Lessons
Bootcamp Introduction
16:22 2The Bridge Interface
13:33 3Setting up Bridge
06:55 4Overview of Bridge
11:29 5Practical Application of Bridge
27:56 6Introduction to Raw Editing
11:00 7Setting up ACR Preferences & Interface
07:39 8Global Tools Part 1
16:44Global Tools Part 2
20:01 10Local Tools
22:56 11Introduction to the Photoshop Interface
07:13 12Toolbars, Menus and Windows
25:07 13Setup and Interface
11:48 14Adobe Libraries
05:57 15Saving Files
07:39 16Introduction to Cropping
12:10 17Cropping for Composition in ACR
04:44 18Cropping for Composition in Photoshop
12:40 19Cropping for the Subject in Post
03:25 20Cropping for Print
07:34 21Perspective Cropping in Photoshop
07:11 22Introduction to Layers
08:42 23Vector & Raster Layers Basics
05:05 24Adjustment Layers in Photoshop
27:35 25Organizing and Managing Layers
15:35 26Introduction to Layer Tools and Blend Modes
21:34 27Screen and Multiply and Overlay
09:15 28Soft Light Blend Mode
07:34 29Color and Luminosity Blend Modes
12:47 30Color Burn and Color Dodge Blend Modes
07:43 31Introduction to Layer Styles
11:43 32Practical Application: Layer Tools
13:06 33Introduction to Masks and Brushes
04:43 34Brush Basics
09:22 35Custom Brushes
04:01 36Brush Mask: Vignettes
06:58 37Brush Mask: Curves Dodge & Burn
06:53 38Brush Mask: Hue & Saturation
07:52 39Mask Groups
05:52 40Clipping Masks
04:11 41Masking in Adobe Camera Raw
07:06 42Practical Applications: Masks
14:03 43Introduction to Selections
05:42 44Basic Selection Tools
17:41 45The Pen Tool
11:56 46Masks from Selections
04:22 47Selecting Subjects and Masking
07:11 48Color Range Mask
17:35 49Luminosity Masks Basics
12:00 50Introduction to Cleanup Tools
07:02 51Adobe Camera Raw
10:16 52Healing and Spot Healing Brush
14:56 53The Clone Stamp Tool
10:20 54The Patch Tool
06:38 55Content Aware Move Tool
04:56 56Content Aware Fill
06:46 57Custom Cleanup Selections
15:42 58Introduction to Shapes and Text
13:46 59Text Basics
15:57 60Shape Basics
07:00 61Adding Text to Pictures
09:46 62Custom Water Marks
14:05 63Introduction to Smart Objects
04:37 64Smart Object Basics
09:13 65Smart Objects and Filters
09:05 66Smart Objects and Image Transformation
10:57 67Smart Objects and Album Layouts
11:40 68Smart Objects and Composites
10:47 69Introduction to Image Transforming
04:34 70ACR and Lens Correction
09:45 71Photoshop and Lens Correction
14:26 72The Warp Tool
11:16 73Perspective Transformations
20:33 74Introduction to Actions in Photoshop
09:27 75Introduction to the Actions Panel Interface
05:06 76Making Your First Action
03:49 77Modifying Actions After You Record Them
11:38 78Adding Stops to Actions
04:01 79Conditional Actions
07:36 80Actions that Communicate
25:26 81Introduction to Filters
04:38 82ACR as a Filter
09:20 83Helpful Artistic Filters
17:08 84Helpful Practical Filters
07:08 85Sharpening with Filters
07:32 86Rendering Trees
08:20 87The Oil Paint and Add Noise Filters
15:08 88Introduction to Editing Video
06:20 89Timeline for Video
08:15 90Cropping Video
03:34 91Adjustment Layers and Video
05:25 92Building Lookup Tables
07:00 93Layers, Masking Video & Working with Type
15:11 94ACR to Edit Video
06:10 95Animated Gifs
11:39 96Introduction to Creative Effects
06:08 97Black, White, and Monochrome
18:05 98Matte and Cinematic Effects
08:23 99Gradient Maps and Solid Color Grades
12:20 100Gradients
04:21 101Glow and Haze
10:23 102Introduction to Natural Retouching
05:33 103Brightening Teeth
10:25 104Clean Up with the Clone Stamp Tool
08:07 105Cleaning and Brightening Eyes
16:58 106Advanced Clean Up Techniques
24:47 107Introduction to Portrait Workflow & Bridge Organization
14:47 108ACR for Portraits Pre-Edits
21:27 109Portrait Workflow Techniques
18:46 110Introduction to Landscape Workflow & Bridge Organization
12:17 111Landscape Workflow Techniques
37:36 112Introduction to Compositing & Bridge
06:59 113Composite Workflow Techniques
34:01 114Landscape Composite Projects
24:14 115Bonus: Rothko and Workspace
05:15 116Bonus: Adding Textures to Photos
07:05 117Bonus: The Mask (Extras)
05:18 118Bonus: The Color Range Mask in ACR
04:54Lesson Info
Vector & Raster Layers Basics
And we're gonna go ahead and move on to rasterized versus pixel-based layers. Now, at this point we've looked at a lot of things that are pixel-based. Everything we saw in those composites were pixel-based layers and not necessarily things that were raster-based. These names will show up a lot in the future, so when we talk about smart objects and we talk about text, we'll talk a lot about vector-based images when we're doing smart objects, text, and shapes. But it's important to understand this at the layer understanding level now to understand the difference between a vector-based layer and a rasterized layer. So if I press V for my move tool, and I click on this vector-based layer here. I'll press Control click, now with the move tool, you see this thing here that says Auto Select? I like to have that turned off. I like to be able to select my own layers, and to do that I press the Command or Control key. If you have this auto select here when you click on a layer, it's going to ass...
ume that the layer that you're clicking on, if that layer has a lot of content in it, that's above it but's also transparent, if it's set to auto select, it may not select the layer that you want it to select. So I make sure that that auto select is turned off so that I make the decision on what is selected, and by doing that, I press the Control or Command key, and notice, it switched from the background, Control click, it now clicks on the vector shape. So now if I Command or Control click on this vector shape, I now have that shape selected without having to go into my layers palette. So if I press Command or Control T, this will allow me to transform this. And we're gonna talk about transforming in the future here, but if I press and hold Shift and Alt, and move that up as I do that, that is a vector-based image. Notice how it started out very small, very small, but as I moved it up, we got to see all the stuff that's happening within that vector-based shape. If I Command or Control click on this rastered layer here, press Control T, Shift and Alt and move this up, those shapes were the exact same thing. So what I did when I built this diagram was I built this diagram from a vector shape, copied that vector shape on both sides, and then rasterized the one layer. And what you see from this is that the vector shape maintained the stroke path, whereas because that rasterized layer was so small, when we blew it up, we were basically interpolating all the pixels, just like you would if you were blowing up the image size of a canvas. The difference between a vector shape and a rasterized shape is a rasterized shape is made up of individual pixels. So when you increase the size of those individual pixels, you're telling Photoshop to insert information where information doesn't exist, so you get all that blurriness that's happening with the photos. But notice over on the vector-based shape, the vector-based shape was actually a shape made of a stroke path and not a full fill of red color. So what happens there is as we blow that up, it's doing all the calculations of the line work and all the calculations of the shape, so that no matter what size that vector is, when you make it small or large, it's gonna be the exact same thing. So this, I say typically the vector and raster thing comes in when you're talking about shapes and text versus pixel-based image editing that you would do from a photo that you get from your camera. Our cameras do not shoot vector-based images. Wouldn't that be beautiful if our cameras just shot vectors, because then any picture we took could be the size of a thumbnail or the size of a billboard, with absolutely no problems. I don't know when or if that technology will ever exist, but we right now are shooting in pixel-based form. That's why if you take a five-megapixel image and try to blow it up to a 24 by 36 canvas, it's not gonna look right. It's gonna be blurry because the pixels are interpolating or information is being added there. Making things smaller on a raster image is typically no problem, so if we started with this vector larger and made it smaller, it wouldn't have a problem getting much smaller but getting bigger is the problem. Whereas vectors, they are line and shape calculations that happen as they grow and expand and contract. Where we can see that is if we were to just go into a regular pixel-based image. This is a pixel-based image. Anything that we pull in from our camera is a pixel-based image, so this is just a background layer that we would get from say, we go in from Adobe CameraRoll and we come into Photoshop defaults to a background layer. This is a pixel-based layer. So if you're trying to wrap your head around this whole pixel and vector-based thing, just think of a pixel-based layer as any layer that comes in from Adobe CameraRoll that you're pulling into Photoshop as that background layer. You will know when you're in the vector world, you will. Because it'll typically be a shape or it'll be a text layer.
Class Materials
Bonus Materials with Purchase
Ratings and 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!!!!