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Understanding Curves

Lesson 35 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

35. Understanding Curves

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

Understanding Curves

So now let's move on and look at other adjustments that are much more powerful than levels. Levels is very useful, but I think there's something that could be dramatically more useful. And that is, as I work my way down this adjustment menu, I get beyond levels and I find curves. Curves is the ultimate tonal adjustments. You can do things that no other adjustment conduce. And in fact, the other adjustments we use thus far are actually using curves behind the scenes to do the work that they dio. And they're just trying to present you with a simpler screen, a simpler interface to interact with. But if you want full control, you want to use curves. Now. Curves is something that is not easy to learn on your own, but I'll get you toe, understand how it works, and it will take you practice before you are good with it. But the practice, I think, is worth it because you'll get ultimate control over your images. So in curves, let's see how this works Well, if you look at curves, it's a diagonal...

line going across a grid, and at the bottom is a Grady int that has all the brightness levels you could have in your picture. And in fact, most of the time this Grady it will be reversed where black will be on the left. It's only because I have a, um, a grayscale picture that it's reversed. If I take this image and converted Targhee be the vast majority of images we're gonna work on will be RGB in. Therefore, if I go into curves after that, now you see black is on the left. Whereas a moment ago it was reversed. Why is that? Well, when you're working with gray scale, it's thinking about Inc And when you're working in RGB is thinking about light. The two are opposite of each other. Ah, 100% light is the same as 0% Inc and therefore it flips it. It'll make sense in a few moments. So we have that Grady. And at the bottom, then the diagonal line is just telling you how much light would be used to create the shades you see down here. So to create black, this is all the way at the bottom because you would use no light whatsoever to create something this bright. If you go straight up. You'd use this much light compared to the amount you could use, which is all the way to the top. And as you work your way this way, you see the curve above that diagonal line that IHS gets higher and hired. Indicate you'd use mawr and mawr, inm or light. And once you get to white, the curve is all the way at the top because you've maxed it out. You can't get any brighter than white, so you can't go any higher than that, so this would be as high as you could possibly go. The way I think of it is, since it's talking about light, I think about a dimmer switch if you go to your kitchen and you find that one of your, uh lights is on a dimmer, and it's not the kind that's a knob. Instead, it's the kind you push up and down. It's just like curves. If you move that dimmer all the way to the bottom, it turns the lights off in the room is solid black. You can't see a thing and listers windows. Then, as you move the slider up, you add more light into gets brighter. And once you max out, that slider is high as it can go, it's not possible to make the room any brighter without adding some other light source in. In the case of Photoshopped, the brightest we can get is white, so we'll get it all. The way to the top is white, so just think of it as picking one of these shades and then going straight up until you hit the diagonal line, and that tells you how far up the dimmer switch would be. You're not as high as he could possibly go because it's not white. You're not having lights turned off your somewhere in between. All right, then what can I do with this? Well, you can move your mouse on your image. And if you click this little hand icon that's in the lower left, then that means that if I move my mouse over my image, it should think about curbs. And so when I go over my image, you'll see a circle and curbs in. The only thing that circle is doing is it's telling me how much light is in the various areas. I put my mouse on top of. So if you're to go straight down from wherever that circle is appearing and you look at that bar that spans the bottom, it would be sitting directly above the exact shade my mouse is on. So it's just telling me how much light is in each area. Well, this doesn't sound too exciting yet. What if I want to make two of these bars exactly the same brightness level, but I want to leave all the other bars alone. I can do that if I want to take this bar and I want to take this bar, get them to be the exact same brightness level. I could do it very quickly and easily and curves, and then I can take the other bars and get them back, but where they used to be, This is close to that if you know what you're doing, and I haven't described enough yet for you to know what you're doing. But let me turn preview off years before here's after. Do you see those two bars that became identical? It looks like the brightest part of the image is getting a little too Ah, dark. So I have toe adjust that, too. But let's then say instead, I want to do the opposite. I want just those two bars to look more dramatically different from each other than they used to. Well, let's start over here and I want to make this bar brighter. Gotta turn on this little hand, make this bar brighter, make this bar darker. There is a greater difference between the two. I can easily do that. Then I want the other bars to go a little bit back to where they were. Not exactly, but closer. I have control over that kind of stuff, and I have none of that control. When I'm in levels or brightness and contrast, I can't click on my picture and say, Think about this brightness level and do something specific on Lee that brightness level

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!!!

Student Work