Learn Photoshop from scratch: From beginner to expert...
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Learn Photoshop from scratch: From beginner to expert...

The complete landscape photographers guide to creating beautiful photographs using Photoshop
4.8 (13 ratings)
Instead of using a simple lifetime average, Udemy calculates a course's star rating by considering a number of different factors such as the number of ratings, the age of ratings, and the likelihood of fraudulent ratings.
653 students enrolled
Created by Tony Eveling
Last updated 6/2017
Current price: $10 Original price: $150 Discount: 93% off
5 hours left at this price!
30-Day Money-Back Guarantee
  • 6.5 hours on-demand video
  • 1 Article
  • 6 Supplemental Resources
  • Full lifetime access
  • Access on mobile and TV
  • Certificate of Completion
What Will I Learn?
  • You will learn - from scratch - how to post process photographs in Photoshop by using Curves, Adjustment layers, Layer masks and many other components that make Photoshop so versatile and unique.
  • You'll learn how simple and intuitive it is to apply what are considered to be advanced processes, that will make your images stand out from the crowd.
  • You will learn how to open a Raw photo into Photoshop using Adobe Camera Raw, and exactly what settings to use.
  • You will learn how to manipulate the Photoshop workspaces so that Photoshop works for you and your post processing workflow.
  • You'll learn about file types, and when, where and why you should or shouldn't be using them.
  • You'll learn how a cameras sensor captures images so that you can better understand the whole picture making process.
View Curriculum
  • Students will need to have access to a Mac/PC and Photoshop. I personally recommend students subscribe to Adobe's Photography Plan, but older versions of Photoshop, all the way back to CS2 should be okay for the course.
  • The course is designed for students who are already shooting in RAW format, or they want to start shooting in RAW format.

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


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!).   


Photoshop comes packaged with Adobe Bridge and Adobe Camera Raw, in this course all three are covered 

Preliminary knowledge

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.

  • The filetypes that you need to know about.
  • Your digital camera only records one third of a viewable image, why you need to know this.
  • Why raw is 'better' than JPG.

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.

  • Navigating Adobe Bridge. Opening raw files from Bridge into Adobe Camera Raw
  • Preparing a raw file in Adobe Camera Raw for Photoshop


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.

  • What is a workspace
  • How to manipulate the components of a  workspace 
  • How to create a workspace to suit your photographic needs.

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.

  • curves (believe me, curves just got easy!)
  • layers
  • adjusment layers
  • layer masks
  • selections
  • vignettes
  • blending modes
  • Removal of dust spots and blemishes
  • healing tool
  • spot healing tool
  • clone tool

And lots, lots more!


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 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! 

Who is the target audience?
  • This course is aimed at students who are new to Photoshop, or are struggling with Photoshop, and are not getting the results from Photoshop that they want.
  • This course is also suitable for people who have never used Photoshop before, but want to learn advanced techniques quickly, and apply them effectively to landscape photographs.
  • The course has been created for those photographers who are want to create landscape photographs that have impact and wow factor.
Compare to Other Photoshop Courses
Curriculum For This Course
76 Lectures
6 Lectures 31:53

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.

Preview 03:18

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!

Preview 09:19

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:

  • Raw
  • PSD
  • TIF
  • JPG

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.

Filetypes you need to know and what is a raw file?

Introduction - What is a JPG - The pros and cons of JPG and Raw files.

In this video:

  • What is a JPG 
  • What is the difference between a Raw file and a JPG file
  • The advantages of a JPG file
  • The disadvantages of a JPG file

And why every image leaves my camera as a raw file. 

What is a JPG? The pros and cons of JPG and Raw files

Introduction - PSD files and TIF files

What are PSD files and TIF files?

Why and when I use PSD files and TIF files.

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.

How to download the resources for this course
Setting up the workspace
7 Lectures 42:14

The Start workspace.  Opening our photograph

  • Introduction to the Adobe workspace
  • What the components of the workspace do
  • The start workspace
  • The components of the Start workspace
  • How to open a photograph into Photoshop
Setting up Photoshop: The START Workspace

Components of a workspace

  • The default Workspace that loads when you open a photograph
  • An explanation of the components of the default (essential) workspace in more detail
  • The relationship between the toolbar, and options bar
  • The main menu
  • Panels, what are they and what do they do
  • How to manipulate panels
Components of the Workspace

The photography workspace: Re-arranging the photography workspace

  • How to change the workspace to one that is more suitable for photography
  • An explanation of the panels in the 'photography' workspace
  • How to remove a panel that's not required (in this case, the libraries panel)
  • How to move and re-dock panels to improve the layout of the 'photography' workspace so that you can tailor the layout for your specific and personal preferences.
The Photography Workspace : Re-arranging the Photography Workspace

The photography workspace: Re-arranging the photography workspace

  • Tweaking the 'photography' workspace
  • Editing the toolbar
  • Changing the canvas (background) colour

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 Photography Workspace: Re-arranging the Photography Workspace, Part 2

The final few settings: Colour settings

A brief explanation of colour spaces, what they are, and how to set them up in Photoshop.

Color Settings

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.

Setting up Preferences

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.

The final few settings, Workspace elements
Post-processing the photograph
40 Lectures 03:13:28

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...

  • Detailed explanation of the Components of the workspace
  • A description of how to go about deciding what changes need to be made where in the image
  • A brief non technical explanation of using curves to apply changes to specific parts of the image
  • Breaking down the image into sections that need differing amounts of processing being applied to it.
  • A brief introduction the adjustment layers, and how an image is constructed by applying adjustment layers 
Preview 04:34

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.  

  • I'll also Show you the 5 major components of an 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.

Opening a curve adjustment layer

Anatomy of a curve

You will learn...

  • All the relevant components of the curve adjustment layer and the curve dialog box
  • What the curve line is and what it represents, and why it starts off as a diagonal line and not a curve line
Anatomy of a curve

How to use curves to adjust an image

In this video I'll show you how the curve works, including:

  • How to add a control point, and what the control point represents
  • How to adjust the control point in order to change brightness
  • How the curve is created and what the curve actually means.

I'll also show you what would happen if moving a control point created straight lines rather than a curve.

As well as...

  • What the black point is and what the white point is
  • Deleting control points

And lastly.....how to create a classic S-shaped curve in order to alter the contrast of an image.

How to use curves to adjust 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!

Taming the curve - Using the On-image adjustment tool

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,

  • I'll show you how the eye symbol works and how useful it is when getting an idea of how effective an adjustment layer is
  • I'll also broadly show you how layer masks work.

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.

How to use layer masks, and when to use them

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...

  • Some theory about layer masks 
  • Painting black in a layer mask
  • Painting white in a layer mask
  • Using the paint brush tool to paint black and white
  • Setting the foreground and background colours and what the foreground colour and Background colours are, and what they are used for.
  • how to use the brush tool.
  • Brush tool options
  • what is feathering and how to apply it to a brush edge
  • adjusting the size of a brush
  • What is the opacity setting, and how to set the opacity for the brush
  • Using black to obscure the effect of the curve adjustment below the layer mask
  • Using white to reveal the effect of the curve adjustment below the layer mask
  • How to use the opacity setting to paint shades of gray on a layer mask for more subtle effects
Layer masks part 1

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..

  • use a soft feathered brush edge to mask out the curve adjustment layer
  • Using the slider to adjust Opacity
  • paint black into a white layer mask to obscure that part of the effect of the curve adjustment layer
  • paint white to un mask the mask to reveal the effect of the curve adjustment
  • How to use a soft edge brush and a low opacity to subtly reveal or obscure the effect of the curve adjustment layer

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!

Layer masks part 2

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....

  • How to use the paint bucket tool to mask out the entire curve adjustment layer.
  • How to use a soft edge brush to paint white in the layer mask in order to reveal the effect of the curve adjustment layer
  • How use X as a shortcut to swap the foreground and background colours (let's start using those keyboard shortcuts!)
  • How to use brush settings at very low opacity to create a soft blending effect around the areas that I want to blend.
Applying the layer mask to the image

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....

  • Creating a new curve adjustment layer to adjust a different cloud area
  • Take luminosity samples from the image using the on-image adjustments tool from the adjustment curve layers properties dialog box.
  • Sample two control points from dark and light points in the section of the image where I want to change the contrast.
  • manipulate the control points in the curve to change the brightness and contrast

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.

Applying the second curve adjustment layer

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...

  • Use CTRL/I (CMD/I on a Mac) to invert the layer mask from white to black 
  • Use the keyboard shortcut....ALT+right mouse click  (OPT + right mouse click on a Mac). This is a visual way to adjust brush size and brush hardness.

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: The invert command, and brush size adjustments

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

  • You will learn another keyboard shortcut: Left and right square bracket keys can be used to quickly change the brush size, left square bracket key to make the brush smaller, and right square bracket key to make the brush size bigger.

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 2: Creating the layer mask

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:

  • A review of the layer masks that I've created so far, and a look at the subtle nature of creating layer masks in this way
Layer 3: Applying the curve

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.

Layer 3: Applying the mask

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.

Introduction to layer 4

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:

  • Zooming into the image
  • The importance of zooming in at 100 % and what it actaually means.
  • How to move the zoomed in image area around, the hand tool.
On-image adjustment tool, Zooming and navigation

Layer 4 - Applying the curve adjustment 

So, here we are again, back to post processing the image!

And so, in this video we will....

  • apply the curve adjustment layer 
  • Plot two control points using the on-image adjustment tool
  • tweak the control points on the curve in order to improve the contrast and brightness of the sea, even though the whole image will change

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 curve adjustment

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...

  • Invert the active layer mask, you should know how to do this 
  • check the correct foreground colour is set, and 
  • check the Opacity of the brush tool...

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 4: Applying the mask

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,

  • Two control points on my curve, one light, one dark
  • adjust the curve accordingly
  • apply the mask by turning the mask black - in this case, invert the mask using CTRL-I
  • Brush back in the effect of the curve over the beach area using a soft edged brush at low opacity.
Layer 5: The beach area

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.

Layer 6: The headland and sea defense system

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,

  • Open a curve adjustment layer, 
  • No control points this time
  • Click and drag the curve line down to darken the whole image
  • Invert the layer mask to black to remove the effect of the curve adjustment.
  • Then paint white over the lighter areas in order to reveal the darkening effect of the curve adjustment underneath the adjuatment layer

Now the image is coming along!

Final adjustments: Darken the areas around the Sun

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,

The Contrast/Brightness Adjustment layer

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.

Contrast/Brightness adjustment layer: Applying the layer mask

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

Further enhancing the contrast/brightness adjustment layer

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.

Introduction to vignettes

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 using the rectangular marquee tool

Creating a vignette: Selections part 2:Applying the vignette

  • How to apply a soft edged selection, which will be needed in order to create a vignette
  • Apply the vignette
  • Adjust the vignette to remove areas around the edge that have become too dark. I will use the mask to achieve this.
Creating the 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,

  • How to turn a mask into a selection
  • How to apply an existing selection to the layer mask of a newly selected adjustment layer.
Enhancing the vignette

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 cloud detail

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: Enhancing the vignette further

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: Darkening the bottom corner

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: Reducing saturation in different part sof the image

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: Check the histogram and adjust the levels

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: Tidying up 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: Tidying up the Sun, applying the elliptical marquee tool

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: Tidying up the Sun, feathering the elliptical marquee tool

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: Darkening the area above the horizon

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.

Finishing touches: Viewing the final image against a black, and white 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.

Saving the image

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.

Creating a web version of the image
Adobe Camera Raw
12 Lectures 47:51

Adobe Bridge

A brief introduction the Adobe Bridge.

In this video, we'll be opening Adobe Bridge and opening our Raw image into Adobe Camera raw.

Introduction to Adobe Bridge

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: 

  • Exposure slider
  • Contrast slider
  • Highlights slider
  • Shadow slider
  • Whites slider
  • Blacks slider
Adobe Camera Raw: The basics panel, part 1

Adobe Camera Raw - The 'Basics' panel

  • Clarity Slider
  • Vibrance slider
  • Saturation slider
The Basics panel, part 2

Adobe Camera Raw - The 'Basics' panel

  • White balance 

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 Basics panel, part 3

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.

Details tab

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

The Tone Curve Panel

HSL and Split Toning Panel

HSL stands for  Hue, Saturation and luminance

HSL panel

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

HSL and Split Toning Panel

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.

Lens Corrections Panel

The FX panel

This panel allows me to do three things...

  • Dehaze slider - This slider will increase contrast in areas that Adobe Camera Raw thinks is obscured by mist.  Can be useful in situations where you have some light mist, and quickly want to get rid of it.
  • Grain - These sliders allow you to add a visual grain effect similar to what you might get with traditional film.  It's an effect that I have never felt the need to use.
  • Post Crop Vignetting - A useful tool if you are using Adobe Camera Raw to post process your images.  However this is a Photoshop course, and I teach you how to apply vignettes in Photoshop, where the effect is much more subtle, flexible and tailored to your own feeling for an image.
The FX panel

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 Camera Calibration Panel

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.

The Preset and Snapshots panel

Workflow Options

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.

Workflow options

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.

Opening your image into Photoshop
Reference Section
1 Lecture 12:34

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.

histograms and clipping
Removing dust spots and other blemishes
5 Lectures 22:16

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 Clone Tool

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 Healing Tool

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.

The Spot Healing Tool

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

Using the Healing Tool, and Spot Healing Tool to remove a larger blemish

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.

A little secret to help see and identify dust spots and other blemishes
Examples section
5 Lectures 26:33

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.

Zagreb park 1 of 4: Post processing a winter scene in a city park

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.

Zagreb park 2 of 4: Introduction to blending modes

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

  • The darkening blending modes
  • The lightening blending modes
  • The contrast blending modes
  • The Inversion blending modes
  • The colour and luminosity 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!

Zagreb park 3 of 4: A run through of all the blending modes

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.

Zagreb park 4 of 4: Applying the color blending mode, and finish the image.

More example PSD files
About the Instructor
Tony Eveling
4.7 Average rating
127 Reviews
2,199 Students
2 Courses

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.