Photoshop for Photographers Introduction Course

A Comprehensive and Fun course for serious beginners.

If you've been meaning to learn Photoshop, but haven't found an affordable class, with a knowledgeable teacher, at a convienient time, this may be the class for you.

Day One

Photoshop Fundamentals: 9:00 - 10:15

Navigating in Photoshop - How to organize your screen and working environment to access and use Photoshop's features most effectively. Using ArtistKeys to set up your Actions Palette and Function Keys. Setting up and using BarrysPhotoBrushes and the Artistry7ToolPresets. (Chapters xxi, 3)

General Issues - tips and tricks with the Photoshop 7 Tool, Layers, Channels, Info, Picker, Navigator, History, Actions, Batch Processing and other palettes. Taking advantage of the improved color correction and measurement features in Photoshop 6 and 7. (Chapters xxi, 3)

The Tool Palette - The many, and sometimes hidden, features of the Tool palette. For those who do a lot of painting and retouching, this is a must. (Chapter 4)

Selections, Masks and Channels - An overview discussion of the differences between and uses of selections, masks and channels to help you feel comfortable with these concepts. (Chapters 6, 7)

Break: 10:15 - 10:30

Color Correction and Calibration: 10:30 - 12:00

Color Spaces, Preferences and Calibration - monitor, scanner and output calibration using ICC profiles and Photoshop 6 and 7's color model and calibration support; understanding Color Spaces, Device Characterization and Color Management to correctly deal with scanner, monitor and printer calibration for predictable input and output to the web, desktop and high end digital printers as well as CMYK print. (Chapters 13, 14, 15, 16)

Overall Color Correction - The first things done to a normal image after it is scanned: using Levels for Overall Color Correction to set highlights and shadows, overall brightness and contrast, and to correct for color casts; using Hue/Saturation to saturate overall and adjust specific colors; and using Curves to learn the art of tweaking certain color and brightness ranges. When Overall Color Correction is done, fine tune the your image by removing spots and scratches, and by dodging or burning dark and light image areas-things you could do in a normal darkroom, but digitally it's a lot easier, and you have greater control. (Chapters 17, 19)

Changing Colors and Fine Tuning - Using Color Range and Replace Color to easily isolate all the yellow flowers and change their colors. Using Selective Color to fine tune those colors after RGB to CMYK conversion. (Chapter 21)

Correcting Problem Images - Overall color correction using Levels, Curves and Hue/Saturation on a problem image with unbalanced colors that also doesn't have a good highlight or shadow position. Final adjustments of particular off-color and dark areas using Selections, dealing with out-of-gamut colors and using Unsharp Mask to sharpen. (Chapter 20)

Color Matching Images - How to make sure the colors, tones and moods match when you have more than one photograph of the same object(s) on a several page spread, and how to quickly make a series of studio photos match even if they start out as different colors. (Chapter 22)

Lunch: 12:00 - 1:15

Layers for Masking and Compositing: 1:15 - 2:45

Introduction to Layers - An overview of the functionality, features and usage of Layers.

Hard and Soft Edge Masks - Automatically creating a knock-out using Levels or Threshold on a channel copy, editing a mask, combining images with hard and soft edge masks and the Gradient tool. Creating an adjustment layer correction while viewing a problem area, inverting the adjustment layer mask then airbrushing the right amount of correction into each of the problem areas. (Chapter 27)

Sienna and Green Trees - Advanced digital darkroom techniques are more than just effects and cyberspace. Here we use Layers, Adjustment Layers, Threshold and Unsharp Mask for greater control of color, detail and sharpness in a landscape photograph.

Mount Rainier - Using Layers to combine two bracketed photos of the same scene--one for maximum shadow detail and the other for maximum highlight detail--color correcting this difficult yet exciting image and using several layers of the final image, along with different opacities and calculation effects on each, to achieve a dramatic result. (Chapter 26)

Break: 2:45 - 3:00

Calibration of Film Scanners, Monitors and Epson Printers: 3:00 - 4:30

Calibration of Scanners and Getting Better Scans - How to use Monaco EZ Color and your scanning software to get the best calibrated scans from your film and flatbed scanners. Do you need a profile for your scans at all? Doing 16 bit verses 8 bit scans. (Chapter 16)

Calibration of Monitors and Epson Printers - How to use Photoshop Curve and Hue Saturation canned profile tweaks, Monaco EZ Color, Color Vision Optical and other tools, techniques, products and services to get the best calibrated results from your Monitors and Epson printers. Barry uses the Epson 7600, 2200, 1280 and 2000P and has experience with a variety of calibration products and approaches. (Chapter 16)

If you have any questions or comments about
Advanced Photoshop 7 Techniques please e-mail us.