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Light Painting Composite

Lesson 87 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

87. Light Painting Composite

Lessons

Class Trailer
1

Introduction To Adobe Photoshop

04:05
2

Bridge vs. Lightroom

06:39
3

Tour of Photoshop Interface

18:21
4

Overview of Bridge Workspace

07:42
5

Overview of Lightroom Workspace

11:21
6

Lightroom Preferences - Saving Documents

08:19
7

How To Use Camera Raw in Adobe Photoshop 2020

05:10
8

Overview of Basic Adjustment Sliders

13:09
9

Developing Raw Images

30:33
10

Editing with the Effects and HLS Tabs

09:12
11

How to Save Images

03:37
12

Using the Transform Tool

04:48
13

Making Selections in Adobe Photoshop 2020

06:03
14

Selection Tools

05:55
15

Combining Selection Tools

07:37
16

Using Automated Selection Tools

17:34
17

Quick Mask Mode

05:07
18

Select Menu Essentials

21:28
19

Using Layers in Adobe Photoshop 2020

13:00
20

Align Active Layers

07:29
21

Creating a New Layer

06:15
22

Creating a Clipping Mask

03:02
23

Using Effects on Layers

11:24
24

Using Adjustment Layers

16:44
25

Using the Shape Tool

04:39
26

Create a Layer Mask Using the Selection Tool

04:39
27

Masking Multiple Images Together

15:15
28

Using Layer Masks to Remove People

10:50
29

Using Layer Masks to Replace Sky

10:04
30

Adding Texture to Images

09:11
31

Layering to Create Realistic Depth

05:35
32

Adjustment Layers in Adobe Photoshop 2020

05:29
33

Optimizing Grayscale with Levels

10:59
34

Adjusting Levels with a Histogram

03:37
35

Understanding Curves

06:18
36

Editing an Image Using Curves

18:41
37

Editing with Shadows/Highlights Adjustment

07:19
38

Dodge and Burn Using Quick Mask Mode

07:14
39

Editing with Blending Modes

08:04
40

Color Theory

05:59
41

Curves for Color

16:52
42

Hue and Saturation Adjustments

08:59
43

Isolating Colors Using Hue/Saturation Adjustment

13:33
44

Match Colors Using Numbers

16:59
45

Adjusting Skin Tones

05:25
46

Retouching Essentials In Adobe Camera Raw

10:52
47

Retouching with the Spot Healing Brush

07:53
48

Retouching with the Clone Stamp

06:51
49

Retouching with the Healing Brush

04:34
50

Retouching Using Multiple Retouching Tools

13:07
51

Extending an Edge with Content Aware

03:42
52

Clone Between Documents

13:19
53

Crop Tool

10:07
54

Frame Tool

02:59
55

Eye Dropper and Color Sampler Tools

08:14
56

Paint Brush Tools

13:33
57

History Brush Tool

06:27
58

Eraser and Gradient Tools

03:06
59

Brush Flow and Opacity Settings

04:17
60

Blur and Shape Tools

11:06
61

Dissolve Mode

09:24
62

Multiply Mode

15:29
63

Screen Mode

14:08
64

Hard Light Mode

14:54
65

Hue, Saturation, and Color Modes

11:31
66

Smart Filters

11:32
67

High Pass Filter

13:40
68

Blur Filter

05:59
69

Filter Gallery

07:42
70

Adaptive Wide Angle Filter

04:43
71

Combing Filters and Features

04:45
72

Select and Mask

20:04
73

Manually Select and Mask

08:08
74

Creating a Clean Background

21:19
75

Changing the Background

13:34
76

Smart Object Overview

08:37
77

Nested Smart Objects

09:55
78

Scale and Warp Smart Objects

09:08
79

Replace Contents

06:55
80

Raw Smart Objects

10:20
81

Multiple Instances of a Smart Object

12:59
82

Creating a Mockup Using Smart Objects

05:42
83

Panoramas

13:15
84

HDR

11:20
85

Focus Stacking

04:02
86

Time-lapse

11:18
87

Light Painting Composite

08:05
88

Remove Moire Patterns

06:11
89

Remove Similar Objects At Once

09:52
90

Remove Objects Across an Entire Image

05:46
91

Replace a Repeating Pattern

06:50
92

Clone from Multiple Areas Using the Clone Source Panel

10:27
93

Remove an Object with a Complex Background

07:49
94

Frequency Separation to Remove Staining and Blemishes

12:27
95

Warping

11:03
96

Liquify

14:02
97

Puppet Warp

12:52
98

Displacement Map

10:36
99

Polar Coordinates

07:19
100

Organize Your Layers

11:02
101

Layer Styles: Bevel and Emboss

02:59
102

Layer Style: Knockout Deep

12:34
103

Blending Options: Blend if

13:18
104

Blending Options: Colorize Black and White Image

06:27
105

Layer Comps

08:30
106

Black-Only Shadows

06:07
107

Create a Content Aware Fill Action

08:46
108

Create a Desaturate Edges Action

07:42
109

Create an Antique Color Action

13:52
110

Create a Contour Map Action

10:20
111

Faux Sunset Action

07:20
112

Photo Credit Action

05:54
113

Create Sharable Actions

07:31
114

Common Troubleshooting Issues Part 1

10:23
115

Common Troubleshooting Issues Part 2

07:57
116

Image Compatibility with Lightroom

03:29
117

Scratch Disk Is Full

06:02
118

Preview Thumbnail

02:10

Lesson Info

Light Painting Composite

now there's a lot of other things that I do with this. Ah, these techniques. Let's take a look at one which would be light painting at night time, usually about 30 minutes after the sun goes down. It's dark enough to do light painting. And if you have a blue sky instead of overcast, I would start taking a photograph, maybe 30 minutes after sunset, and try to just get the sky. That's what I did heroes in Grand Teton. And then I'm gonna leave my camera on a tripod so doesn't move. From what I took this shot, and I'm going to start doing slower are shorter shutter speeds. This one here might have been a minute and 1/2 or something to get that sky to show up. But then I'm gonna start doing maybe 30 seconds to two minute exposures and I'm gonna grab a flashlight and I'm gonna walk into the scene that's here and start lighting objects with my flashlight. I can paint and imagine. It's like a fire hose, and you just need to dampen down a building. Well, you start in the left side, get it wet, ...

and then work your way across except for you during it with light. So here's one of my shots. There's a barn there and I started painting the left side I'm standing. Maybe I don't know about doesn't feed away from this building in I'm painting the light I'm just off to the side and I paint the light across the building during a long exposure. Then I closed my shutter I open it again and I go light another portion in this case the rooftop and I close the shutter. Open it again and shoot another spot and do that again here. I'm right at the camera, I believe, and I'm putting the flashlight near the ground and relating it across the ground. Get the front again edge, maybe get a tree. I walked way over there to get that. I have a little remote that I can hold in my hand so I don't actually have to walk to the camera each time. Well, I'm gonna select all those images with command. A. I'm gonna go to the tools menu in load files into Photoshopped layers. It says it's busy, but I know it's not. Take it just a moment to create a document that contains all those images. I no longer need the timeline. So I'm gonna go to the side menu of the timeline panel and choose clothes, and now I'm gonna combine these layers together. Now, in a separate lesson for the complete guide, we talked about blending modes. I'm gonna use one here. I'm going to select all of these layers and I'm gonna go to the top of my layers panel there. There's a pop up menu and I'm going to change it to a choice called lighten. When I do, all of those layers will combine together, and it's going to make it so the top layer can Onley Brighton what's under it. And if you look at the top layer, most of its solid black and solid black isn't capable of brightening, so that part won't show up. And then the one below it. This is only going to be able to lighten what's underneath it. So these solid black areas wouldn't show up on Lee where there's enough light to be brighter than what's down here. Will it show up? So we get this. There is an alternative mode. If I select all these and it's called Screen Screen is gonna add together the light that was in each one of those layers. It will always produce a brighter result and sometimes could be nice if their end result was looking a little dark. But I'm going to use light mode. But now that doesn't mean you're stuck with this end result. Since we have these on separate layers, I can turn a layer off and back on again, decide if I like it what it contributes to the image. And then I can go to the next layer down and do the same thing in as I find different layers. This one here I wish was warmer. I wish that locum or yellowish, like the front of the barn, well, I can go down here. If I do an adjustment layer, I'd have to clip it to that layers. It only affected it, but if I come here to image adjustments, this would apply to the layer directly. Then, when we talked about adjusting color, I mentioned that each one of these colors has an opposite in the opposite of blue is yellow. So if I bring down blue should get more yellow. There is. But once I do, it looks too green. So I can choose green from here in less than that as well. The opposite of green is magenta. There we go. Good. Okay. And then I can go to the next layer and decide. Do I like it to me? That's too bright. So I click on that layer and I lower the opacity to control How strong is it? And I could do a similar adjustment to make that more yellow if it wanted to go to the next layer down to it off and on to decide. That's too strong. I'm gonna lower its opacity to lessen it. And I wish it wasn't so bright near the edge of the frame out there you could add a layer mask, grab my brush, and with a huge, soft edged brush, I don't want to completely remove it. So I'm gonna lower my a pass ity. I might bring line passing two down to about 20 and I'm just gonna paint down here to try to lessen that. But that's a layer mask with my capacity turned down, and I just continue working the image each one in turn on and off and say, Do I like what that's doing now? It's too much in most of the areas, but I do like what it's doing to the window that's in there. Well, so just at a mask. And if you don't like what it does in most areas, you can invert the mask, which turns it black. It makes it so it's not showing up anywhere. Then I come in here and paint with white to control where it shows up and say, I like that right here where the window is and do the same for the next layer. I don't like their get some spill onto the building itself. So Adam ask. We'll paint with black, get this extra spill off the building here. Maybe I don't like there's a little fence over there. It looks like a car might have driven by. So I add a layer mask, paint with black and say, I don't want that fence. I'd be a little more careful than I'm being, but you get the idea. I see a red line in there. That means a car went by. That's its tail lights, and I'm gonna turn off these layers one at a time to see When does it go away? There it is. So that's the layer. I add a layer mask, too. Paint with black. Get rid of it. So you get the idea that light painting by taking multiple exposures in combining them in photo shop is much more versatile than trying to do it in a single exposure. Then the only other thing I would do here is I'm gonna create a brand new empty layer and there's one little spot right here. A little red light that was on during all the exposures. I'll use a spot healing brush to get rid of it in this little spot above. So there is my light painting. So in Photoshop, you can do a lot more. If you think about photo shop at the time you're behind your camera, and the more you can start making a connection between shooting and Photoshopped, the more you're gonna start developing techniques like these to get more out of your images. And I do all sorts of techniques like these, and I find the more I do, the more I really enjoy the shooting and compositing process. So I hope you've enjoying ah Photoshopped, The Complete Guide

Class Materials

Bonus Materials with Purchase

Lessons 1 - 6 - Handbook 1: Introduction to Adobe Photoshop
Lessons 7 - 12 - Handbook 2: How to Use Camera Raw
Lessons 13 - 18 - Handbook 3: Making Selections
Lessons 19 - 24 - Handbook 4: Using Layers
Lessons 25 - 30 - Handbook 5: Using Layer Masks
Lessons 31 - 38 - Handbook 6: Using Adjustment Layers
Lessons 39 - 44 - Handbook 7: Color Theory
Lessons 45 - 51 - Handbook 8: Retouching Essentials
Lessons 52 - 59 - Handbook 9: Tools Panel
Lessons 60 - 64 - Handbook 10: Layer Blending Modes
Lessons 65 - 70 - Handbook 11: How to Use Filters
Lessons 71 - 74 - Handbook 12: Advanced Masks
Lessons 75 - 81 - Handbook 13: Using Smart Objects
Lessons 82 - 86 - Handbook 14: Photography for Photoshop
Lessons 87 - 93 - Handbook 15: Advanced Photo Retouching
Lessons 94 - 98 - Handbook 16: Warp, Blend, Liquify
Lessons 99 - 105 - Handbook 17: Advanced Layers
Lessons 106 - 112 - Handbook 18: Actions
Lessons 113 - 117 - Handbook 19: Troubleshooting Issues
Practice Images 1: Introduction to Adobe Photoshop
Practice Images 2: How to Use Camera Raw
Practice Images 3: Making Selections
Practice Images 4: Using Layers
Practice Images 5: Using Layer Masks
Practice Images 6: Using Adjustment Layers
Practice Images 7: Color Theory
Practice Images 8: Retouching Essentials
Practice Images 9: Tools Panel
Practice Images 10: Layer Blending Modes
Practice Images 11: How to Use Filters
Practice Images 12: Advanced Masks
Practice Images 13: Using Smart Objects
Practice Images 14: Photography for Photoshop
Practice Images 15: Advanced Photo Retouching
Practice Images 16: Warp, Blend, Liquify
Practice Images 17: Advanced Layers
Practice Images 18: Actions
Practice Images 19: Troubleshooting Issues

Ratings and Reviews

Noel Ice
 

I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!

ford smith
 

Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!

a Creativelive Student
 

Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!

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