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Four micro mask adjustments

From: Photoshop CS5 One-on-One: Advanced

Video: Four micro mask adjustments

In this final exercise, we are going take a look at four micro problems with our layer mask. So these little problems that remain, we have to zoom in to even see them, and we are going to take care of each one of the problems using a different solution. But the solution share this in common, first of all, they are manual solutions. Secondly, they are old school, and they don't require any newfangled CS5 options that are semi-impossible to understand, so that's cool! And I've gone ahead and saved my progress as Last remaining issues.pst.

Four micro mask adjustments

In this final exercise, we are going take a look at four micro problems with our layer mask. So these little problems that remain, we have to zoom in to even see them, and we are going to take care of each one of the problems using a different solution. But the solution share this in common, first of all, they are manual solutions. Secondly, they are old school, and they don't require any newfangled CS5 options that are semi-impossible to understand, so that's cool! And I've gone ahead and saved my progress as Last remaining issues.pst.

Anyway, I am going to go ahead and zoom in on my image, and I've pressed the L key in order to select my lasso tool here. And notice we just finished fixing up this region, that's currently lasso. Let's go ahead and click off the selection to deselect it. Notice when I am zoomed into 200% here, I can see this slight halo on the right side of the knuckles, and if I wanted to fill in this area, well, first of all, I would make sure my layer mask is active. That's very important. Click on it here inside of the Layers panel, and we were working on the refinement layer, because the original Sunny layer is currently turned off.

I am going to select this general region like so, up and down the knuckles, down into the intersection of the sweater and back up. And then I will grab my Rectangular Marquee tool right here, and I will press the Alt key and the Option key on the Mac, and I will scalp away the top of that lasso down to the Horizon line between the ocean and the sky. And so, this area is selected nothing more. Now with the layer mask selected, here's what you do. Assuming that we're working with the selection tool, you press Ctrl+Alt+Left Arrow; that's Command+Option+Left Arrow on the Mac, and what we just did was, by virtue of the fact we had the control or command key down, we nudged that selected region.

By virtue of the fact we also had Alt or Option key down, we cloned it as we nudged it, so we moved a clone of the image over one pixel to left by virtue of the fact we pressed the left arrow keys. All right, now let's check out the shoulder region. This is kind of a mess actually. Let's go and zoom in on it once again and Alt+Click or Option+Click on the layer mask thumbnail, so you can see what's going on here. This is the shoulder. Notice how we have this region of light graze right along the shoulder detail, and this was a detail that was added by the Refined Mass command and what it's doing is it's making portions of the sweater translucent, so wherever we are seeing the slightest gray, we are introducing a bit of translucency to that sweater.

And so this is what we need to do in order to fix the problem. I am going to go ahead and scroll over just a little bit, so I can see the far right side of my image, and I am going to go ahead and draw a lasso outline like this, right into the intersection of the sweater along with her knuckles. That's what that detail is there. Having done then make sure you select his general region there. I want to go onto the select menu, and I want to choose modify and choose the feather. Now in this case we are modifying the selection outline, not the mask, and the reason we are feathering the selection outline to the tune of two pixels is so that we soften this transition between the area that we're affecting in the sweater in the area that we're not affecting with the knuckles.

So we just want a fairly soft transition at this point. Now I want you to firm up these details here. We can't really use on sure mess this time around. If we did, we'd have to apply a really high amount value on them, and I am worried we'd kind of destroy some detail around here. The better solution is to increase the contrast of this region just using the levels command. So I am going to go up to the image menu, choose adjustments and choose the Levels command. Or else you can just press Ctrl+L, Command+L on a Mac, and then I'll make the shadow detail darker by increasing that black point to 30.

So we are grabbing all this area of darkness here and making it black, and that firms up the dark side of that sweater, couldn't really see any problems there, but apparently we do have a fair amount of very dark pixels that ought to be black. Now then, let's go ahead and drag the white point down in order to brighten up the light graze on the inside edge of the sweater, and I am going to take that value down to let's say 185, in order to make anything that currently has a luminance level of 185 or brighter white.

And that's going to firm up that edge like crazy, click OK. And let's take a look at the full color composite by Alt+Clicking or Option+Clicking on that layer mask once again, so this is the before version of the sweater. Notice how soft those transitions are and how much blurriness we have and translucency, and this is the after version, thanks to that firmed up mask. You may see this little white edge right there. That's an original detail inside of her sweater. All right, let's click off the selection; we have a nice transition there between the areas we edited on the shoulder and the areas we modified on the knuckles.

Let's go ahead and zoom out. Let's scroll over to this side of the image right there her neck. I'm going to grab this region like so with a lasso tool work fairly quickly this time around I don't want a harm any hairs, because when things that Refined Mass command really got right was the hair detail. Let's go ahead and feather the transition once again by choosing a feather command under the modify submenu, under the select menu, and a two pixel radius works great. Click OK. That'll just make sure we have a soft transition right at that point, and I want to firm up this edge by going up to the Filter menu, sure enough, Under Mask is my last used filter, and an amount value of 200% is fine, radius of two pixels is fine, threshold of zero, deal. That's great.

Click OK. That actually helps that area out a lot, and then if we are at all concerned that we still have a little bit of light edge, we could take advantage of that trick once again, where you pressed Ctrl+Alt here on the PC, or Command+Option on the Mac at the same time as an arrow key, so I can press Ctrl+Alt+Right Arrow key - that would be Command+Option+Right Arrow key on the Mac - in order to scoot that portion on the mask over. All right, the final problem with this mask, in so far as I'm concerned, you may find other issues, but this is the area that's bugging me.

On the inside edge of the index finger right next to the woman's cheek, we have got just this horrible little triangle of detail, and if I Alt click or Option Click on the layer mask in order to reveal what the mask looks like at that location. It's still a surprise. It looks awful, because what is that blob right there? Let's go and just get rid of it. Select that region with a lasso tool and White happens to be my foreground color, as you can see. So I am going to press Alt+Backspace or Option+Delete to fill that area with white, great! It's no longer masked.

I still need to mask it away, so I am going to Alt+Click or Option+Click on the layer mask in order to return my view to the RGB composite, but my layer mask is still active, very important. Now look inside of here, not only do we have this sort of blue triangle which is the expose blue from her original background, but we also have this weird brownish halo that was created by the decontaminated color check box inside the refined mass dialog box so that was its contribution to this detail, well, it all needs to go away. You know what? It's a triangle.

I am not going to try to apply any fancy masking techniques, so I am just going to make sure that I've got the lasso tool selected, nothing inside the image is selected. I can confirm that by pressing Control+D, Command+D on the Mac, and then I can press the Alt key or the Option key. So press and hold Alt or Option, keep that key down, and that will give you access to the polygonal lasso function like so, and notice that I'm just setting corners in this little triangular area, and once I have selected it, I am going to confirm that my layer mask is active, which it is. My background colors black, because I want mass that area way, I want to fill it up with black, so I am going to the press Control+Backspace or Command+Delete on a Mac and click off of it.

That's a great mask. My goodness, so I have a little bit of bright edge right there, who's going to see that unless it's zoomed in at 400%, the way I am. As soon as I zoom out, the composition and ends up looking absolutely hunky-dory. So moral of the story, nothing against the newfangled automation features, I will go on record as saying, the edge detection functions, including the radius value, and the Smart radius check box, and the refined radius tool are all excellent enhancements to CS5. However, you can only push them so far, and once you've done as much as you can do with those features, you sometimes need to bring in the old-school techniques just as we did here.

So a blend of new school and old school ends up generating the perfect layer mask here inside Photoshop CS5.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Advanced
Photoshop CS5 One-on-One: Advanced

247 video lessons · 33056 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 2s
    1. Welcome
      2m 1s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
      34s
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time
      55s

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