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Adobe lightroom cc and photoshop cc for photographers classroom in a book lesson files free download
Lesa has recorded over 40 video courses on image editing, graphic design, and shooting stock photography for a variety of training companies. She writes the weekly Creaticity column on Macworld. Lesa also served as iStockphoto. Lesa is a founding instructor for CreativeLive and had the honor of handpicking instructors for their very first Photoshop Week event. Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
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Please contact us if you have questions or concerns about the Privacy Notice or any objection to any revisions. All rights reserved. Join Sign In. View Larger Image. Part of the Classroom in a Book series. About this Web Edition A Web Edition is an online learning product that you view in your web browser while connected to the Internet. Because Lightroom saves the metadata to your file every single time you touch a slider. If so, with what tools?
Review answers 1 The Graduated Filter tool. To do that, select the appropriate adjustment pin and then drag it to another position in your photo.
To do it, set the Sharpness slider to — You can use the Post-Crop Vignetting sliders in the Effects panel to pro- duce rounded edges by dragging the Roundness slider all the way left, and then you can add a white background by dragging the Amount slider all the way right.
If you drag the Amount slider all the way left instead, you get a black background. In fact, this may be one of the most important lessons in this book because it covers the mechanics of a typical roundtrip workflow between Lightroom and Photoshop.
Happily, you have to adjust these settings only once. You can control file format, bit depth, color space— all of which are explained in this section—as well as file naming conventions and how the Photoshop files are displayed back in Lightroom.
Setting your primary external editor preferences Lightroom automatically scours your hard drive for the latest version of Photoshop P Note: Adobe and picks it as the primary external editor.
Bit depth refers to how many colors the image itself contains. The goal is to keep as much color detail as you can for as long as you can. In the infographic shown here, the ProPhoto RGB workspace is shown in white with the other workspaces superimposed atop it. This is the RGB workspace that Photoshop uses unless you pick another one.
The CMYK workspace, on the other hand, represents the smaller number of colors that are reproduc- ible with ink on a commercial printing press.
The bottom image shows the ProPhoto RGB workspace compared to the color gamut of the truly incredible human eye. ProPhoto RGB vs. Raw images, on the other hand, can be bit and contain over trillion colors. P Note: PPI stands for pixels per inch. DPI, on Resolution determines pixel density and thus pixel size when the image is the other hand, stands printed. Leave it at ppi, which is a reasonable starting point for a typical for dots per inch. The inkjet printer, and then adjust the resolution as necessary when you export the latter term is used when referencing printers, edited file from Lightroom.
Lightroom uses these settings. You can even you can still designate other applications in create additional configurations for Photoshop—each with settings geared toward the Additional External particular kinds of photos or uses. Editor section and then choose them from the For example, you may set up Photoshop as an additional external editor with second section of the options suitable for photos destined for the web.
In the be sure to click the resulting dialog, click Use Anyway. Clicking Use Anyway dismisses the warning and allows you to use the same version of Photoshop—with different settings—as both an additional external editor and the primary external editor both of which are available via a keyboard shortcut.
As mentioned earlier, this keeps the quality you have in Lightroom and supports any layers you create in Photoshop. Editor section to con- 6 Leave Resolution set to its default value. Simply use the resolution, that determine image size. You can specify pixel dimensions in Preset menu to save each one as a preset. Edit In menu. In the dialog that opens, enter a meaningful name for the expand and collapse a options you configured, such as PS web, and then click Create.
Setting the stacking preference When you send a file from Lightroom to Photoshop, the PSD that comes back to Lightroom appears next to the original file in the Library module. In some cases, you may also generate copies of the PSD—if, say, you want to create different versions of it. To reduce the clutter in your library, you may want to turn on Stack With Original to have Lightroom stack your PSD s into a pile with the original photo.
Doing so creates a collapsible group, known as a stack, of thumbnails. When you expand a stack, your PSDs are displayed side by side in the Library module in Grid view and in the Filmstrip. This makes related files easy to spot. Configuring Adobe Photoshop Elements as an external editor You can configure Lightroom to use Adobe Photoshop Elements as your primary or additional external editor too.
The process is roughly the same, but there are a few things to keep in mind. First, if you have Elements but not Photoshop on your computer, Lightroom auto- matically picks Elements as the primary external editor. Second, if you have both Elements and Photoshop on your computer, you can designate Elements as an additional external editor. To do that, be sure to navigate to the Elements Editor application file, not the alias shortcut in the root level of the Elements Editor folder.
Library module, press T on your keyboard. For the purposes of this lesson, stick with the default file naming scheme. Photoshop Elements as an external editor, With these settings, the files you send from Lightroom to Photoshop should you need to adjust its open in the correct color space.
This flattened layer is what you see in Lightroom. Elements as your external editor, you 3 Click OK to close the dialog. Keeping Lightroom and Camera Raw in sync Lightroom, at its heart, is a raw converter whose job is to convert the data in a raw file into an image that can be viewed and edited onscreen. Photoshop has a raw converter too: a plug-in named Camera Raw. Camera Raw and Lightroom use the same raw conversion engine, and when Adobe updates one, it usually updates the other with a matching version.
This is important because when you send a raw photo from Lightroom to Photo- shop, Photoshop uses Camera Raw to render the raw data into pixels you can see and work with onscreen. A screen opens that shows your version of Lightroom.
Click the screen to close it. Your version of Photoshop appears on the screen that opens. Close the screen by clicking it. Your version of the Camera Raw plug-in is reported on the screen that opens. Encountering a Lightroom— Camera Raw mismatch If you have mismatched versions of Lightroom and Camera Raw installed on your computer, you may get a mismatch warning in Lightroom when you try to send a raw file to Photoshop.
You can then upgrade your software before trying again. A potential downside is that as soon as you click the Render Using Lightroom button in the warning dialog, an RGB copy of the image is added in your Light- room catalog, and it stays there even if you change your mind and close the image in Photoshop without saving.
In that case, you now have the extra step of deleting the RGB copy from your Lightroom catalog. When you update Photoshop, you get the latest version of Camera Raw too.
Sending a raw file from Lightroom to Photoshop P Note: You can Once you adjust a raw photo in Lightroom, you may determine that you need to easily send other file send it to Photoshop for some of the pixel-level editing voodoo that it excels at.
CR2 from topic is covered later in this lesson. Canon or an. This section teaches you how to do that. Turn Grid view styles. This gives Lightroom more information about your camera and lens. However, you may need to experiment with the other buttons on your own photos to see which one works best. This E Tip: In some cases, option often produces the most realistic result. Although this option may pro- adjustment too. You can also use the Transform panel sliders to fine-tune the per- spective correction.
Happily, you can easily fill in those areas in Photoshop, as the next section explains, which keeps you from having to crop them out. Any adjustments you made in Lightroom are made more thumbnails and choosing Edit In from permanent in the image that opens in Photoshop. Of course, your adjustments the resulting menu. You should now see marching ants around the photo itself.
The marching ants now appear around the empty corners. In the resulting dialog, enter 3, and click OK. Ensure that Preserve Transparency is turned off.
Click OK, and Photoshop fills the empty corners. In the resulting dialog, enter clone right corner into the name field, and then click OK. Doing so decreases your edit- ing flexibility greatly because the resulting PSD never shows up in Lightroom. You also end up with an extra copy of the image the exported one on your hard drive. Photoshop document lean in file size. As you brush across the window, a crosshair shows the area that Photoshop is copying pixels from—the window on the left.
As long as Lightroom is open and running when you do this, the PSD appears in your Lightroom catalog next to the original photo. The raw file displays the adjustments you made to it in Lightroom before you sent it to Photoshop. The Photoshop file reflects your Lightroom adjustments as well as the filling and cloning you did in Photoshop.
As mentioned earlier, your Lightroom edits are permanent in the PSD file. For example, you may decide to do a bit more cloning in the lower-right corner. Choosing any other option in this scenario will not open the layered PSD. The updated PSD returns to Lightroom with your changes intact. And if you open a copy of the PSD that includes the Lightroom adjustments, you lose the layers you originally made in Photoshop.
If necessary, press D to open the Develop module—you may already be in the Develop module—and then open the Effects panel. Photo credit: Allison Mae, allisonmae. Choosing any other option in the Edit Photo dialog would prevent your Lightroom adjustments from being visible once the file opens in Photoshop. From the panel that appears, click the gear icon, and in the resulting menu, choose Photographic Toning. Your changes are updated in the PSD that appears in Lightroom. Sending a photo from Lightroom to Photoshop as a Smart Object Another way to send files of any format to Photoshop is to send them as Smart P Note: Adobe Objects, which you can think of as a protective wrapper.
When you create snapshots on a raw file, you can access them via the Camera Raw plug-in by sending the raw file to Photoshop as a Smart Object. In the resulting dialog, enter the name full color and click Create.
The photo opens in Photoshop. Click OK to close the Camera Raw plug-in. That said, it bears repeating that this maneuver works only on raw files. Running filters on a Smart Object in Photoshop Another incredibly handy trick you can do when you send a photo from Lightroom P Note: You can to Photoshop as a Smart Object is to run filters nondestructively.
When you use Smart Filters, as this is called, the filter appears in your Layers panel beneath the Smart Object layer. Click OK. Keep Threshold as low as possible but high enough to preserve the skin texture. When you do, white corner brackets appear around the mask. In the realm of masks, black conceals and white reveals.
By filling the mask with black, the filter is hidden from the entire photo. In the Options panel at the top of the Photoshop workspace, click the brush preview, and choose a soft-edge brush one that has fuzzy, soft edges. Click the brush preview icon again to close the panel. Press the Left Bracket [ to decrease brush size or the Right Bracket ] to increase it. As you can see in this before Scratches filter trick is also a great way to left and after right version, this filter made a big difference in the portrait.
Back in Lightroom, the PSD appears next to the original raw file. If you determine that you need to reopen the PSD for more editing, follow the instructions in the previous section. Lightroom asks what options you want to open the image with: file format, color space, and so on. The end result is an additional file in your catalog.
In addition to configuring the primary external editor, you can set up additional configurations for the same editor, or a different one, in the Additional External Editor section. If you create snapshots for a raw file and then send it to Photoshop as a Smart Object, you can double-click the Smart Object in Photoshop to open the Camera Raw plug-in.
Other common reasons to combine photos are to merge multiple exposures into a high dynamic range HDR image or to stitch several photos together into a panorama, which you can easily do in Light- room. Photoshop also has a few tricks you can use to produce an HDR look from a single photo.
Having each photo on a separate layer gives you a lot of editing flexibility because you can control the opacity of, resize, and reposition each layer individually to produce the effect you want. You can also control the way color behaves between layers to produce interesting blending effects. The next section teaches you how to use one photo to add texture to another photo.
Adding texture to a photo using another photo An easy way to add texture to a photo is to blend it with another photo. You can use nearly any photo for the texture, including shots of nature, a rusty piece of metal, concrete flooring, marble, wood, and so on.
How handy is that! Open as Layers in 3 Since the texture photo is bigger than the boathouse, you need to shrink it. Photoshop surrounds the texture with draggable resizing handles. To make ton and the modifier keys when the texture is the same height as the boathouse. Release your mouse button when a light gray line appears above the other layer.
To produce a vintage look from these two particular photos, Linear on your keyboard, and then tap the plus icon Light works well. Click the tiny triangles at the upper right of the Properties panel to close it. You see what appear to be marching ants surrounding the boathouse photo. Here you can see before top and after to tweak the texture opacity or the drop in bottom versions.
This is the color you get after mixing the base and blend colors using a layer blend mode. To illustrate this concept, you can draw yellow and blue circles on separate layers and then change the blend mode of the blue circle layer to Darken.
Another way to understand this concept is to put on a pair of sunglasses and then look around. The second, third, and fourth categories are the most useful for blending photos. The second category begins with Darken, as those modes darken or burn images. When you use one of these modes, Photoshop compares the base and blend colors and keeps the darkest colors, so you end up with a darker image than you started with.
White, and other light colors, may disappear. The third category begins with Lighten, as those modes lighten, or dodge, your image. Photoshop compares the base and blend color and keeps the lightest colors, so you end up with a lighter image than you started with. Black, and other dark colors, may disappear. The fourth category begins with Overlay.
You can think of these as contrast modes because they do a little darkening and a little lightening, and thus increase the contrast of your image. A layer mask is like digital masking tape in your own images along with stock photos. You can use masks to hide layer content, which is a far more flexible Consider the possibili- approach than erasing deleting content. Photoshop adds the mask circled in the image on the next page to the right of the layer thumbnail.
Since the mask you added is white, all the content of that particular layer is visible. However, by adding black to the mask, you can hide part of the cat close-up photo, which effectively punches a hole through it so you can see the content on the layer underneath it.
Notice the white brackets around the mask thumbnail. They indicate that the mask, not the layer content, is active, so whatever you do next happens to the mask. If you want the next thing you do to happen to the layer content instead, click its thumbnail and the brackets appear around it instead. Then set the Size slider to around pixels. To do it, press D on your keyboard to set the color chips to their default values of black and white, and then press X on your keyboard to flip-flop them so that black is on top.
In order to hide part of the cat close-up photo, you need to paint with black inside the mask. Since the foreground color chip at the bottom of the Tools panel determines the color that the Brush tool uses, you have to set it to black. As you brush, you begin to see the photo on the layer underneath and your strokes appear as black inside the layer mask. If you mess up and hide too much of the photo, press X on your keyboard to flip-flop your color chips so that white is on top, and then paint across that area with white to reveal it.
Press V to activate it, and then Shift- with the Move tool drag the cat close-up layer rightward. Now activate the other cat photo and constrains the move to Shift-drag it leftward. When the By default, Photoshop locks the layer content and the mask together so that Move tool is active, you can also use the arrow when you move one, the other tags along for the ride.
If you want to move them keys on your keyboard independently say, to reposition the photo inside the mask , click the tiny chain to scoot photos around.
Next, click the thumbnail of the thing you want to move—the photo or the mask—and then use the Move tool. To lock them together again, click between the thumbnails and the chain icon reappears. A natural gradi- The steps for fading two photos using a gradient are basically the same as the ent occurs in the sky each day during sunrise soft-brush method in the previous technique. Turn off the layer visibility icon of the original layer. In the resulting dialog, choose White from the Contents menu shown here at right and click OK.
Once the mask is filled with white you can see the entire cat close-up photo. Remember that in the realm of layer masks, black conceals and white reveals! In the options bar, click the down-pointing triangle to the right of the gradient preview to open the Gradient picker.
Make sure that the Mode menu is set to Normal and that Opacity is percent. Click to open the Gradient picker shown here. As soon as you release your mouse button, Photoshop plops the gradient into the layer mask, which fades the photos together. The pro- gram includes all manner of shapes that are handy for masking, including Rectan- gle, Rounded Rectangle, Ellipse, and Polygon tools, as well as a Custom Shape tool that you can use to access a plethora of built-in shapes leaves, flowers, animals, and so on.
Transform command. That way, you can experiment with image size multiple times without losing quality that is, try not to enlarge the photo vastly beyond its original size. Indeed, if you use Free Transform on a regular image layer more than twice, you can end up with pixel pudding. The shape tools live near the bottom of the Tools panel. Click it and hold down your mouse button until a menu appears, and then choose the Ellipse tool.
Putting the tool in Path mode instructs Photoshop to create a shape outline, instead of creating a shape layer or filling the shape with pixels. E Tip: To draw a perfect shape—say, a circle or a square—Shift-drag with that particular shape tool. You see a thin line, named a path, as you drag. When you let go of the mouse button, Photoshop opens the Properties panel, which you can close click the double-arrow icon at its upper right, which is circled here. To move the path after you draw it, press A to grab the Path Selection tool its Tools panel icon is a black arrow , click the path to activate it, and then drag to move it wherever you want.
Because the path you drew with the shape tool is vector- in the options bar. You can resize a vector mask at any time without losing quality. In this case, you could activate the vector mask and then resize it using P Note: Vectors Free Transform.
Click within the Free Transform bounding box to reposi- tion the photo atop the other one. Now click to activate the layer thumbnail not the mask , and then increase its size slightly using Free Transform as described earlier. Drag within the bounding box to reposition the photo inside the mask. If the sliders are grayed out, single- click the mask thumbnail in the Layers panel to activate it.
Close the Properties panel. If you decide to adjust the feather amount later on, reopen the PSD from within Lightroom and then repeat this step to access the Feather slider. You’ll learn how to import, organize, correct and add creative color effects in Lightroom using global and local editing tools, as well as how to merge multiple exposures and stitch panoramas.
In Photoshop, you’ll learn practical techniques for combining photos, pro-level retouching, creating precise selections, masking, turning a photo into a painting and pencil sketch, and adding creative blur effects. Back in Lightroom, you’ll learn how to show off your masterpieces by exporting them en masse, sharing via social media, creating fine art-style signed print layouts, slideshows, photo book, and web gallery projects.
Lesa Snider, photographer and founder of PhotoLesa. Lesa has recorded over 40 video courses on topics such as image editing, graphic design, and stock photography. Her tutorials are featured on Adobe. Lesa Snider, internationally acclaimed author and speaker, is on a mission to teach the world to create better imagery. Lesa has recorded over 40 video courses on image editing, graphic design, and shooting stock photography for a variety of training companies. She writes the weekly Creaticity column on Macworld.
Lesa also served as iStockphoto. Lesa is a founding instructor for CreativeLive and had the honor of handpicking instructors for their very first Photoshop Week event. Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness. Previous page. Sticky notes. On Kindle Scribe. Publication date. August 30, File size. See all details. Next page. Due to its large file size, this book may take longer to download. Get it Dec 16 – Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1.
Adobe Photoshop Classroom in a Book release. Conrad Chavez. Rafael Concepcion. Andrew Faulkner. Scott Kelby. Brief content visible, double tap to read full content.
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Adobe lightroom cc and photoshop cc for photographers classroom in a book lesson files free download.Adobe Photoshop CC and Lightroom CC for Photographers Classroom in a Book, Second Edition [Book]
Adobe Lightroom Cc And Photoshop Cc For Photographers Classroom. In A Book. download most of the same images used. CLASSROOM IN A BOOK ® The official training workbook from Adobe Lightroom CC and Photoshop CC for Photographers Adobe. Adobe Lightroom CC and Photoshop CC for Photographers Classroom in a Book [Snider, Lesa] on replace.me *FREE* shipping on qualifying offers. video tutorials, the course comes complete with lesson files, Adobe. Lightroom and Photoshop CC for Photographers Classroom in a Book®. Adobe Lightroom CC and Photoshop CC for Photographers Classroom in the projects in the book (lesson files also provided on DVD-ROM with.
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Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Verified Purchase. I am very impressed with its tips on how to use the two programs together.
I have learned much even though I did not make use of the online resources or other materials–although I might do so in the near future.
I only wish the book were bigger and had more tutorials on the program’s tricks and effects. That is how much I am impressed with this book. Four stars.
This book fit the bill nicely. I bought the ebook version, loaded it into my ipad and I propped the reader in front of me while I did the exercises on my computer. I find this arrangement much easier than trying to maneuver a large paper volume with one hand and working the computer with the other.
Most of the exercises are well thought out and were easy to follow but I’m not sure I would recommend this to a beginner. Excellent and largely easy to follow.
There were just a couple of instructions that did not work when I tried to use them, BUT I am very pleased with the book and its efficacy overall.
Hope my photographs will improve now ;. It’s every bit as good as all the other books in the Classroom in a Book series. For the subject matter, you can’t do better than this book. Good info,easy to follow. I really hate the cover photo. It’s as if the model has a bad disease. Yes it just works by reading Read and understand the concept apply then you’ll understand. Can’t say more just by reading.
Very informative and online videos that take you through each lesson. Great book. Very informative. Peach pit publushing has online videos to take you step by step through each lesson. Working through this book increased my Lightroom and, especially, my Photoshop abilities immensely. The exercises are easy to follow and reproduce by starting with the photo files available by download. Participation is voluntary. Pearson collects information requested in the survey questions and uses the information to evaluate, support, maintain and improve products, services or sites; develop new products and services; conduct educational research; and for other purposes specified in the survey.
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Pearson uses this information for system administration and to identify problems, improve service, detect unauthorized access and fraudulent activity, prevent and respond to security incidents, appropriately scale computing resources and otherwise support and deliver this ссылка and windows 10 manager free services. Only the commands pbotographers options used in the lessons are explained in this book. Plus, Adobe broader and Photoshop is deeper.
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