6 hours of tuition that aims to teach and inspire you to create great wow factor landscape photographs, as well as turn ordinary scenes into beautiful artistic photographs. _________________________________________________________________________________
So, you are taking lots of photos, but you aren't quite getting the results you want.
You feel your images lack mood and atmosphere....you want them to 'pop' a bit more?
We've all had that problem...We've all been there!
Welcome to my Photoshop for beginners course!
The solution to that problem is to learn how to use the worlds most powerful image processing software, which will allow your natural creativity to shine.
I love the creativity that I get from photography, and the editing and processing of my photographs is as much fun and as creative as actually taking the photos.
There is a real sense of satisfaction when I take, and then edit and process an image that I really like, and that others like too. And that is what I want for you too, after you've taken the course.
If you have always wanted to learn how to easily and quickly process your photographs, then learning Photoshop is the key to achieving that goal.
Photoshop is scary on the outside, but honestly, it's soft and cuddly on the inside! And this course will prove it too (or your money back)!
Photoshop is actually very easy and simple to use, it's intuitive and versatile, and is designed specifically to allow your natural creativity to flow into your images.
This course will show you once and for all, just how easy Photoshop is to use for the Landscape and general outdoors photographer
TELL ME MORE ABOUT THE COURSE...
This course assumes no previous knowledge of Photoshop, and whether you use the latest Photoshop CC, or CS4 or whatever, this course will teach you how to create stunning Landscape photos.
As long as you take photographs outdoors, in your garden, on your way to work, or even just trekking across your favourite mountain range half way around the world, then you will learn all the simple, easy to apply techniques that will turn those images into something truly special.
The course is project based, so we process real world published images from start to finish, learning theory as we go in bitesize and manageable chunks.
You will be learning new stuff only when you need to know, so as not to overburden you with facts and theory.
after you have finished the course, you'll be able to post process your photos in Photoshop to a professional level, creating results that will draw people in and captivate them.
You'll be processing images quickly, re-balancing them, adding localised contrast and brightness, managing colour perfectly, pulling out shadow and highlight detail with ease in a way that gives you full control.
Photoshop gives you a level of creative control that no other software on the planet can give you (and yes, that includes Lightroom!).
WHAT WILL I LEARN ON YOUR COURSE?
Photoshop comes packaged with Adobe Bridge and Adobe Camera Raw, in this course all three are covered
A beginner needs to know some simple background information, so we start off with that background info. Don't worry, it's all in separate sections, so you can skip bits and come back to them later if you wish. This is your course, so I've built in lots of flexibility so you can learn at your own pace.
Adobe Bridge and Adobe Camera Raw
Integral to Photoshop are Adobe Bridge and Adobe Camera Raw, the role that they play in my photography is comprehensively explained in their own separate sections.
A workspace in Photoshop is the interface between you and the software. It's important to set them up in a way that suits your own photographic wotkflow. Everything you need to know is in this course.
Processing images with advanced techniques
The nucleus of the course is where you actually get to post process images. You will be able to download versions of my images so that you can post process them alongside me.
And lots, lots more!
MY GUARANTEE TO YOU
Every single image that you see on any of my Udemy photography courses was taken by me, and processed by me. I do not use stock photographs taken by other people. I don't teach anything that I cannot do myself!
THIS IS YOUR COURSE
This is your course and I really do want you to learn as much as possible!
Learning software like Photoshop has a significant learning curve attatched, so if you have questions about the techniques and procedures in the course, then please use the Q&A section in the course.
You can also upload examples of what you've done, and I'll be happy to take a look and provide feedback
You can also send a direct message via the Udemy system too if you wish.
Only with your feedback can I really tailor this course for you...so don't be shy!
You also have a 30 day 100% cast iron money back guarantee, so this is a risk free adventure into the wonderful world of Photoshop.
So what are you waiting for.....Click the enroll button and start learning now!
A general introduction to Photoshop for landscape and outdoors photographers
A brief iontroduction to what the course is about.
Even though Photoshop has many uses, such as web design and so on, it is surprisingly simple and easy to use for post processing photography.
Don't be scared by the apparant complexity of Photoshop. It's actually very simple to use, and extremely versatile for the photographer.
If you have put off using Photoshop because you thought it was too complicated, then let this video kick start your adventure into Photoshop.
Introduction - What you will be learning - how to use and manage the course
This Photoshop for beginneres course is split into sections that don't have to be completed in order.
Therefore you can tailor this course to your own unique needs, according to your experience level in Photoshop.
At the same time, no previous experience of Photoshop is assumed, so beginners will feels at home here!
Introduction - The four main filetypes - What is a raw file?
If you are a complete beginner, then this course will be a wonderful voyage of discovery....
You may also be confused about all those filetypes that keep springing up...which ones are relevant, and which ones are not.
In my workflow, I use four main filetypes, and in the next couple of introductory videos, we'll go through together descriptions of each, and the pros and cons of each.
The four main filetypes are:
We will also be running through how a camera records an image.
Did you know that a digital cameras sensor only records one third of the image data needed to create a viewable image?
Well, that's what a Raw file is! And all will be explained in this video.
Introduction - What is a JPG - The pros and cons of JPG and Raw files.
In this video:
And why every image leaves my camera as a raw file.
Introduction - PSD files and TIF files
What are PSD files and TIF files?
Why and when I use PSD files and TIF files.
How to download the resources for this course
Here is a video that explains where you will find the resources available for download in this course, and you will also be shown how to download them too
The downloadable resources consist of sample images that will allow you to follow along with the course better, as well as some other example images so that you can see how you can apply the same techniques to post process very different images.
The Start workspace. Opening our photograph
Components of a workspace
The photography workspace: Re-arranging the photography workspace
The photography workspace: Re-arranging the photography workspace
Photoshop CC now allows us to edit our toolbar. However, if you are using CS6 or older then we need to revert back to the default toolbar, so that we are all singing from the same hymm sheet.
The final few settings: Colour settings
A brief explanation of colour spaces, what they are, and how to set them up in Photoshop.
The final few settings: Setting up prefecnces
The preferences section, available from the main menu, is a section that allows you to change a whole range of user settable parameter that allow you to tailor Photoshop very specifically to your personal needs.
In this section I change some of these parameters so that you can see how the preferences section works.
The final few settings: Workspace elements.
In this video I'll run through all the elements of the workspace that I haven't yet talked about.
So I'll show you the content of the collapsed panel that is built into the 'photography' workspace that we'll be using throughout the course.
I'll show you where all the panels are kept, so that you can selecxt and deselect them at your leisure in order to look at what they do.
All panels have a set of icons at the bottom of the panel. I'll explain what these are and how to use them.
Overview of Photoshop
So now we get into the nitty gritty of Photoshop for post processing landscape photographs, but fear not, as I will make the learning curve as gentle and as friendly as possible.
If you watched the 'workspaces' section of the course, you will have seen me load my image into Photoshop, and this introductory video takes it from there, with my image loaded and ready for processing..
And In this video we will cover the following...
Opening a curve adjustment layer
Before we go headlong into processing this image, I'll explain in some detail the properties panel for the curve adjustment layer and the layers panel for the curve adjustment layer.
All of that will be with reference to the image that we will be processing in this part of the course.
Don't worry about forgetting any of this..I just want to show you the processes in an informal and non technical way before getting stuck into the image.
Anatomy of a curve
You will learn...
How to use curves to adjust an image
In this video I'll show you how the curve works, including:
I'll also show you what would happen if moving a control point created straight lines rather than a curve.
As well as...
And lastly.....how to create a classic S-shaped curve in order to alter the contrast of an image.
Taming the curve - on-image adjustment tool
In the previous video, we created an S-shape curve that changed the overall contrast of the image.
In this video we will do something very similar, but we'll plot the control points on the curve line by sampling luminosity values from the actual image itself (don't worry, it's much simpler than it sounds!).
We'll do this by making use of a couple of new tools, called the 'on-image adjustment tool' and the 'eyedropper' tool
Using the above techniques you will learn how to record sampled luminosity values from the image itself onto the curve line in order to change those values using the curves adjustment layer
Now we are getting our hands dirty!
How to use Layer masks and when to use them.
Now we've applied our first curve adjustment layer, and you will see that the top right corner of the image is perfect, but the bottom left corner is too dark, and that's where layer masks come in, as you will see.
We'll use a layer mask to remove the curve adjustment from areas of the image where we don't want it.
To prepare for that we'll look at some other aspects of the Photoshop workspace,
This video is designed to introduce the principles of layer masks as outlined above, and then in the next two videos, we'll do a little bit of theory and learn the techniques of layer masking before applying layer mask changes to our image.
And this is where Photoshop really comes into its own.
Layer masks part 1
I want to give you a demonstration of layer masks and how they work, before going back to processing the image.
So, in this video, we'll cover the following...
Layer masks part 2
In this second demonstration I will show you something similar to the previous video, but I will use a soft edged brush, and you will see how much more effective the soft edges brush is.
Firstly though, you'll learn how to use the CTRL/ALT/Z (CMD/OPT/Z on a Mac) function to remove the actions that I applied to the image in the previous video
And then we'll..
In these two videos, you will have learnt about 90% of everything you ever need to know about layer masks.
So now we can move forward with this new knowledge and start using layer masks effectively in our image, and that's what we'll be doing in the next video!
Applying the layer mask to the image
In this video we will apply the skills from the previous two lectures to mask out the part of the curve adjustment that we dont want affecting the image
We will learn....
Applying the second curve adjustment layer
Now we've created our first curve adjustment layer, and that layer allowed us to adjust just the top right corner. Now though, I want to adjust the bland and very gray area of sky at the top left of the image.
And to do that, we need to....
This is a process that is fundamental to Photoshop, and one that we will use throughout the image. By the end of the course these processes will be second nature, and you will be creating stunning images.
Layer 2 - Invert command, Brush size adjustments
In this video I want to show you a couple of new commands and tricks before we create the mask.
So, I will show you how to...
You will learn in this video a couple more shortcuts and little efficiency's to make your Photoshop life a little easier, which we'll be using throughout the remainder of this section as we post process this image.
Layer 2 - creating the layer mask
In this video I'll paint white on my black layer mask at a low opacity in order to reveal the effect of the curve adjustment layer that sits below the layer mask
Don't forget that as you progress through the lectures/videos, there is a Q&A section alongside the video where you can ask questions. I strongly advise that you ask whatever questions you may have, using that facility as you work your way through the course. That way, I will be better able to advise you personally, in order to aid your learning.
Layer 3 - Applying the curve
The third layer is for adjusting the sky above the headland, as that requires a different set of adjustments. The sky above the headland is cloud free and contains the warmer colours of the low sun, and fades slightly into a cooler blue towards the edge. Therefore this little section will require its own set of adjustments.
So, taking two control points again, and masking out the entire layer using CTRL I (CMD/I on a Mac),
and getting the correct brush size before starting. Now you should be getting the hang of this!
Also in this video:
Layer 3: Applying the mask
In this video I'll reveal the effect of the curve adjustment layer by painting white on the black layer mask.
You should be able to see now just how effective it is to subtly remove the black mask by painting white at a low opacity, and you should be able to appreciate now the level of accuracy that these techniques allow me, even though I myself do not have to be accurate with my brush strokes.
And remember, I am only using a mouse to do all of this work. I don't use any expensive wacom tablets or anything fancy like that. All I need is a bit of knowledge and the application of solid technique.
Introduction to layer 4
Layer 4 concentrayes on creating a curve adjustment layer for changing the brightness and contrast of the sea, so here, I'll try to bring out some of the texture of the surface of the sea. Again, the aim is to maintain tonal balance with the changes that I've made so far.
After this video we'll take a small break from post processing so that I can explain a little more about the on-image adjustment tool, and also I want to give you a quick lesson in navigating and zooming into an image, as we haven't done that yet, and it will come in useful later on.
On-image adjustment tool. Zooming in and navigation
There's a few things that I'd like to show you regarding the on-image adjustment tool, as it will be useful knowledge so that you know exactly what's happening when you make certain changes to your images.
So we'll be looking at the 'sample size' option in the toolbar for the on-image sdjustment tool, and how it creates a single sample value to plot on the curve line
And demonstrating this will also require some navigational skills too, and that will include:
Layer 4 - Applying the curve adjustment
So, here we are again, back to post processing the image!
And so, in this video we will....
It's quite a difficult thing to do at first when getting the hang of curve adjustments, because the whole image will change, so a little imagination is required to imagine the image after you have masked out the bits that are not required. But practice does make perfect.
Layer 4 - Applying the mask
So now we need to remove the effect of the curve from the area of the image around the sea, so that the curve adjustment only affects the sea
You should be getting the hang of this by now, so...
In this video I also take another look at what is happening with the layer mask. And what I want to emphasise is that the white areas of the mask, in other words, the areas that reveal the curve adjustment that sits underneath the layer mask, are rarely pure white, they are always shades of gray. What that means is that some of the curve adjustment is always obscured so that more pixels from the image below show through...it helps to mix things up a bit so that the effect remains subtle.
Anyway, all of this is explained in the video, and these techniques should be starting to sink in now.
You'll also see me using the eye symbol a lot, in order to see the overall effect of my changes.
Layer 5 - the beach area
Now we move onto the beach area, and we need to adjust the conrast here too.
The beach area is more intricate, and in this video you'll see how 'informally' the more intricate areas can be adjusted. No complicated selections are needed.
So again, the usual techniques will be applied,
Layer 6: headland and sea defense system
The headland and sea defense system (groyne), are now looking a little washed out and ignored.
So we'll be darkening them significantly whilst allowing the detail to still be visible in them.
This is where layer masks really come into their own. You cannot apply these techniques with this level of accuracy, and so easily too, in Lightroom. You have to do this in Photoshop.
And so, it's low opacity time again! Painting back in the curve adhustment over the headland and sea defense system, getting precisely the look that I want.
Final adjustments - Darken areas around the sun
All the contrast and brightness changes so far, has highlighted a slight lightening of the sky on the left and right side of the Sun.
These little details are what jar with the viewer if they are not addressed. So this level of attention to detail really helps the look of the final image.
So again, the usual,
Now the image is coming along!
Application of: Contrast/Brightness adjustment layer
So far w'eve been adding curve adjustment layers only, but in the adjustments panel there are icons that allow us to apply many different types of adjustment layers that allow us to affect the image in many different ways
In this video I'll open a brightness/contrast adjustment layer to apply contrast and brightness changes to the whole image,
Contrast/Brightness adjustment layer: Applying the layer mask
Now I'll use the layer mask to subtly adjust the amounts of brightness and contrast that are applied to the various areas of the image.
My technique for this process is to add many adjustment layers as I go, and unmask them by applying a low opacity, feathered brush.
This technique allows a much better blending of all the combined adjustment layers. It also helps preserve the 'quality' of the pixels so that I don't suffer things like colour banding.
Further enhancing the Brightness/Contrast adjustment layer
Now I have added two brightness/contrast adjustment layers, I want to go back to them and adjust the sliders to see if I can get a more pleasing effect out of them
Introduction to Vignettes
The edges around the frame are now a bit too light too my eyes and the viewers eye is not drawn into the image as I would like.
So in this video I will show you why I want to add a vignette to this image
And in the next few videos I'll show you the theory of how vignettes work and how to create them.
Creating a Vignette: Selections Part 1: Using the rectangular marquee tool
Before we can create our vignette, there are a number of tools and techniques to be taught before we can go about achieving the vignette that we want....
Firstly I will show you how to use the rectangular marquee tool
Creating a vignette: Selections part 2:Applying the vignette
Enhancing the vignette
Vignettes applied in this way, can be a little dark and also lacking a little contrast.
In this video I'll use some new Photoshop techniques too adjust the vignette in order to brighten it a little as well as improve contrast, but in nice pleasant subtle ways
You will learn,
Finishing touches: Enhancing cloud detail
From the very start of the image, I noticed a small cloud detail in the sky that I quite liked, and from the start I wanted to enhance this a little, so that we could see it a bit more prominantly.
In this video I'll be using a curve adjustment layer to enhance this very small cloud area.
It's the little things that make a difference.
Finishing touches: Enhancing the vignette further
As the image changes, you will notice things along the way...so right now, I think that parts of the vignette are still too dark.
In this video I will use some techniques we've already learned and should be getting used to, and reduce some of that darkness.
I will also show you the handy tip of viewing the image against different backgrounds in order to see exactly how dark your dark areas are, as well as how bright your bright areas are and whether you have any colour casts that you don't want.
Finishing touches: Darkening the bottom corner
As I've already said, as you post process the image, various issues will pop up as you make changes....those issues will all need addressing.
And now, I have noticed that the bottom right corner has not darkened to the same extent as the other corners, and makes the image a little unbalanced. At least to my eye!
In this video, I will show you how to remedy this.
It's these little subtle things that will make your image much more pleasing to look at in the future, as all those little visual distractions will be removed.
Finishing touches: Reducing saturation in different areas of the image.
When you change contrast and brightness levels in an image, this also has an affect on the colour too. So if you increase the contrast of an image, you will also increase the colour a bit.
The changes that I've been making to this image has increased the overal contrast and has also increased the colour saturation.
The issue here is that I've been changing the contrast in small areas of the image, and at differeing levels.
This has created increases in colour saturation in some areas that is greater than in others, therefore creating an unevenness in colour saturation.
What I will do in this finishing touches video is to use a vibrance adjustment layer to fix this issue, and at the same time explain how the saturation slider works, how the vibrance slider works, and what the difference is between the two, with examples.
Finishing touches: Check the histogram and adjust the levels
What you will have noticed whilst I've been post processing this image, is that I haven't been talking about or referring to the histogram.
At this final stage of image post processing, I want to stretch the histogram out to the edges, which usually improves the image (to my tastes!), and that is what I will be doing in this video
You will be introduced to the levels adjustment layer.
Using the levels adjustment layer in this way can drag some pixels to close to the edge, so I'll show you how to reduce the opacity of an adjustment layer
Finishing touches:Tydying up the sun, masking using the elliptical tool, part 1
Now I want to blend the overblown sun area more softly with the warm orange sky that surrounds it.
In this video I'll show you how to select the elliptical marquee tool, with a brief explanation of what it does. In the next video we'll be using the elliptical marquee too to create an oval shape selection around the sun
Finishing touches: Tydying up the sun. Applying the elliptical marquee tool
In this video I'll use the elliptical marquee tool to create an oval shape selection.
I'll use that oval shape selection as a mask where I can apply some brightening around the sun area in order to blend the darker sky into the brighter blown out sun area
Finishing touches: tydying up the sun. Feathering the elliptical marquee tool and applying the mask around the sun
Now the selection is in place over the Sun, I can feather it's edge
Then I'll paint white in the layer mask that is currently masking out the curve adjustment layer, that will reveal the brightening effect of the curve adjustment layer, but only over the area that is selected by the elliptical marquee selection.
Then its a case of refining the effect to get something that I want.
Finishing touches: darkening the area above the horizon.
Now I've spotted an area above the horizon that need darkening, and this time I'm going to use an existing adjustment layer to fix the problem rather than create a new layer.
Finishing touches: viewing the final image against a black background, and white background
Now everything is how I like it, the image is pretty much finished.
Now it's time to admire our handywork, and view the image against a white background and a black background.
Saving the image file
Firstly I want to save the file and all its layers as a photoshop file.
The file suffix for a Photoshop file is PSD and I build that into my photography workflow.
So whenever I see a PSD file on my hard drive, I know that is's a post processed file complete with all the layers that I created.
That means that I can always go back and see how I post processed the image. Or, I can go back and make some alterations.
As well as saving as a PSD file, I also want to 'flatten' the image into one layer and then save as a TIFF file.
So when I see a TIFF file on my hard drive, I know that it's a post processed image, and I can use it as an unsharpened original that I can use to create web versions of, and print versions of.
This video explains and demonstrates this process.
Creating a web version of the image
Now I have all versions of the image and post processed version of the image safely stored away on my hard drive, I can now produce a version for the web.
And in this video I tackle this task, and the whole process with explanations is contained in the video.
A brief introduction the Adobe Bridge.
In this video, we'll be opening Adobe Bridge and opening our Raw image into Adobe Camera raw.
In this Adobe Camera Raw section I will briefly outline what all the sliders do in the plugin, so that you get a feel for the software, and I'll be giving you little pieces of advice along the way.
However, the purpose of the section as a whole is to show you my own workflow describing how I get a raw photo into Photoshop for post processing.
In reality, when I open a raw file into Photoshop, it takes less than a minute! However, as a beginner you need to know some background information, some sound advice regarding some of those settings, and a brief overview of what those settings are, in order to get the most out of your images. So this section takes a little longer to complete than one minute!
In this particular video, I will cover the 'Basics' panel in Adobe Camera Raw, and will cover the following functions provided in that 'Basics' panel:
Adobe Camera Raw - The 'Basics' panel
Adobe Camera Raw - The 'Basics' panel
In this video, I will describe the principles behind white balance, and also I'll show you exactly what white balance is, how it is used to colour correct images, and how it all works in Adobe Camera Raw.
The 'Tone Curve' Panel and the 'Details' Panel
The 'Tone Curve' Panel
The 'Tone curve' panel in Adobe Camera Raw, is ACR's facility to allow you to change brightness and contrast by using a 'curve'.
As I am using Adobe Camera Raw - in this course - for the purposes of opening a Raw photo into Photoshop, there is no need for me to use this facility in Adobe Camera Raw.
And the 'curves' function is really a specialism of Photoshop, where it can be used and applied in a much more flexible and creative way way. The subject of 'curves', what they are and how to use them is comprehensively covered in the Post Processing section.
Anyway, this video will give you a brief description of what these tone curves are, although I personally don't use this facility in ACR.
The 'Details' panel allows you to adjust sharpening levels and to reduce electronic noise.
In my workflow, I do not adjust sharpening at this stage. In my workflow, sharpening is done at the end of the Post Processing workflow according to the end use of the photograph. This process is covered in the Post Processing section of the course.
I reduce colour noise in Adobe Camera Raw and I will show you that workflow in this video.
I don't reduce luminence noise in Adobe Camera Raw, as luminence noise appears in certain areas of the image according to the processes that get applied to those areas. As we don't know exactly what our levels of processing will be at this stage, I leave luminence noise reduction alone until the end of post processing.
This video will explain all this in full, and I'll show you the slider settings that I use
HSL and Split Toning Panel
HSL stands for Hue, Saturation and luminance
This video provides a brief description of the 8 colour sliders that allow us to change hue saturation and luminence values throughout the image
I however don't use these tabs, this is really for people who use ACR as an image processing package. As I am merely using ACR to prepare an image for Photoshop, I leave these settings at their default values, so that they have no effect.
Split Toning Panel
Split toning - Allows me to add colour to black and white images as well as creating other effects. Again, this is not what I use ACR for but here is a brief description for you information
Lens Corrections Panel
I use the lens correction panel to remove chromatic aberration, which is really effective, and I use it on all of my images, regardless of the image and regardless of the lens.
All lenses produce chromatic aberration and I'll show you how to remove it completely and instantly just by ticking a tick box.
The Lens Correction panel also allows you to let Adobe Camera Raw to correct lens distortion automatically.
In this video I will show you why I rarely use it.
The FX panel
This panel allows me to do three things...
The Camera calibration Panel
This is a really important panel. The Camera Profile setting allow us to set picture control parameters. That's the amount of saturation, contrast, brightness and sharpening and so on that will initially be added to the raw data in order to create a viewable image.
The choices that you are given are taken from the cameras metadata, so Vivid will add lots of colour, and neutral will lower the contrast. I apply a setting that's provided by Adobe, and that is the 'Adobe Standard' setting, as that applies minimal everything. That way I get to choose exactly what I want to do with the image once it's loaded into Photoshop.
Watch this video for a fuller explanation.
The Hue and staturation tabs allow me to change colour parameters, but that is something that I don't want to do in Adobe Camera Raw.
The Preset Panel and the Snapshots Panel
Presets - allow you to save your changes to a file that can be used (via the preset panel) to apply those changes to any image that you subsequently load into ACR.
Snapshots - a list of changes that are specific for your image as processed so far. that list of changes is saved as a file that appears in the snapshots list and is specific to the image that it applies to.
Watch the video for a fuller explanation.
Workflow options allow you to change important parameters that apply to your images.
There are 5 options that need addressing and here they are below...
Colour space - Every image needs to be assigned a colour space. In this video I explain the theory, and show you what buttons to press.
Bit depth - Bit Depth refers to the number of binary digits that represent each pixel value in the image. In this video I again explain the theory in very clear and simple terms, and again, I tell you what buttons to press in order to get best results out of your image.
Image sizing - As I am going to post process in Photoshop, this isn't an option that needs changing at this stage.
Output Sharpening - Sharpening is something that should be done at the very end of post processing an image. Some people say that some initial sharpening should be applied to an image before post processing takes place, but I have never found that to be an advantage. Therefore I don't touch this option when I am preparing an image for Photoshop.
Open as Smart object - Smart objects are not relevant to this course, although they can be very useful in certain circumstances. Again, not something that I will be addressing this early on in the processing of this image.
All of the above is covered in more detail in the video.
Opening your image into photoshop
Adobe Camera Raw presents to us 4 options for us to choose from after we have prepared the Raw file for opening into Photoshop.
In this video we'll go through the four options step by step, but here is a summary...
Save image - will save the file separate from the raw file, and you have the option of many different file types, including jpg,psd and tiff
Open image - open image into photoshop without saving to a separate image file. With this option the image will load into Photoshop, where you will make your changes, and then you will have to save to a separate filetype, such as a Photoshop PSD file, or a jpg file or a Tiff file.
Cancel - shut the image without recording any of the changes that you made
Done - will save all the ACR changes into a separate file to the original raw file. The original raw file will be untouched, but will now be accompanied by a separate file (sidecar file) with all the changes in it, that will be automatically applied every time you open the raw file into Adobe Camera Raw.
Please view the video for a more detailed explanation, and watch me open the file into Photoshop.
Histograms and clipping
In this explainer video, I want to teach you in general terms what the histogram is, and why it's important.
For me th histogram tells me if my image data is being clipped, and that allows me to deal with the problem.
In my post processing workflow, I do not need to use the histogram so much, and therefore you will notice the absence of any reference to it when you watch me processing my images.
That's why I created this video. Hopefully it will fill in a few blanks in your knowledge.
Please write your feedback in the Q&A section of the course if there are any unanswered questions.
The clone tool
In this section I'll show you how I remove dust spots and other unwanted blemishes from the image.
By now you should have completed the 'processing the image' section of the course, and you will now know your way around Photoshop.
It now means that you have the skills and knowledge to learn about the clone tool, healing tool and spot healing tool.
And so it's time to show you how I clean up an image.
In the resources section of this video, you will be able to download an unprocessed version of our photograph so that you can practice on the same image that I am using here.
The healing tool
The functionality of the healing brush tool is very similar to the clone tool.
The healing tool however matches the detail, texture and so on from the sampled area to the area being healed so that the match is seamless.
The spot healing tool
The spot healing tool is the same as the healing tool, except that it chooses its own sample area, and as the sample area is chosen automatically it reduces our workload, so that we can just quickly move around the image dabbing away blemishes.
Using the healing tool and the spot healing tool to remove a larger blemish
Sometimes an awkward blob or blemish may leave some marks or blemishes after removal.
So sometimes, I'll use a combination of tools to remove a blemish whilst leaving no residue
Adding a brightness/contrast adjustment layer to help fix dust spots
What I do in order to assess the image closely for dust spots is to add a brightness/contrast layer with an extreme adjustment, which helps to highlight feint dust spots, and then I can decide if I want to get rid of them or not.
City park winter scene (1 of 4) - Post processing of a winter scene in a city park.
I want to show you how the techniques that you learnt in the 'processing the image' section, can be applied to a very different type of outdoors or landscape image.
This image also has an interesting problem with colour that needs fixing, and that means learning a new technique.
And that's where blending modes come in.
City park winter scene (2 of 4) - Introduction to blending modes
We are going to fix the problem with colour by applying a blending mode
You'll learn what a blending mode is and how Photoshop applies them to each layer.
We will also create and prepare a new layer for the application of a blending mode.
City park winter scene (3 of 4) - A run through of all the blending modes
In this video we'll run through all the different groups of blending modes
As a landscape Photographer I am interested in the Color Blending Mode and the Luminosity blending mode
I will briefly run through and apply the more interesting blending modes just to see what happens to the image....so just sit back and relax!
City park winter scene (4 of 4) - Applying the color blending mode
The blending mode I want to use is the color blending mode.
In this video We'll be applying that color blending mode to the layer that we created in the previous video.
We'll also be tweaking the final post-processing tweaks to give the photograph a final bit of polish.
I am a spontaneous photographer. And I only truly know what I like after I’ve seen it.
You know, it’s that moment that we all have from time to time when we say something like; “…wow…I bet that would make a good photograph..!”. Those are moments that we all have, whether we are a professional photographer or a dog walker on a blustery day with a smartphone…
For me though, When I get my photos home I have to decide whether I want to sell them at art and craft shows, or whether to publish them on social networking sites, or whether to send them to picture libraries for licensing.
I got into photography as a backpacker and cycletourist. So I started learning without the aid of the internet or photography magazines. I found that I really enjoyed the process of taking photos, and when I got home I found that my photos were liked by everyone I showed them to, too!
My photographic style developed naturally and I learnt how to photograph spontaneously in new places (as a backpacker) as well as to plan ahead for that killer landscape or long-exposure beach scene.
My images are regularly licenced around the world for use in advertising and also for editorial use in newspapers and magazines. They are also sold as high quality limited edition prints, open edition prints and greetings cards and have been sold many thousands of times in this format. I am constantly updating my collection of images.
My images have been used by hundreds of businesses, including the BBC, advertising agencies both large and small such as Saatchi and Saatchi. As well as National Geographic Online, National Geographic Traveler magazine, all the major travel guide books, The Guardian newspaper, The Times, Observer, Daily Telegraph, Daily Mail, Washington Post…to name but a few.