Photoshop is saying there right now. It's saying, "Hey, wait a second. "If you do this, merge layers is now "no longer gonna be merge layers. "It's gonna be flatten image." And then merge layers is gonna lose its shortcut. So we need to find something that we can use that is not being selected by anything else. Now, I've already done the work for you on this one, it's control period. Control period is not a hotkey that's been used anywhere else. So I know that at any time during my setup if I press control period, it's gonna layer down my images. Now, as an educator, that can be very difficult for me, though. Let's say I'm doing a tutorial or something like that, and I say, "Just press control period to flatten your layers down." Well, that's not the same across every version of Photoshop, so if I tell someone to press control period to flatten their image, it's not gonna work on somebody else's version of Photoshop. So I'll just go ahead and leave that the way it is. Press okay. And now, if I press control period I've got a flattened image. You saw that those layers just got combined and now that's combined. The shortcuts and the hotkeys are definitely important to know, but there's gonna be a series of hotkeys that you can create for yourself that can speed up your workflow as well. I do not recommend you taking away a hotkey from something that's already used somewhere else. I recommend trying to find a hotkey that works. And you might have to go through the paces to do that by pressing control and shift, and control and alt, and the other hotkeys to make that work.

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.


Adobe Photoshop CC 2018


  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


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!!!!