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Michael Brown

Michael Brown

Layer Composites, Part 1

Slide Duration:

Table of Contents

I. Introduction
Introduction To Photoshop

14m 46s

Intro
0:00
Lesson Overview
0:09
Learning Photoshop
0:51
Key To Learning Photoshop
0:52
Four Categories of Photoshop
1:39
Selections
1:40
Corrections
2:23
Retouching
2:40
Manipulation
3:15
Bridge, Camera RAW, and Photoshop Overview
3:46
Bridge
3:47
Camera RAW
4:26
Photoshop
5:03
Example: Editing an Image
5:30
Working In Bridge
5:36
Working In Camera RAW
7:19
Working In Photoshop
9:15
Shadows & Highlights Adjustment
10:02
Cropping & Canvas Size Adjustment
10:49
Noise Adjustment
12:24
Lesson Summary
14:02
The Importance of Quality

17m 46s

Intro
0:00
Lesson Overview
0:07
The Mantra of Quality
2:07
The Mantra of Quality
2:08
Setting Up Your Camera
3:50
Setting Up Your Camera For JPEG & RAW
3:51
Camera Image Quality and Image Size Screenshots
5:55
Some Tips on Taking Quality Photos
8:28
Fill The Frame & Compose your Shot Tightly In The Monitor
8:53
Example 1: Taking Quality Photos
9:20
Example 2: Taking Quality Photos
10:28
Example 3: Taking Quality Photos
10:53
Check Your Focus
11:46
Be Careful of Camera Shake
13:06
Make Sure That You Get The Best Exposure
14:24
Shoot Multiple Angles and Focal Lengths
15:14
Shoot Several Shots of a Scene If You Can
17:10
Light & Color

15m 27s

Intro
0:00
Lesson Overview
0:06
A Simple Lesson in Light & Color
1:07
What is Light?
1:08
Brightness
1:19
Color
2:26
Transmitted Light vs. Reflected Light
3:01
Transmitted Light is Additive
4:34
Reflected Light is Subtractive
6:23
Why Is This Important In Photoshop?
7:16
Color Spaces
7:48
Visible Spectrum of Color
8:12
ProPhoto RGB
8:42
Adobe RGB
9:58
sRGB
10:40
CMYK
11:34
Set Camera to Adobe RGB and Photoshop Default to Adobe RGB
13:10
RGB vs. CMYK
14:11
White Balance and Monitor Calibration

17m 34s

Intro
0:00
Lesson Overview
0:06
White Balance
0:55
What is White Balance?
0:56
White Balance Preset In Your Camera
1:53
Example: White Balance
3:09
Daylight
4:06
Tungsten
4:36
Shade
5:33
How Does White Balance Apply in Photoshop?
6:56
Camera RAW & Temperature Slider
6:57
Monitor Calibration
8:39
Monitor Calibration
8:40
Calibrating Your Monitor Overview
9:32
A Basic Color Monitor Calibration Method
10:51
A Basic Method for Calibrating to a Printer
13:25
Lesson Summary
17:03
II. Workspace
The Workspace

20m 17s

Intro
0:00
The Work Space
0:15
Application Frame
0:16
The New Interface
2:22
The Tool Bar
4:28
The Options Bar
7:31
The Menu Bar
8:38
The Panels
9:16
Mini Bridge and Video Timeline
11:20
The Document Window
12:39
Arranging Documents
16:15
Customizing Your Workspace
17:33
Lesson Summary
19:27
The Tool Bar & Essential Shortcuts

14m 16s

Intro
0:00
Lesson Overview
0:06
Essential Key Commands in Photoshop
0:43
Photoshop Tools - Defined
1:40
Photoshop CS6 Tools & Tool Shortcut Key
2:14
Photoshop CS6 Tools & Tool Shortcut Key: Overview
2:15
Move Tool
2:51
Hand Tool
3:04
Marquee Tool
3:26
Lasso Tool
3:42
Quick Selection Tool & Magic Wand Tool
4:11
Crop Tool
4:41
Perspective Crop Tool & Slice Tool
7:32
Color Sampler & Eyedropper Tool
8:09
Healing Brush Tool
9:14
Brush/Pencil Tool
9:28
Clone/Pattern Stamp Tool
9:37
History Brush Tool
9:52
Eraser Tool
10:07
Gradient
10:16
Blur/Sharpen/Smudge Tool
10:23
Dodge/Burn/ Sponge Tool
10:31
Pen Tool
10:43
Text Tool
10:50
Path Selection Tool
11:03
Shape Tool
11:09
Hand & Rotate View Tool
11:37
Zoom Tool
11:57
Quick Mask
13:01
Screen Mode
13:17
The Menu Bar

17m

Intro
0:00
Lesson Overview
0:07
File
0:34
New
0:50
Open
1:05
Browse in Bridge and Mini Bridge
1:14
Open as Smart Objects
1:33
Open Recent
1:56
Close, Close All, Close and Go to Bridge…
2:55
Save, Save As, and Save for Web
3:22
Place, Import, Export
4:00
Automate
4:09
Scripts
5:21
Edit
6:18
Undo, Step Forward, and Step Backward
6:19
Cut, Copy, Paste, and Paste Special
6:47
Fill and Stroke
7:10
Content-Award Scale & Puppet Warp
7:17
Free Transform and Transform
7:29
Color Settings & Keyboard Shortcuts
7:50
Image
8:27
Mode
8:30
Adjustments
9:07
Layer
10:08
Layer
10:09
Type
10:31
Type
10:32
Filter
11:24
Filter
11:25
View
12:04
Proof Setup & Colors
12:11
Rulers
12:46
Show Grid & Guides
13:04
Show Pixel Grid
13:58
Window
14:57
Window
14:58
Help
15:27
Help
15:28
Setting Preferences

18m 36s

Intro
0:00
Setting Preferences: General
0:21
Color Picker, HUD Color Picker, and Image Interpolation
0:22
Auto-Update Open Documents, Beep When Done, and Dynamic Color Sliders
1:54
Export Clipboard
2:27
Use Shift Key for Tool Switch
2:40
Resize Image During Place
3:15
Animated Zoom
3:51
Zoom Resizes Windows
4:30
Zoom with Scroll Wheel & Zoom Clicked Point to Center
5:01
Flick Panning
5:33
Vary Round Brush Hardness Based on HUD Vertical Movement
5:49
Place or Drag Raster Images as Smart Objects
6:06
Setting Preferences: Interface
6:33
Appearance
6:44
Options
7:08
Setting Preferences: File Handling
7:44
File Saving Options
7:45
File Compatibility
9:40
Camera Raw Preferences
10:34
Setting Preferences: Performance
12:35
Memory Usage
12:36
History & Cache
13:36
Graphics Processor Settings
14:05
Setting Preferences: Cursors
14:36
Painting Cursors
14:37
Other Cursors & Brush Preview
15:29
Setting Preferences: Transparency & Gamut
15:41
Transparency Settings
15:42
Gamut Warning
15:54
Setting Preferences: Units & Rulers
16:36
Units & Rulers
16:37
Setting Preferences: Guides, Grid & Slices
16:50
Guides, Grid and Slices
16:51
Setting Preferences: Plug-in & Type
17:52
Plug-in & Type
17:53
III. Adobe Bridge
Adobe Bridge Overview

18m 13s

Intro
0:00
Lesson Overview
0:06
The Basic Interface
0:53
Starting Adobe Bridge
0:54
General Tab
1:52
The Panels
3:50
The Panels
3:51
The Tools Bar
6:35
Navigation Tool
6:43
Favorites
7:20
Recent Files
7:33
Boomerang
7:48
Get Photos from Camera & Refines
8:17
Open in Camera Raw & Output
9:28
Thumbnail Qualities
9:56
Sorting Files
10:50
Workspace Layout
11:09
Filmstrip
11:32
Metadata
12:05
Output
12:15
Menu Bar
13:20
Menu Bar
13:21
Content View Controls
13:48
Content View Controls
13:49
Customizing the Workspace
15:25
Customizing the Workspace
15:26
Lesson Summary
17:19
Importing, Sorting, and Rating

22m 22s

Intro
0:00
Lesson Overview
0:09
Preferences
0:32
Accessing Preferences
1:00
Appearance
1:13
Behavior
1:34
Favorite Items
2:00
Metadata
2:28
Menu Bar
3:14
File
3:15
Edit
4:04
View
4:48
Stacks and Label
5:33
Window
7:22
Importing Images
7:39
Getting Images
7:40
Selecting Specific Files
8:35
Save Options
11:17
Advanced Options
12:33
Apply Metadata
13:25
Editing & Rating
14:28
Editing & Rating
14:29
Filtering
20:34
Filtering
20:35
Lesson Summary
21:17
Getting Organized

13m 9s

Intro
0:00
Lesson Overview
0:07
Getting Organized
0:32
Stacks
0:33
Favorites
3:08
Collections
4:48
Keywords & Search by Filtering
7:07
Summary
11:00
Creating PDF's and Web Photo Galleries

8m 49s

Intro
0:00
Lesson Overview
0:05
Creating PDF's
0:32
Getting Started
0:33
Output & Document
0:57
Layout & Overlays
2:28
Header
3:22
Web Photo Galleries
5:10
Getting Started
5:11
Output & Appearance
5:30
Create Gallery: Upload Location & Saving
7:05
Adobe Bridge Summary

11m 18s

Intro
0:00
Lesson Overview
0:15
Summary of Principal Features in Adobe Bridge
0:27
The Bridge Workspace is Customizable
0:28
Downloading Images From a Camera Directly to Bridge
1:55
Sorting, Labeling, and Rating Images
3:01
Filter Panel
4:20
Favorites Panel
5:21
Navigation
7:51
Keywords and Metadata
8:19
Creating PDF's and Web Photo Galleries
10:17
IV. Camera RAW
Camera RAW

11m 44s

Intro
0:00
Lesson Overview
0:43
What is RAW & Camera RAW?
1:02
JPEG
1:03
RAW
3:30
Camera RAW
4:17
Camera RAW
5:20
Choosing Your Files
5:21
Camera RAW Workspace
6:07
JPEG vs. RAW
7:08
Camera RAW, Part 2

22m 40s

Intro
0:00
Lesson Overview
0:19
Why Use Camera RAW?
0:35
Why Use Camera RAW?
0:36
Why Bother With Photoshop?
1:16
Why Bother With Camera RAW?
2:03
A Quick Look at The Tool Bar and Tools
2:52
Getting Started in Camera RAW
2:53
Save Image, Open Image, and Done
3:50
A Quick Look at The Tool Bar and Tools
5:06
Basic Panel
8:18
Temperature Slider & Tint
8:19
Exposure
9:54
Highlights & Contrast
10:23
Whites and Blacks
11:14
Clarity
11:21
Vibrant and Saturation
12:13
Lens Corrections
13:25
Enable Lens Profile Corrections
13:56
Color Tab
15:34
Split Toning
18:10
Split Toning
18:11
Noise Reduction
18:39
Detail Panel
19:59
Noise Reduction
20:23
Tone Curve
21:36
Tone Curve
21:45
V. Photoshop Basics
Categories

11m 28s

Intro
0:00
Lesson Overview
0:06
The Four Basic Categories in Photoshop
2:10
The Four Basic Categories in Photoshop Overview
2:36
Selection
3:01
Correction
4:14
Retouch
4:47
Manipulation
5:31
Some Important Tools and Valuable Shortcuts
6:23
Hand Tool
6:30
Move Tool
7:21
Zoom Tool 1
7:56
Zoom Tool 2
8:39
Zoom Tool 3
9:13
Quick Mask
9:38
Gradient Tool
10:58
File Formats

9m 37s

Intro
0:00
Lesson Overview
0:07
The Primary File Formats in Photoshop
0:41
PSD
1:10
TIFF
3:09
JPEG
4:20
PNG
5:55
GIF
6:22
PDF
7:01
DNG
7:37
Image Size, Canvas Size, & Resolution

20m 54s

Intro
0:00
Lesson Overview
0:06
Image Size & Resolution
0:49
Pixel Dimensions & Document Size
1:31
Canvas Size
13:48
Canvas Size
13:49
Saving Your Images

17m 18s

Intro
0:00
Lesson Overview
0:06
Saving Your Images
0:27
Save & Save As
0:28
Save in Background and Auto Save
6:04
Save for Web
8:27
Cropping & Straightening

13m 59s

Intro
0:00
Lesson Overview
0:07
Correcting for Lens Distortion and Camera Vignetting
0:50
Correcting for Lens Distortion and Camera Vignetting
0:51
Straightening Horizons
4:06
Straightening Horizons
4:07
The New Interface & Cropping
6:20
The New Interface & Cropping
6:21
Perspective Cropping
10:10
Perspective Cropping
10:11
Brushes

28m 3s

Intro
0:00
Lesson Overview
0:08
Basic Brushes
2:17
Introduction to Basic Brushes
2:18
Brush Control Panel
3:47
Brush Control Panel: Mode
4:19
Brush Control Panel: Opacity
5:04
Brush Control Panel: Pressure
5:11
Brush Control Panel: Flow
6:44
Brush Control Panel: Airbrush Control
7:46
Brush Sizing Shortcuts
8:54
Adjusting Brush Size and Hardness Shortcuts
8:55
Bush Controls
11:54
Brush Controls
11:55
Types of Brushes
16:25
Bristle Brushes
16:26
Erodible Tip Brushes
17:54
Air Brushes
19:18
Mixer Brushes
22:25
How to Make a Custom Basic Brush
25:02
Sharpening Methods

18m 3s

Intro
0:00
Lesson Overview
0:07
Sharpening Terms
1:58
Amount
2:11
Radius
3:06
Threshold
3:44
Sharpening Methods
4:29
Sharpen
4:30
Sharpen More
5:42
Sharpened Edges
6:53
Smart Sharpen
9:04
Unsharp Mask
11:08
High Pass Sharpening
12:48
Exposure & Color, Part 1

18m 43s

Intro
0:00
Lesson Overview
0:06
Exposure and Color Overview
0:29
The Mantra & The Controls
0:30
Auto Exposure & Color Controls
0:59
Manual Exposure Controls
1:46
Color Controls
2:21
Adjustment Demonstration 1
3:20
Curves & Auto Color Correction Options
4:37
Brightness/Contrast
7:47
Levels
8:36
More On Curves
10:15
Adjustment Demonstration 2
13:26
Using Curves
14:02
Adjustment Demonstration 3
16:10
Using Curves
16:18
Lesson Summary
18:12
Exposure & Color, Part 2

26m

Intro
0:00
Lesson Overview
0:07
Demonstration 1: More on Curves and Levels
2:19
Levels
2:52
Curves
5:54
Demonstration 2: More on Curves and Level
8:11
Curves
8:12
Demonstration 3: Shadows & Highlights
11:09
Overview
11:10
Shadow and Highlights
12:16
Demonstration 4: Hue/Saturation and Vibrance
15:46
Hue/ Saturation
15:47
Vibrance
20:06
Demonstration 5: Color Balance
22:52
Color Balance
24:09
Exposure & Color, Part 3

21m 4s

Intro
0:00
Lesson Overview
0:07
Demonstration 1: Exposure and Color Correction
2:20
Images Overview
2:23
Correction In Camera RAW
4:59
Correction Using Color Balance
8:43
Demonstration 2: Exposure and Color Correction
13:40
Correction Overview
13:41
Shadow/Highlights
15:04
Curves
16:38
Vibrance
17:21
Hue/Saturation
17:49
Back to Curves
19:19
Images Comparison
19:38
Gradients

24m 5s

Intro
0:00
Lesson Overview
0:07
The Paint Bucket & Gradient Tool
0:37
The Paint Bucket Tool
0:38
The Gradient Tool
3:20
The Gradient Editor
10:07
The Gradient Editor
10:08
The Gradient Map Feature
16:26
The Gradient Map Feature
16:27
The Gradient Mask
20:55
The Gradient Mask
20:56
Lesson Summary
23:13
The Transform Tools

20m 5s

Intro
0:00
Lesson Overview
0:07
Transform Tools: Overview
0:21
Introduction to the Transform Tools
0:22
Scale
2:16
Skew
3:57
Distort
4:34
Perspective
5:00
Warp
5:38
Scale & Skew
6:45
Scale & Skew Demonstration
6:46
Distort
8:39
Distort Demonstration
8:40
Perspective
12:38
Perspective Demonstration
12:39
Warp Demonstration
13:35
Adaptive Wide Angle
14:28
Puppet Warp
15:46
Puppet Warp Demonstration
15:47
Actions

16m 17s

Intro
0:00
Lesson Overview
0:06
The Actions Panel
1:30
The Actions Panel
1:31
Preset Actions
3:11
Wood Frame
3:12
Sepia Toning
4:34
Molten Lead
4:43
Gradient Map
5:13
Creating An Action
6:05
Creating An Action Demonstration 1
6:06
Creating An Action Demonstration 2
8:33
The Batch Command
12:30
The Batch Command
12:31
Lesson Summary
15:22
VI. Selections
Introduction to Selections

24m 41s

Intro
0:00
Lesson Overview
0:07
Introduction to Selections
1:28
Apps and Plug-ins for Photo Correction
1:29
Introduction to Selections
5:26
The Principal Selection Tools: Marquee
7:39
The Principal Selection Tools: Lasso
8:15
The Principal Selection Tools: Quick Selection and Magic Wand
8:42
The Principal Selection Tools: The Pen Tool
9:09
The Principal Selection Tools: Quick Masks & Layer Masks
9:33
Panels: Refine Edge
12:04
Panels: Mask Panel
12:50
Panels: Channels
13:07
Panels: Paths
13:25
Functions: Feather
13:36
Functions: Calculation
14:19
Selections Demonstration 1: Scenery
15:08
Selections Demonstration 2: Car
20:04
Selections Demonstration 3: People
22:51
Lesson Summary
24:06
Selection, Part 1

19m 32s

Intro
0:00
Lesson Overview
0:07
Marquee Tool
2:44
Marquee Tool (Rectangular and Oval)
2:45
Lasso Tool
7:07
Lasso Tool (Freehand and Polygonal)
7:08
Quick Selection Tool
10:28
Quick Selection Tool
10:29
Magic Wand Tool
11:38
The Magic Wand Tool
11:39
Demonstration 1: Scenery
13:44
Demonstration 2: Flower
15:10
Quick Mask
16:12
Brief Look At The Magnetic Lasso Tool
17:50
Lesson Summary
18:56
Selection, Part 2

31m 29s

Intro
0:00
Lesson Overview
0:07
Basic Selection Shortcuts
1:24
Basic Selection Shortcuts
1:25
Demonstration 1
4:50
Magic Wand Tool
6:10
The Quick Selection Tool
6:38
The Polygonal Lasso Tool
7:26
Saving and Loading Selection
11:25
Free Hand Lasso Tool Correction
12:54
Painting in Quick Mask to Adjust a Selection
15:49
Image Adjustments
17:45
Demonstration 2
20:50
Painting in Quick Mask & Adjusting the Image
20:51
Lesson Summary
30:46
Feather

13m 24s

Intro
0:00
Lesson Overview
0:07
What is Feather?
0:53
Demonstration 1: Fixing the Water
1:26
Demonstration 2: Feather Sample
4:32
Demonstration 3: Fixing the Cove
6:42
Refining Selection Edges

31m 28s

Intro
0:00
Lesson Overview
0:07
Demonstration 1: Scenery
1:42
Recapping The Use of Feather
1:43
Refine Edge
4:30
Demonstration 2: Flower
10:00
Selection of The Flower
10:01
Preparing The Selection for Cutting Out an Image for Composition
14:01
Demonstration 3: Scenery
19:02
Selection: Grow and Similar
19:03
Edge Detection and Refine Radius Tool
22:21
Lesson Summary
29:52
Pen Tool, Part 1

25m 33s

Intro
0:00
Lesson Overview
0:06
The Pen Tool
2:11
Free Form Pen Tool
2:24
Convert Point Tool
5:10
Pen Tool: Shape & Path
7:13
Making Selection With The Pen Tool
8:05
Demonstration 1: Car
18:22
Using The Pen Tool to Make Selection Around a Car
18:23
Pen Tool Summary
22:46
Practice Assignment
23:26
Pen Tool, Part 2

26m 8s

Intro
0:00
Lesson Overview
0:08
The Pen Tool Recap
0:27
The Pen Tool - Part 2: Working With Points On A Path
2:11
Adjusting a Point For a Sharp Corner
2:51
Activate and Non-Active Points
5:01
Activating a Point(s) & Moving a Point
5:55
Deleting Single and Multiple Points
8:43
Demonstration 1: Automobile
10:17
Adding a Point
11:35
More On Deleting Single and Multiple Points
14:45
How Far Apart to Place Points to Make a Path
16:08
Saving a Path
21:35
Filling or Stroking a Path
23:02
Lesson Summary
25:48
Alpha Channels & Calculations

20m 7s

Intro
0:00
Lesson Overview
0:06
Demonstration 1: Scenery
1:43
Alpha Channels: What Are They & How to Use Them
1:44
Demonstration 2: Car
8:05
Working With Alpha Channels
8:06
Introduction to Calculations
13:15
Demonstration 3: People
14:54
More On Alpha Channels & Calculations
14:55
Lesson Summary
19:35
VII. Layers, Layer Masks, & Composites
Layers & Adjustment Layers

22m 10s

Intro
0:00
Lesson Overview
0:07
Layers Basics & The Layer Panel
1:46
Layers Basics & The Layer Panel
1:47
Organize Layers
10:16
Layer Style
12:06
Add Layer Mask
12:27
Adjustment Layers
13:32
Adjustment Layers - Why & How
16:46
Example: Using Adjustment Layers
16:47
Lesson Summary
21:34
Layers & Adjustment Layers, Part 2

21m 24s

Intro
0:00
Lesson Overview
0:06
Unlocking The Background Layer & Linking Layers
0:30
Unlocking The Background Layer
0:31
Linking Layers
3:36
Adjustment Layers & Layer Masks
7:15
Adjustment Layers & Layer Masks
7:16
Masks vs. Alpha Channels
17:18
Mask vs. Alpha Channels
17:19
Layers & Masks Examples

16m 29s

Intro
0:00
Lesson Overview
0:07
Layers, Masks & Adjustments
1:04
Making The Selection, Layers, and Mask
1:05
Adjustments: Cove & Ocean
6:42
Adjustments: Sky
12:06
Adjustments: Land
13:44
Layer Composites, Part 1

26m 4s

Intro
0:00
Lesson Overview
0:07
Seeing Digitally & Selecting Your Composite Elements
1:24
Seeing Digitally
1:25
Selecting Your Composite Elements: Size, Lighting, Perspective, and Color Match
3:57
Creating a Composite
10:10
Creating a Flawless Element Edge
10:11
Moving a Layer From One File to Another
18:15
Changing the Color
23:39
Lesson Summary
24:45
Composites Part 2

24m 6s

Intro
0:00
Lesson Overview
0:06
Creating The Composite
2:21
Images Overview
2:22
Sharpening The Image
5:08
Moving & Placing Layers
6:45
Retouching The Wall
9:28
Retouching The Wall Under The Flowers
12:24
Adding Shadow With The Burn Tool
14:58
Adding The Lawnmower
17:24
Lesson Summary
23:38
VIII. Retouching
Basic Retouching: Tools & Techniques

28m 56s

Intro
0:00
Lesson Overview
0:07
The Basic Retouching Tools and How to Properly Use Them: Demonstration 1
2:39
Image Overview
2:40
Rubber Stamp Tool
4:04
Spot Healing Brush Tool
15:18
The Basic Retouching Tools and How to Properly Use Them: Demonstration 2
19:36
Healing Brush, Spot Healing Brush, and Rubber Stamp
19:37
Patch Tool
24:30
Lesson Summary
27:34
Content Aware Functions

23m 10s

Intro
0:00
Lesson Overview
0:07
Content Aware Fill
1:39
Using the Content Aware Fill
1:40
Content Aware Move
8:10
Using the Content Aware Move
8:11
Content Aware Scale
11:30
Content Aware Scale: Demonstration 1
11:31
Content Aware Scale: Demonstration 2
15:06
Content Aware Extend
17:30
Content Aware Extend: Demonstration 1
17:31
Content Aware Extend: Demonstration 2
20:05
Lesson Summary
21:34
Retouching People: Part 1

21m 33s

Intro
0:00
Lesson Overview
0:07
Retouching People: Part 1
1:36
Retouching The Skin
1:37
Retouching Around The Eyes
6:01
Retouching The Eyes
12:06
Body Contouring: Chest
17:33
More On Retouching The Skin
20:12
Retouching People: Part 2

24m 25s

Intro
0:00
Lesson Overview
0:07
Retouching People: Part 2
1:29
Retouching The Lips
2:30
Retouching The Teeth
8:55
More On Retouching The Lips
11:43
Body Contouring: Face
13:40
Advanced Techniques For Retouching Skin
17:33
Retouching People: Part 3

20m 28s

Intro
0:00
Lesson Overview
0:09
Advanced Techniques For Retouching Portraits
0:59
Advanced Techniques For Retouching Portraits: Part 1
1:00
Advanced Techniques For Retouching Portraits: Part 2
8:14
Retouching Hair
14:02
Retouching Hair: Part 1
14:03
Retouching Hair: Part 2
15:55
IX. Filters and Blends
Basic Filters & Blend Modes

18m 26s

Intro
0:00
Lesson Overview
0:06
Basic Filters
0:36
Basic Filters Overview
0:37
Filter Gallery
1:48
Filter Gallery: Plastic Wrap
3:11
Filter Gallery: Texturizer
4:17
Blend Modes
5:40
Blend Modes Overview
5:41
Dissolve
6:06
Darken & Darken Color
6:55
Lighten
7:26
Hue, Saturation, Color and Luminosity
8:12
Demonstration 1: Lighting Effects Filter
8:41
Preparing The Image
8:42
Adding Lens Flare
9:31
Filter: Render Lighting Effects
9:51
Adding Another Lighting Effects Filter
11:38
Adding Lighting Effects Filter To The Background
13:13
Demonstration 2: More On Filters & Blend Modes
14:40
Blend Modes Demonstration
14:41
Oil Paint Filters Demonstration
15:56
Lesson Summary
18:06
Blur Filters

25m 12s

Intro
0:00
Lesson Overview
0:07
Blur & More Blur
0:54
Blur: Average
0:55
Blur
1:46
Blur More
2:41
Gaussian Blur
3:18
Gaussian Blur
3:19
Box, Lens, and Shape Blur
4:42
Box Blur
4:43
Lens Blur
6:38
Shape Blur
7:50
Motion and Radial Blur
8:39
Motion Blur
8:40
Radial Blur
9:05
Smart and Surface Blur
10:04
Smart Blur
10:05
Surface Blur
11:39
The New Blur Gallery
14:05
Tilt/Shift Blur: Demonstration 1
14:33
Tilt/Shift Blur: Demonstration 2
17:26
Field Blur
19:05
Iris Blur
22:16
The Liquify Filter

16m 17s

Intro
0:00
Lesson Overview
0:16
Demonstration 1: Using the Liquify Filter
0:34
Introduction to The Liquify Filter
0:35
The Liquify Filter Workspace and Tools Overview
1:50
The Push Tool
3:38
The Pucker Tool
3:48
The Bloat Tool
4:02
Adjusting the Face
4:15
Adjusting the Eyes
6:32
Adjusting the Body
9:24
Demonstration 2: Using the Liquify Filter
11:41
Adjusting the Image
11:42
Using The Mask Tools in the Liquify Filter
13:12
Vanishing Point Filter

18m 45s

Intro
0:00
Lesson Overview
0:07
Retouching In Perspective
0:28
Vanishing Point Filter
0:29
3D Compositing
6:44
Step 1: 3D Compositing Overview
6:45
Step 2: Creating a Plane With The Vanishing Point Filter
9:35
Step 3: Pasting and Editing The Image
11:26
Step 4: Blend Mode
15:19
X. Text
Using Text In Photoshop

31m 49s

Intro
0:00
Lesson Overview
0:07
Using Text In Photoshop
2:50
Type Tools Overview
2:51
Vertical Type Tool Demonstration
3:31
Character and Paragraph Type Panels
3:51
Linear Text
4:37
Font, Font Style, and Font Size
8:09
Leading
10:40
Tracking
11:59
Kerning
12:35
Letter Height & Width Distortion
15:45
Text Color
16:31
Character Adjustments
17:22
Paragraph Text
19:07
Alignment & Justification
19:11
Indent
23:08
Add Space
23:35
Put Type In Photograph
24:20
Put Type In Photograph
24:21
Guides and Grids
26:26
Guides and Grids
26:27
Manipulating Text

13m 58s

Intro
0:00
Lesson Overview
0:06
Manipulating Text
0:36
Warping Text
0:37
Rasterize & Free Transform
3:26
Clipping Paths
5:40
Type Effects: Bevel & Emboss
7:53
Type Effects: Drop Shadow
10:06
Type Effects: Pattern Overlay
11:17
Type Effects: Stroke
12:47
Lesson Summary
12:58
More Text Effects

16m 31s

Intro
0:00
Lesson Overview
0:07
Type On A Path
0:36
Creating A Path
0:37
Texts On A Path & How To Modify Them
1:48
Chrome Type
6:58
Step 1: Getting Started
6:59
Step 2: Rasterizing & Gradient
9:20
Step 3: Bevel & Emboss
10:45
Step 4: Merge Layer
11:10
Step 5: Curves Adjustment Layer
11:54
Step 6: Adding Color
13:54
Chrome Type Summary
14:43
Lesson Summary
15:56
XI. Cool Features
Colorize and Black & White Conversion

13m 16s

Intro
0:00
Lesson Overview
0:07
Demonstration 1: Colorize
0:32
Colorize
7:30
Demonstration 2: Black & White Conversion
7:40
Black & White Conversion Using Hue/Saturation
7:41
Black & White Conversion Using Grayscale
8:51
Black & White Conversion Using Black & White Adjustment
9:30
Demonstration 3: Black & White Conversion
11:25
Black & White Adjustment
11:26
Panorama

22m 6s

Intro
0:00
Lesson Overview
0:07
Shooting For The Panorama
0:50
Hold The Camera Steady
0:51
Overlap Your Images
1:36
Use The Same Exposure
2:02
Use The Same Zoom
2:44
Apply The Same Correction to Each Image
3:03
Scenic
3:25
Correct Way To Shoot a Panorama
3:26
Creating A Panorama In Photoshop
5:42
Adjusting The Images
6:22
Lining Up The Images
8:21
Photomerge Overview
10:02
Photomerge: Auto
12:34
Photomerge: Auto & Geometric Distortion Correction
15:36
Photomerge: Spherical
17:10
Photomerge: Collage
18:18
Photomerge: Reposition
19:20
Panorama Images Conclusion
20:10
HDR

20m 32s

Intro
0:00
Lesson Overview
0:07
High Dynamic Range (HDR) Overview
0:21
HDR Overview
0:22
How To Shoot HDR
2:49
How To Shoot HDR
2:50
Processing HDR in Photoshop
7:09
Merge Files to HDR Pro
7:10
Exposure Value (EV)
9:21
Looking at The Image
10:08
Mode: 8 bit, 16 bit, and 32 bit
11:49
Highlight Compression, Exposure and Gamma, Local Adaptation, and Equalize Histogram
13:00
Preset: Photorealistic
13:46
Preset: Scott5
14:25
Custom Preset: Edge Glow
15:25
Custom Preset: Tone and Detail
17:02
Custom Preset: Advanced & Curve
17:48
Final Result
18:41
Photo Frame Effect

21m 27s

Intro
0:00
Lesson Overview
0:08
Preparing Your Image
0:44
Gradient Overlay & Blend Mode
0:45
Layer Mask & Curves Adjustment
6:35
Merging Effects
13:07
Creating The 3D Frame
17:00
Step 1: Canvas Size
17:01
Step 2: Inner Shadow
18:08
Step 3: Sign The Image
19:49
Lesson Summary
20:49
Creating & Editing Video

26m 19s

Intro
0:00
Lesson Overview
0:07
The Video Workspace Overview
1:44
The Video Workspace Overview
1:45
Creating & Editing Video Demonstration
6:46
Importing Media
6:47
Organizing & Editing Your Clips
7:48
Adding Transitions
14:54
Using Adjustment Layers to Modify Clips
16:57
Adding Still Images
19:10
Adding a Soundtrack
20:28
Rendering Your Video
21:23
Lesson Summary
22:14
Final Edited Video
24:37
XII. Course Summary
Course Summary

6m 38s

Intro
0:00
Photoshop Course Summary
0:11
Photoshop Course Summary
0:12
Image Adjustments Review
2:11
Custom Shapes Review
5:19
Final Tip
6:03
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Layer Composites, Part 1

  • "Seeing Digitally ". A term I have created to describe being able to visualize in the camera viewfinder (or even before if you are looking to create something specific), and see the finished piece in your mind.
  • You see what the image (or images) need to have corrected, perspective changes that are needed, etc. as you are shooting them.
  • This is essential if you are going to be a good digital photo/artist. This takes time and practice. As time goes on you will start to see scenes and images that you would have ignored before.
  • This will vastly expand your vision!
  • Creating a flawless edge for composites is one key to realism. Removing the fringe edge you get when you copy a piece and paste it in to another is key to this.

Layer Composites, Part 1

Lecture Slides are screen-captured images of important points in the lecture. Students can download and print out these lecture slide images to do practice problems as well as take notes while watching the lecture.

  • Intro 0:00
  • Lesson Overview 0:07
  • Seeing Digitally & Selecting Your Composite Elements 1:24
    • Seeing Digitally
    • Selecting Your Composite Elements: Size, Lighting, Perspective, and Color Match
  • Creating a Composite 10:10
    • Creating a Flawless Element Edge
    • Moving a Layer From One File to Another
    • Changing the Color
  • Lesson Summary 24:45

Transcription: Layer Composites, Part 1

Hi everybody, Mike Brown here again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

So far in this course we've gone over selections, corrections, selections at length, corrections, exposure and color, your retouching tools and all about layers and layer masks and how they all relate.0007

So now we're going to put this all together, and in this lesson and a couple more, we're going to talk about composites.0023

Principally, photo composites, and how to take different photographic elements and combine them to make one finished image that is absolutely undetectably perfect.0031

There are some techniques in here to perfect the compositing of photos that don't necessarily have to be used with such precision in making graphic design composites, but the principles of compositing are exactly the same.0045

So let's get started, what we're going to talk about in this lesson is seeing digitally the art of being able to visualize how elements are going to fit to make a finished product.0065

In other words, when I was doing automotive compositing--let me just show you an example, here's a composite that I did for a Martin Chevrolet from scratch, and they wanted a Corvette in action.0079

So here's the Corvette going down the roadway, the sun is coming in, you can see it's flashing across the background, the background is blurred perfectly, the wheels of the car are spinning, the roadway's blurred, the car's crystal clear because effectively we're panning the camera with the car so that the car stays crisp.0095

But you can even see through the driver's side windows that the background is blurred, and even--it's kind of hard to see through here but it's blurred right over in there.0118

The edges are nice and clean on the cut out of the car, everything looks like a single image, but it's not.0128

There's the car--it was shot on the back parking lot of the dealership, just to make sure that the light was correct, the window's even open on the car, the gal is driving (supposedly) with the window open.0137

The background, this was the original background facing with the roadway going downhill--actually the actual original of this shot was in this direction--this was the way I shot it, but I saw that, and this is the seeing digitally.0151

I went "OK, the light here is coming just from the right and slightly backlit, maybe one o'clock, it's in the afternoon, if I flip the image (and this is what I was able to see).0170

Now I just look at the light and you can see it's backlit slightly--you can see that shadow up here is slightly down from the bush--it's almost noon time, but it could be later in the afternoon--a little shadowing out to the side, you can see that on the side rocks".0186

So that matches up with the Corvette.0203

Now we have the shadows a little longer in the back, but it could be about one or two o'clock, and also could be one or two o'clock and when we've blurred up a little bit, it's going to match, so I said "that's fine", so all we had to do was rotate the car uphill, rotate the roadway uphill and size everything in place, and low and behold, it's a flawless composite.0207

That's what I talk about, learning to see digitally, and the elements that you have to keep in mind; size, lighting, perspective and color matching.0233

Now in this case, for the Corvette, the background was the principle element.0247

The car is being moved into the background, not the background into the car, and so if we look at the size of this image, it's 150 DPI, 18 inches wide, and if we look at the original car...0256

It's 150 and 18 inches wide, so the car is actually larger than the background because you notice the car had to be reduced, and that's fine because as we squish it down when you reduce an image size, you don't really lose any detail--it does throw away some pixels, but it retains its sharpness.0276

If you have to go the other way and take something and size it up dramatically, then you degrade your image because it's always filling in the pixels--remember we talked about that before--let me show you a simple example here.0302

Here's a composite, this was the original shot and I composited in a sky, just to add a little oomph to it.0316

Now the sky shot itself is this image here, which is 84 megabytes, and the image of the couple is only 18 megabytes--it's 240 DPI, and the width is only 9 inches whereas the clouds...0324

The width is 20 at 300 which means probably about 40 inches wide compared to it but that's OK, because in the composite the people are the primary image.0348

And at 240 DPI, we could even go down to 150 and your image is almost 16x20, so you can make a 16x20 print very easily without even resizing of this image right here.0362

And so we bring in the sky and squeezed it down and that was no problem.0378

Even in this case, even if the sky had been smaller and we had to size it up to fill, and it would be degraded and a little bit soft, that's fine because it's a background element, and we could blur that background down so it could be a lesser resolution image.0383

But you have to keep this in mind; just replay this recording and hear what I said, you have to be careful about your lighting.0400

If the lighting is opposite, it'll be a dead giveaway so you have to match your lighting, you have to match your sizing, and be aware of the finished product, whether it's the element or the main shot, you have to make sure that you don't have to size it up a whole lot to get your end product image and degrade it--match them up.0410

Perspective is absolutely vital.0436

If you mismatch your perspective, the image will not work.0441

We'll go back to the Corvette again.0446

This shot right here, if you can tell by the roadway, it may be a little bit hard to tell, but I was standing up and this was shot at about chest height which would be about four feet off the ground.0448

You can see that it's down--the horizon line runs right about the top of those rocks, the bottom of that bush, somewhere in there, so when I shot the car, you notice that the height is about four feet off the ground so that when the two of them went together...0464

There's where the horizon falls--you've seen the top of the car, there's the horizon, and the horizon's about there on the image and you can tell from the perspective of the ground that it matches up.0486

If I had shot the car from a very high angle down and put it on this roadway, it would've looked very distorted because the car--you'd see a lot of the top and the roadway--you don't see much roadway, so it's low and high.0498

So you always have to keep that in mind, whether you're using stock elements that you're getting from a stock library or you're shooting the elements yourself, make sure that the perspective matches.0513

Now, height is not the only perspective.0524

The focal length of the lens--if you try to put a wide angle distorted shot into a long telephoto shot, it will look just as bad as if the height differential was there as well, so keep in mind that the two images should be of the same perspective--that is focal length and height.0528

OK, and color match is a good idea if you have a heavy differential, but you can correct that in Photoshop but it's best to try to match them up closely so that you don't have to heavily shift and get something that looks a little bit odd, OK?0549

Those are your four principle things and it's more size, lighting and perspective that matters, and that's whether you're getting them from a stock house or shooting them yourself, keep that in mind.0567

And as you do that, you will begin to be able to see digitally, in other words looking around you, you'll be able to see "ah, that element will fit in something, I'm shooting it" when you go ahead and take the pictures.0578

It takes a while, it took me about 7 or 8 months of travelling around shooting for car composites until I became totally aware of exactly what I needed perspective-wise and lighting-wise.0593

OK...so let's create a composite, utilizing what I've talked about here and showing you the easiest way to do things, alright?0609

Here's a basic shot that I took of some flowers; we have a group in the lower right, a smaller group in the upper left--it's actually two parts.0621

Now technically, a composite with three elements usually balances, in this case the fact that these redder flowers are so small, and there's dead space over here even though that balances the dead space at the bottom, this is a little bit off.0630

It would be really nice if there was a little more stuff right up in this corner, so I said "alright, what I'll do is I'll go find a flower that I can composite into this image".0647

Now, the first thing I was aware of--I shot both of these by the way with the same camera, but I'll show you that.0660

The lighting; the lighting is not at sunset where it's straight across, it's not at noon straight down, you can see the shadow down here indicates that the light's at about maybe 2 o'clock on the clock face coming down into the image like this, so I would like, of course, to shoot a flower roughly with that same light.0666

Sorry, in this arboretum...there was this rose, and the light is the same angle but the opposite direction; high right to low left, high left to low right, but I immediately recognized that I could very simply shoot this flower and flip it...0689

And low and behold, notice that the light here, and the light here, now match up--this was what I saw when I shot the image.0717

Now, as far as image size goes, I shot them both with the same camera; this is 20.3 megapixels, and the flower itself is also 20.3, and I'm going to have to size the flower down here which is fine, because it's going to be a principal part of the composition, it will not degrade the image.0727

No problem at all, so we're in good stead on sizing, we're in good stead on lighting, and the perspective, I made sure that I left the camera at the same zoom ratio that I shot this when I shot the flower so that it wouldn't be distorted.0750

So everything seems to be good, so now we have our two elements, what we need to do is get the flower selected, and get it over into the main image.0770

So, let's zoom up here, and I'm going to show you an easy way to make sure this flower is selected--everything is efficiency.0785

We could take the Quick Selection tool and work our way around, but we have edges and places where it didn't get the flower because it was indistinct--we'll then have to fix it.0794

We're going to solve that problem right off the bat--we're going to duplicate the background; Command or Control+J, we're going to go, and it doesn't matter what I'm going to do to this background because I'm only doing this for selection purposes; I'm going to delete the background.0806

Image, Adjust, curves, and we're just going to really distort it, because all I'm concerned with is getting distinct edging around the flower, and there we've got it.0822

So I click OK, now we'll take that Quick Selection tool in this layer and just drag it around, and it will snap right out to those flower edges, and you notice that that area where we had it run over before, doesn't happen this time because we have distinct edges.0837

So now we've got the selection, let's save it...and trash this layer, so now we're back to the flower, but we need to do a couple of things.0861

We need to feather the edge--let's look at it under Quick Mask, let's change the opacity up, so that we really see this well.0875

Let's zoom it up, and you see when it made the edge, you see the little black fringing, the dark fringing--what that really is, is the background of the image--it did not find the edges exactly, you know it's a little in here, a little out there.0885

As we go around, you see that fringe--now if we copied and pasted this image into the other picture, we're going to have an edging that gives away the fact that this has been composited, so we need to clean that up.0905

So we've got this--let's go to refine edge...and we're going to feather it a little bit more than I normally do--I tell you one pixel is normally a good, clean edge.0919

We're going to up it to two pixels, and the reason is that the way to get this edge clean, is to take our flower selection, invert it, and delete the edge and that will push that dark edge in, and it has to be soft enough to do that.0932

OK, so rather than one, we'll feather two--see how it got soft, you can see that?0949

Now we're going to use the shift edge in the refine edge dialog box and move the selection back in enough--let's view this on the overlay.0955

We're going to come inside enough that we get that black fringe out of there, watch.0966

Take the shift edge, and move it in--look, you can see it already--we're going to move it all the way.0973

Notice, as we go around, here's where it was, see the dark edge?0980

As we come back, it gradually moves inside of the flower...click OK, we'll go to Quick Mask and I'm going to reduce the opacity this time so that you can see it (let's go down to about 45) hit the Quick Mask again, and there...0985

See that faint edge?1008

That's the flower edge--you can actually see it right there, you can see actually see it right there, you can see it well right up here--we've pulled the selection inside, so you go "why are you doing that?"1011

Now I'm going to save that as a new selection because I want to show you...let's go to the alpha channels, zoom it up, and quickly, you see it's harsh and it's out, and you see now it's soft and it's in, notice the difference?1020

There it is, we soften the edge, we moved it in which will give us a clean cut on this flower when we take it and move it over, so now that we've got that let's load up that good selection, and we're going to copy the flower.1040

Now, in this case, we're just going to plain copy it out--Command or Control+C which is under the Edit menu, copy, and I'm going to do one more thing just to show you, I'm going to go Command or Control+N for a new document which will automatically take the size of the object that's in the clipboard which is the rose, I'm going to paste the rose in--Command or Control+V.1057

And let's zoom it up a little, and we still have just a little fringing left...we could've gone even a little more, so we know what it's going to look like, I can close this out.1081

So now we're going to go ahead and paste it into the image, it's in the paste board, we'll go over here; Edit, paste, Command or Control+V, there's the flower.1095

Now, let's take a look at that edge if we can--let's move it up to the top and turn off everything else, and yes we can see just a little edging, so what we're going to do; Command or Control, click the thumbnail, load the selection, highlight any selection tool, go to refine edge.1107

We're going to feather it...two again...and what we're going to do is we're going to contract it about halfway, there you see the blue line.1127

We're going to click OK.1139

Now, let's zoom out, that is the selection of the flower, we're going to invert it, so it's the selection of everything else--Quick Mask shows you that.1141

And you can see that we have a little bit of pink edge showing and the fringing, so now we come out, remember the selection is everything but the flower so if I hit delete, it's going to delete that edge back into the soft, two pixel feather, and it will push it in a little bit, and it will still be soft because it's only two pixels and it won't go all the way to hard, watch.1154

Command or Control+H, let's find a definitive edge, right there, hit delete, and look...Command+Z, Command+Z.1184

It cleaned the edge and it's still soft--if I can do it one more time, it starts to get a little hard, and so now, if we look around the flower, see how beautifully clean the edge is--no fringing give away.1193

That little dark spot but we can live with that at the moment.1209

Turn the background back on, we can clean that out right now...let's go Lasso tool, feather of one, and we'll just make a little selection round the flower and delete that piece out of there.1212

Now if we move the flower you will see that the edge is now perfectly clean, and it matches up in the same type of edging as everything in the photograph, OK?1230

That's how you ensure that the object that you paste in is flawlessly matching.1243

Now, let's get to the composite...we wanted to put this flower in the image and I want to make it smaller, put it over here and I'm going to put it behind these red flowers--drop it in the background.1249

You go "how you going to do that?"1263

First of all, we're going to load the selection, Command or Control+T to transform, Shift to hold the aspect ratio, and we're going to pull the flower down in size.1264

Stay inside we can move the whole thing, and I see right now I'd like to rotate it a little bit, get that light a little bit more correct--there we go, and the size is a little too large still--Shift and pull it down, that looks about right.1276

We'll click OK--we can always change it later, Command or Control+D.1293

Now, the flower is in position but you're going "how are you going to put that behind the other ones?"1298

Nice little trick here.1303

Turn it off, go to the copied layer, Quick Selection tool, and we'll select a group of these red flower petals, enough of them that we are significantly--see the overlap right there?1305

And so what we're going to do is we're going to copy them; Command or Control+C, highlight the rose layer, because when we paste an object remember it always comes in, in a layer above the highlighted layer, so it's going to come right in (Command or Control+V) into its selection, right above the rose.1325

Now let's check out the edge on that...it's got a little fringe on it, notice right in here?1347

Sam thing happened there, so we'll Command or Control click that, feather at one...I think one will be adequate here, and we're going to contract it just a little bit, click OK, invert the selection again just like we did with the rose...1354

Hide them--Command or Control+H and hit delete.1379

Notice that it cleaned out the edge--we'll come in back, there's that little fringe, and when we delete it--actually delete it twice this time, and now it's perfect, and the rose is now behind.1382

It's still a little bit too large so we'll go back to the rose, Command or Control+T--that's the whole image, sorry, you've got to have the layer...1400

Load the selection--Command or Control, now Command+T, Shift, and we'll make it a little bit smaller, and move it right there, that's good.1410

Alright, one final thing to do here; Command or Control, select the flower, we're going to go...let's go hue saturation, click colorize, up the saturation, change the hue--we'll make it yellow.1420

It's a little flat compared to the lighting, so Command or Control click the selection--either the flower or the mask, either one...go to curves, and pull it down just a little bit and snap the contrast...and there!1439

You now have a composite where we started here, pasted in a rose, put it behind the flowers, changed the color, and adjusted that, and we made a composite that's absolutely flawless on its edging, and looks like an original image by using another object.1458

So in this lesson so far, we have looked at the concept of...seeing digitally, being very careful to visualize how things are going to match up from the stand point of sizing, image quality, lighting--make sure the lighting matches, perspective...1485

Everything is shot at the same perspective, height, focal length, color matching--in this case we altered the color to match things up, and showed you how to create a flawless element edge.1512

Remember, this is absolutely vital.1525

Size, lighting, perspective and getting that edge flawless so that you don't see any fringing, and then we just very simply copied and pasted into another layer, to create a final flower composite that is undetectably a singular image made up of two different images and some modifications within it.1529

All done in Photoshop CS6.1556

In the next lesson, we will explore compositing even further.1560

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