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There's no program like Photoshop for editing photographs and creating photorealistic artwork. And there's no Photoshop teacher like industry expert and Photoshop Hall-of-Famer Deke McClelland. In Photoshop CS4 One-on-One: Fundamentals, Deke examines the essential capabilities of the application, from correcting color to retouching portraits. He also covers navigation, resolution, cropping, selecting, printing, and making web graphics. This course goes beyond basic tips and tricks, and provides the in-depth information and real-world context needed by serious students who want to master the software. Exercise files accompany the course.
Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.
Now it's very possible that many if not most of you have never really used Photoshop before, or you are not very comfortable inside the program. You've poked around, you've tried a few things but you haven't been very satisfied by the results. That's really of course, the idea behind this entire series, this Photoshop CS4 One-on-One Series is to bring you totally up to speed and believe me by time you are done, if you put in the time, you are going to be extremely well-versed in Photoshop and very comfortable with the program. But you may not be that way at this point, so what I want to do is kick things off by giving you a sense of what a professional level image editing application in general and more specifically what Photoshop can do. What kinds of image editing miracles it's capable of pulling off, and this is a pretty big one, as you are about to see.
So unlike every other chapter in this series where I ask you to work along with me if you can, if you are a premium member or you have access to the DVD and you have the Exercise Files then go ahead and open them up and work along with me. In that way you are going to gain the best experience out of this series. This time though, I just want you to sit back and relax. You can open the images, they are all found inside the Exercise Files folder, but I would rather you didn't do that. I'd rather you just watch, because I am going to be working through this project fairly quickly and I am not going to give you the detailed information you would need in order to follow along.
All right, so here is the idea. We are starting up with this image here. It's a photograph of the Stanley Hotel, very posh and very well known in the state of Colorado and there is a few things just kind of wrong with this image in general. The composition is really not tremendous and the lighting is terrible and the color is drab and I am shooting the image out of a moving car. I am actually the passenger in a moving car shooting this image, I believe through a shut window because we have this dark sort of shadow over here on the right-hand side of the image. It's a little bit of vignetting. A beautiful photo, right. I mean normally it's a kind of thing where I would just go, you know, and throw it away or at least ignore it.
The problem is I wanted this very photo. I like this composition for where I am going. I am sort of evaluating what I want to do with this image when I was shooting it. I want to turn this image into something very, very different because you can see this hotel here is not very remote. It's right next to this commercial real estate here and also it's not particularly scary. It should be both remote and scary, because this hotel, the Stanley was the inspiration for Stephen King's famous, The Shining, both the book and the movie and everything, were modeled after this hotel.
Now if you think of the movie with Jack Nicholson and Shelley Duvall, you will recall that the hotel is actually a character that drives jack Nicholson insane and causes him to kill everybody around him and Shelley Duvall in particular had options. If this was the hotel, this was really it and he was asked to be caretaker of it, then Shelley Duvall could run over here to the Safeway, which would probably be open, but if not she could go over to the KFC, I believe they have longer hours and if she was really hard pressed and needed just a break, she could go over here to the movie theatre, right? But just a lousy image, it's not the least bit frightening.
What I am going to do over the course of the next few exercises is I am going to bring in this image right here, these rolling hills, and I am going to place them in front of the hotel in the foreground. So it's going to feel remote and we are going to apply a few other changes as well and we are going to finally get this dramatic composition right here, which you can see is stunning, right. We have great colors, we have great lighting, the hotel is potentially scary, even though we are seeing it not in the winter but in the summer. And we have got this great lettering, just a dynamic composition in general, which is possible thanks to the power of Photoshop and I will be showing you exactly how I assembled this composition, starting in the next exercise.
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