1. Introducing Camera RawWelcome| 00:00 | (Music playing.)
| | 00:06 | Welcome! My name is Chris Orwig
and I'm a teacher and a photographer.
| | 00:10 | I'm on the faculty of the
Brooks Institute of Photography in
| | 00:12 | Santa Barbara, California where we are
right now. And I'm going to be your host
| | 00:16 | and guide on this adventure, on this
journey that we are going to take into
| | 00:20 | learning how to use Camera Raw.
There is something that's kind of interesting
| | 00:24 | about travel and about exploration.
Do you know what travel does for you?
| | 00:28 | It teaches you something, it awakens
your senses. Here's what happens. You are
| | 00:33 | used to your surrounding environment,
you are used to what you see, the people
| | 00:36 | you see, the food you eat, then you
travel, let's say to another country, and
| | 00:39 | all of a sudden you taste new foods
and you see new sites. That awakens, or
| | 00:43 | enlivens your senses, and then you go home.
And then back at home, there is
| | 00:48 | something that you have seen before,
you've seen it a hundred times, but it
| | 00:50 | never was really interesting to you,
but now your awareness of the object has
| | 00:54 | been heightened and it has been
increased and somehow traveling teaches you
| | 00:58 | something really unique. And so what
we're going to do in this training title
| | 01:01 | is we're going to travel into the
wonderful world of Camera Raw. And Camera Raw
| | 01:05 | is kind of fascinating, because what
we can do is we can process our images
| | 01:08 | really without ever going to Photoshop.
We'll learn how to correct the exposure
| | 01:12 | and the tone and recover highlights.
We'll look at increasing contrast or
| | 01:16 | increasing clarity, working with color
in regards to Vibrance and Saturation,
| | 01:21 | we'll look at the tone curve. We're
going to learn everything that we need to
| | 01:24 | know about the interface. We'll
learn some other things that are quite
| | 01:26 | photographic, like converting to black
and white. And converting to black and
| | 01:30 | white is kind of interesting because
one of my photographic colleagues was fond
| | 01:33 | of saying, he said, you know, in
photography a lot of times you need to reduce
| | 01:36 | and simplify. Well, what happens when
we remove or reduce color? Well, somehow
| | 01:40 | we can add a bit more to our photographs.
Like Ansel Adams used to say,
| | 01:44 | paraphrasing here. He said I shoot
in black and white, because if I shot in
| | 01:48 | color, people would expect reality.
I don't want to give them reality; I want
| | 01:52 | to give them my experience and what
I witnessed. That's one of the reasons why
| | 01:56 | he used black and white. So we're going
to look at how do we create compelling
| | 01:59 | black and white photographs. In addition,
we'll talk about how do we sharpen
| | 02:02 | our images, how to reduce noise.
And so we're going to get into all these
| | 02:06 | different aspects of Camera Raw. So as
you can tell, I'm pretty excited about
| | 02:10 | Camera Raw and I hope you enjoy this
training title and know this. It is a real
| | 02:15 | distinct honor and privilege to
partner with you in this training adventure.
| | 02:19 | So without further delay,
let the adventure begin. Bye for now.
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| What is Camera Raw?| 00:00 | Ever since Adobe Camera Raw was
introduced a few years ago it has taken the
| | 00:04 | digital imaging and the photographic
communities by storm. And now Adobe Camera
| | 00:08 | Raw is even better.
| | 00:10 | What's the big deal with Adobe Camera
Raw, why use Adobe Camera Raw? Well, you
| | 00:13 | can use Adobe Camera Raw, in order to
take an image like we have here on the
| | 00:16 | left and make it look like this image
on the right. You can really make your
| | 00:20 | images come to life; you can use Adobe
Camera Raw in order to create compelling
| | 00:24 | photographs. And here we can see the
image on the left, it's a little bit flat,
| | 00:28 | it's a little bit desaturated and we
can bring out those colors and even more
| | 00:32 | with Adobe Camera Raw.
| | 00:34 | Now before we actually start to talk
about Adobe Camera Raw I want to step back
| | 00:38 | for a moment and I want to talk about
raw capture. Now there is a difference
| | 00:41 | between Adobe Camera Raw and between
raw capture. So let's talk a little bit
| | 00:45 | about the issue of raw capture.
| | 00:47 | Now when you have a digital camera,
you capture image on your sensor and the
| | 00:51 | sensor is king/ You can kind of think
of your sensor like traditional film in a
| | 00:55 | traditional camera. Now when you
shoot in a JPEG format there is a lot of
| | 00:59 | processing that goes on. Bayer
interpolation, white balance, contrast,
| | 01:02 | saturation, etcetera, JPEG compression,
and eventually you get the JPEG file.
| | 01:07 | So the JPEG file isn't as good as the
raw file because when you shoot in the
| | 01:12 | raw format you get the raw
information right off the sensor without any
| | 01:16 | processing. So why am I talking about
capture in this discussion of Adobe Camera Raw?
| | 01:21 | Well, previously we could only raw
process raw files. Well, now with Adobe
| | 01:27 | Camera Raw we can process raw files,
JPEG and TIFF files. Now ideally, you
| | 01:32 | shoot in that raw format because then
you have the most flexibility. You can
| | 01:36 | modify your image most significantly
when you shoot in the raw format and when
| | 01:40 | you process that image with Camera Raw.
But you can also process those JPEG and
| | 01:44 | those TIFF files as well.
| | 01:45 | All right, well, now that we know a
little bit about capture, let's go ahead
| | 01:49 | and talk about how we actually modify
the pixels. So when we are using Adobe
| | 01:52 | Camera Raw, we have the actual pixels.
Now that could be a raw file, a DNG file,
| | 01:56 | a TIFF file, a JPEG, whatever. We
then say, okay, we're going to open this
| | 02:00 | image up in Camera Raw. We're going
to make a few modifications. Now those
| | 02:04 | modifications don't actually affect
the real pixels, rather there is a little
| | 02:08 | set of instructions. You can almost
think of the instructions like a little
| | 02:11 | file next to the image and those
instructions say, hey, you know what, I want
| | 02:15 | to render this image this way, I want
to get creative with color, or perhaps
| | 02:18 | this way, or perhaps I want to
convert it to black and white.
| | 02:21 | So the whole point here is when you
use Adobe Camera Raw to process raw files,
| | 02:26 | JPEG, or TIFF files, you are not
actually modifying the pixels. Now why is that
| | 02:31 | a big deal and why is that so exciting?
Well, it's so exciting because that
| | 02:34 | means all the adjustments that you
make are completely non-destructive.
| | 02:38 | That means that you can undo
those adjustments at any time.
| | 02:41 | All right, well now that we know a
little bit about raw capture and about Adobe
| | 02:44 | Camera Raw, let's talk a little bit
more about some of the benefits of using
| | 02:48 | Adobe Camera Raw and we'll
do that in the next movie.
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| Benefits of using Adobe Camera Raw| 00:00 | Undoubtedly, one of the main reasons
why you want to use Adobe Camera Raw is in
| | 00:04 | order to create compelling photographs.
Now here we have this great photograph
| | 00:09 | of the desert out in California and I
like the road, I like the clouds, I like
| | 00:12 | the scenario, yet the image is just a
little bit flat. Well, not to worry.
| | 00:16 | We can use Camera Raw in order to bring
this image to life and here we've just
| | 00:19 | stepped things up a bit. Now we're
going to take it even further. Now let's say
| | 00:23 | all of a sudden we're kind of getting
excited about this image then we decide
| | 00:25 | to convert it to black and white.
| | 00:26 | So we convert to black and white, and
we're a little bit let down, right? The
| | 00:30 | image has fallen a little bit flat.
Well, we decide to modify it even further
| | 00:34 | with our Camera Raw controls and we
bring it to life and all of a sudden we
| | 00:37 | come up with this particular black and
white conversion and it looks stunning!
| | 00:41 | It looks breathtaking!
| | 00:43 | Where was that image originally? Well,
it came from here, and even back to that
| | 00:47 | color image here, and then all of a
sudden we brought it to here, from the
| | 00:50 | original color file to this black and
white conversion. So why use Adobe Camera Raw?
| | 00:55 | Well, you can make all of these
adjustments and more nondestructively.
| | 01:00 | What that means is you can make these
adjustments in a real flexible way.
| | 01:03 | You can always undo them. In addition,
you can make these modifications, these
| | 01:08 | corrections, these enhancements really
quickly. Now the nice thing about using
| | 01:12 | Camera Raw is you don't have to wait
to render or save the file. Now think
| | 01:16 | about that for a second. Because
you're not saving the file, because it's not
| | 01:19 | actually affecting the pixels, you're
not going to increase the file size and
| | 01:23 | it's not going to slow down your
overall workflow and ultimately what this
| | 01:26 | leads to is to helping you to become
more creative. In order to create more
| | 01:31 | compelling and engaging
and intriguing photographs.
| | 01:34 | So for me, if there is one reason to
use Adobe Camera Raw, it is in order to
| | 01:38 | create breathtaking and stunning photographs.
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| The Digital Negative| 00:00 | In introducing the topic of Camera Raw,
any conversation would be incomplete
| | 00:04 | without talking about the DNG format.
Now what exactly is the DNG format and
| | 00:10 | why does it matter? Let's dig into
that topic by first opening up the slide
| | 00:14 | here. Select the image and then we're
going to go to Full Screen View mode.
| | 00:17 | This is a new feature inside of Bridge CS4.
| | 00:19 | Press the Spacebar key. That will open
this image up in Full Screen View mode
| | 00:23 | and that's kind of helpful because we
can focus in on the content here. Now DNG
| | 00:27 | stands for the Digital Negative. It's
Adobe's proposed standard for an open,
| | 00:31 | non-proprietary raw format. Now
what's the deal with this non-proprietary
| | 00:36 | nature of this raw format? Well, when
you capture an image on your digital
| | 00:40 | camera, it's in that camera
manufacturer's raw format.
| | 00:43 | Now on the other hand, the DNG, you
can kind of think of it like a container
| | 00:47 | and it contains all of the original
information and it's wrapped up in this
| | 00:51 | little container. Now why then would
you want to use this format? Well, let me
| | 00:55 | go through these bullet points here.
For starters, you don't need sidecar XMP
| | 00:59 | files. Now you may be thinking what are
sidecar XMP files and why do they matter?
| | 01:03 | Well, I'm going to go ahead and open
up my Finder window here, where I have a
| | 01:06 | Demo folder. In this Demo folder, I
have a raw file and a DNG file and both of
| | 01:12 | the images have been processed the
same way. They're both the exact same
| | 01:16 | photos. Now, in the first image here,
you can see the raw file and you can see
| | 01:20 | that it has been processed and we
know that because we have the sidecar XMP
| | 01:24 | file. Those are the little set of
instructions that say display this image this way.
| | 01:29 | Now down below I have a DNG file. You
can create a DNG file either using a DNG
| | 01:34 | converter, which we'll talk about in
the next chapter, or by opening an image up
| | 01:38 | in Camera Raw and choosing Save and
then choosing the DNG format. Now let's
| | 01:42 | compare these two files. Well, for
starters, we're going to notice that this
| | 01:46 | DNG file is a little bit smaller.
I'm going to go ahead and drag this window
| | 01:50 | down just to highlight some of our pros.
| | 01:52 | One of the advantage of using the DNG
format is it contains a preview, as does
| | 01:57 | the CR2, yet in addition we have
lossless compression, smaller file size. Now,
| | 02:02 | any time I can save a little bit extra
size I'm all about that. The next point
| | 02:07 | here is that DNG format gives you more
archival confidence. What I mean by this
| | 02:12 | is that you have to think about, am I
going to able to open up and process this
| | 02:15 | Raw file 5 years from now, 10 years
from now, 20 years from now, 30 years from now?
| | 02:19 | Am I going to trust the proprietary
raw processing that's been created by
| | 02:24 | the camera manufacturer or on the
other hand am I going to trust Adobe who is
| | 02:28 | in the business of
software and of raw processing?
| | 02:31 | So in my case, I actually convert all
of my raw files to the DNG format and I
| | 02:35 | do that for these reasons that I've
listed here. Now there is a little bit of a
| | 02:39 | debate, right? Some people say, you
know what, I want to maintain the original
| | 02:42 | file because I think that camera
manufacturer has some secret ways of
| | 02:46 | processing this file and I want to
able to access those. Yet keep in mind,
| | 02:50 | there are ways to create a DNG file
and maintain all of the original pixels.
| | 02:53 | Think of the DNG format as a
bit of a Tupperware container.
| | 02:57 | All right. Well, I'm going to go
ahead and navigate back to the slide.
| | 02:59 | What are the cons? Well, some of the
negatives are that you're converting your
| | 03:02 | proprietary raw files and for some
people that's a little bit of a letdown and
| | 03:06 | in addition, that file can then not be
opened by the proprietary Raw converter.
| | 03:11 | Yet in my own workflow I found this DNG
format to be absolutely phenomenal. Now
| | 03:15 | in your workflow, you're going to have
to make the decision either to stay with
| | 03:18 | the raw file or to convert to the DNG format.
| | 03:21 | In order to dig deeper into this topic,
I'm going to go ahead and open up my
| | 03:24 | web browser and navigate to adobe.com/
products/dng, where you can get some more
| | 03:30 | information about this particular raw format.
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| Camera Raw resources| 00:00 | In this brief movie, I want to share
with you two places where you can go in
| | 00:03 | order to get more information about
Adobe Camera Raw. The first place is
| | 00:07 | www.adobe.com/products/photoshop/
cameraraw. You can also find this location by
| | 00:13 | simply doing a quick Google search
for Camera Raw and here you can get some
| | 00:17 | more valuable information about Camera
Raw and about Digital Captures. So it'd be
| | 00:21 | worth navigating to that site in
order to dig a little bit deeper.
| | 00:25 | I also want to highlight where you can
find the most recent Camera Raw update.
| | 00:28 | Now Adobe Camera Raw is one of the
software applications that's updated most
| | 00:32 | frequently and it's updated
frequently in order to keep up with a different
| | 00:36 | release of cameras and in addition in
order to make Camera Raw even better.
| | 00:41 | So if you navigate over to adobe.com
/support/downloads/new.jsp, you can go
| | 00:48 | to the most recent downloads and then
all that you need to do is scroll down to
| | 00:51 | the Photoshop section. When I scroll
down the Photoshop section, the most
| | 00:54 | current update at this point is
Camera Raw 4.6, which was just released.
| | 00:59 | Now when you go to this particular
location you will see a different version of
| | 01:02 | Camera Raw. The higher the number,
the more recent version Camera Raw and all
| | 01:06 | that you need to do would be to click
on that link and then it would take you
| | 01:09 | through the download and install instructions
in order to update your version of Camera Raw.
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| Using the exercise files| 00:00 | If you are a premium member of the
lynda.com Online Training Library or if you
| | 00:04 | are watching this Camera Raw
tutorial on a disk, you have access to the
| | 00:08 | Exercise Files used throughout this
training title. Now if you are a monthly or
| | 00:12 | an annual subscriber to lynda.com,
you don't have access to these Exercise
| | 00:15 | Files, but you can follow along from scratch
or you can always use your own photographs.
| | 00:20 | Now in order to access the exercise
files, you will notice that there is a
| | 00:23 | folder titled Exercise Files. You can
go ahead and double-click that to open it
| | 00:27 | up and here you can see all of the
different files that we will be using in
| | 00:30 | this movie. You will notice that
these are divided up into the different
| | 00:34 | chapters. Now in order to open
these up inside of the Adobe Bridge, the
| | 00:37 | quickest way to do that is to click
on the folder and drag it to the Bridge
| | 00:41 | icon and that will then open up that
folder in the Adobe Bridge, or of course,
| | 00:45 | you can use the Adobe Bridge to
navigate to the folder another way as well.
| | 00:50 | Then from there you will go ahead and
click on the chapter that we are working on;
| | 00:53 | let's say we are in Chapter 11, we
will click on that Chapter 11 folder and
| | 00:57 | then we will be able to see all those photographs
that we will be using in that particular chapter.
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|
|
2. Initial Camera Raw ConsiderationsIntroducing Adobe Bridge CS4| 00:00 | In this initial movie I want to talk
about the Adobe Bridge. Now you may be
| | 00:03 | thinking, Chris, why we are talking
about the Adobe Bridge when this whole
| | 00:06 | training title is about Camera Raw?
Well, we need to know a little bit about
| | 00:10 | Bridge because we are going to be
using Bridge quite often in order to take
| | 00:14 | full advantage of Camera Raw. Now if
you already know a thing or two about
| | 00:17 | Bridge, feel free to skip these movies,
skip ahead, but if you don't, if Bridge
| | 00:21 | CS4 is new to you, you may learn
a thing or two in these movies.
| | 00:25 | All right. Well, for starters,
let's talk about the Bridge interface.
| | 00:28 | We have all these different panels. They
are kind of interesting, right? We have
| | 00:31 | our Folders and our Favorites, we have
the Content panel, Preview panel, then
| | 00:35 | down below I have a Metadata panel.
Well that's kind of hiding. Well, how can I
| | 00:38 | bring that up? Well here's what I can do.
| | 00:40 | I'll go ahead and double-click on the
name Metadata; it will then expand that panel.
| | 00:43 | Double-click it again to close it.
Interesting. Let's go ahead and open
| | 00:48 | it up again. Another thing that I
can do is hover over the dividing line
| | 00:51 | between the two panels and click and
drag, and I'll go ahead and drag this
| | 00:54 | down. Now I have customized my
workspace. Now here's something kind of
| | 00:59 | interesting in regards to workspaces
in Bridge CS4: it remembers how you
| | 01:03 | customize your workspace. Let me show you.
| | 01:05 | I'm going to go ahead navigate to the
Filmstrip workspace. Now here I'm going
| | 01:10 | to customize this workspace so I have
really big thumbnails. All right, great.
| | 01:14 | I'll go back to the Essentials
workspace by clicking on the button up top.
| | 01:18 | Now when I navigate back to Filmstrip, how
big will these thumbnails be? Well, they
| | 01:22 | will be the exact same size as I left
them. So Bridge has built-in memory.
| | 01:27 | No more saving workspaces. That
saves the customization for you.
| | 01:31 | Well, let's go back to the Essentials
workspace. In this Essentials workspace,
| | 01:35 | I like this because I can focus in on
the images and let's say that what I want
| | 01:39 | to do is hide the panels on the right
and the left. Press the Tab key to get
| | 01:42 | rid of those, press it again to bring it back.
| | 01:45 | Let's say I want to change my thumbnails
size. Well Command+Minus on a Mac to go
| | 01:49 | smaller. That's Ctrl+Minus on a PC. To
make them bigger, Ctrl+Plus on a PC, or
| | 01:54 | Command+Plus on a Mac or you can use
this thumbnail slider down here as well.
| | 02:00 | All right now that I have nice big
thumbnails, let's say that I don't want to
| | 02:03 | see the extra information around the
thumbnail. I just want to see the image,
| | 02:06 | because I want to focus on the
image. Well press Command+T on the Mac,
| | 02:10 | Ctrl+T on the PC, T for thumbnail,
and now I only view that thumbnail.
| | 02:15 | All right well so far so good. We're
getting familiar with this interface.
| | 02:18 | Let's say I want to focus in on this
image even more. Press the Spacebar key.
| | 02:22 | That will take it to this Fullscreen
View Mode. That's really nice. What if I
| | 02:26 | select multiple images, click and then
Shift-click and then press Spacebar?
| | 02:30 | Now I have multiple images open in
Fullscreen View Mode. Press the arrow keys to
| | 02:34 | scroll through those. Press the Spacebar
again to exit out of Fullscreen View Mode.
| | 02:39 | Talking about View Modes, there is one
more I just have to show you. We will
| | 02:42 | click on the first image, Shift-click
on the last image, navigate to View and
| | 02:46 | choose Review Mode. Now Review Mode
is really interesting. We have this
| | 02:49 | carousel of images. Use the right arrow
key, scroll through them or click on a
| | 02:53 | particular image, it will bring that
image to the front. Let's press the Escape
| | 02:57 | key and exit out of this View mode.
| | 02:59 | So again all that I'm trying to do
here is build up some familiarity with the
| | 03:03 | Bridge interface. Now, am I trying to
teach you everything about Bridge? No, not
| | 03:07 | at all. There are other training titles
that really go in depth into the Bridge
| | 03:10 | yet there are a few things that are
kind of helpful to know in regards to
| | 03:13 | Bridge and its interface. That's what
I'm trying to cover here. All right,
| | 03:16 | a couple of more items.
| | 03:18 | Well so for starters, we can see that I
have my folders here, my intro folder,
| | 03:21 | my chapter 2 folder, and then I have
this path bar. Well I click on an option
| | 03:25 | in the path bar, in this case
Exercise Files, and then I'll go ahead and
| | 03:28 | double-click the folder to go back to
that chapter 2 folder. So I can either
| | 03:32 | navigate here or over here. That's kind
of nice, two different ways to navigate.
| | 03:38 | My back and forward buttons, they work
just like back and forward buttons on a
| | 03:42 | web browser. I can go back and then
forward. I can also view recent files and
| | 03:46 | folders, get photos from my camera,
I can refine my search, select an image and
| | 03:51 | then open it up in Camera Raw. I can
go to my output module and then I have
| | 03:55 | some other options over here on the
right, those icons give me the ability to
| | 03:58 | view and preview thumbnails, to filter
my files, sort them, rotate, search for
| | 04:02 | recent files, create a new
folder or delete an image.
| | 04:05 | All right, well I'm aware that I'm
going a little bit quickly, yet keep in
| | 04:08 | mind the intent of this whole movie
was just to get to familiar with the
| | 04:12 | Bridge interface. Well now that we are
familiar with the Bridge, let's go ahead
| | 04:16 | and talk about a couple of important
preferences and we will do that in the next movie.
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| Essential Bridge preferences| 00:00 | In this movie, I want to talk about a
couple of essential Bridge preferences.
| | 00:03 | Let's go ahead and navigate to the
Adobe Bridge CS4 pulldown menu, and then
| | 00:07 | choose Preferences. This will then open
up the Preferences dialog. Now, we are
| | 00:11 | just going to look at three areas here:
General, and then Cache, and Advanced.
| | 00:16 | Now in the General preferences, there
are a couple of things that we want to do
| | 00:18 | here. We want to modify the Appearance.
Now we can change the appearance so
| | 00:22 | that our background looks completely
different in regards to the image backdrop
| | 00:25 | and the interface brightness. You can
see that in the background. I'll go ahead
| | 00:29 | and darken it up, because I think that looks
kind of nice to have a dark gray background.
| | 00:32 | Now, how dark you want to go? Well,
that really depends on your work
| | 00:35 | environment. You want to go somewhere
right around middle gray. If you work in
| | 00:38 | a bright environment as I do, my office
is pretty bright, you want to darken it
| | 00:42 | just a little bit underneath that. I'm
also going to change this Accent Color
| | 00:45 | to something like Crystal, and there
I can see I have a new accent color.
| | 00:48 | And you want to customize the Bridge,
so that it looks different just so that
| | 00:52 | you enjoy your time in the Adobe Bridge.
Couple of other things I want to point
| | 00:55 | out here, one is, if you are only
using the Adobe Bridge, and not another
| | 00:59 | program like Lightroom, you
definitely want to check this option: When your
| | 01:02 | Camera is Connected, Launch
the Adobe Photo Downloader.
| | 01:05 | Now in my own workflow, I actually use
Lightroom, so I'm going to go ahead and
| | 01:08 | check that off, but if you are not, you
definitely want to check that on. Now,
| | 01:11 | double-click edits your Camera Raw
Settings in the Adobe Bridge, we are going
| | 01:15 | to leave that off and talk more about
opening up our file in Camera Raw later.
| | 01:18 | Next you want to turn on Command-
click Opens your Loupe When Previewing or
| | 01:22 | Reviewing. That will prevent you from
accidentally opening up the Loupe tool.
| | 01:26 | Let's click OK here for a moment, and
go to my image. Now hold down the Command
| | 01:30 | key on the Mac, Ctrl key on the PC.
When I click on that, I can then see that
| | 01:34 | loupe preview right there. I'll go
ahead and click on that again to close it.
| | 01:38 | So with that preference, you
definitely want to have that open. Command Click
| | 01:41 | On a Mac, Ctrl-click on a PC to open
the loupe, so that you don't accidentally
| | 01:45 | open it. Okay, well so far these
preferences aren't that important.
| | 01:49 | The next one's really important, has
to do with your cache. By default, the
| | 01:53 | option is set to have a centralized
cache. You can see the Location right
| | 01:57 | there. Well that actually isn't the
best option. Yes, it does speed up your
| | 02:01 | overall workflow a bit, but usually
it's not worth it, here is why? One of the
| | 02:05 | things your cache contains is your
image previews, and so you have all of your
| | 02:09 | image previews in one location. You
have all of your eggs in one basket, so to
| | 02:12 | speak. If you ever move your images
to another hard drive, well that cache
| | 02:16 | doesn't go with those images.
| | 02:19 | So what you want to choose, you
definitely want to choose is this Automatically
| | 02:23 | Export Cache To Folders When Possible.
In that way, the little cache file will
| | 02:28 | be exported into that particular folder,
and then, you can take that folder,
| | 02:32 | the folder of images and transport it
to another hard drive, and you are not
| | 02:35 | going to lose any time in the long
run, and when you are working with Raw
| | 02:38 | files, this is especially important
because a lot of times, those Raw files are
| | 02:42 | really big. You don't want to have to
wait for the Preview to be rendered every
| | 02:46 | time you point to a particular folder.
| | 02:47 | All right, one more place to go. It's
the Advanced option. We want to click on
| | 02:52 | Start Bridge At Login. That way when
you fire up your computer, Bridge will
| | 02:56 | automatically be open. Then the
other option that you want to turn on is
| | 03:00 | Generate Monitor-Size Previews, if you
have a huge monitor. Let's say you have
| | 03:04 | one of those big Apple Cinema Screens.
Now the previews probably won't be big
| | 03:08 | enough for you, so it's going to have
to regenerate a preview that works for
| | 03:11 | your monitor. So if you have a really
big monitor, you want to turn on this
| | 03:15 | option Generate Monitor-Size Previews and
that will speed up your overall workflow.
| | 03:20 | All right, well that wraps up our conversation
about some of the essential Bridge preferences.
| | Collapse this transcript |
| Sorting in Bridge CS4| 00:00 | In this brief movie, I want to talk a
little bit about how you can begin to
| | 00:03 | work with the Adobe Bridge. Well,
here we have a set of images. We have a
| | 00:06 | couple of different types of images.
So what I want to do is go through these
| | 00:09 | images, and I'm going to do that with
the arrow keys; right arrow key moves to
| | 00:12 | the right, down arrow key moves down,
left arrow key moves to the left. So I
| | 00:16 | can move through my images with
those arrow keys as you can see there.
| | 00:20 | Okay, great! Well, the next thing I
want to do is I want to add a star rating
| | 00:23 | and a label to these images. Now, this
first image, I'm going to give it a 1
| | 00:27 | Star rating, so I'll press Command+1
on a Mac, Ctrl+1 on a PC. You see the 1
| | 00:32 | Star shows up here. 1 star shows up here,
and then in my Filter panel, it shows
| | 00:36 | me that I now have one
image with a 1 star rating.
| | 00:39 | I'll press the right arrow key to
select the next image. Press Command+2 on a
| | 00:43 | Mac Ctrl+2 on a PC, that one is a 2 star.
This one I'll give 1, Command+1 on a
| | 00:48 | Mac, Ctrl+1 on a PC. I'll just go
ahead and give these a couple of different
| | 00:52 | star ratings and do that. We can now
see my different ratings over here. I'll
| | 00:58 | then go back to the top image, this
time by clicking on it, and I'll press
| | 01:02 | Command+6 on a Mac, Ctrl+6 on a PC, and
I'll do that for this one as well. I'll
| | 01:07 | add a red label.
| | 01:09 | Labels are 6 through 9; Star ratings
are 0 through 5. Now what 0 do? Well, it
| | 01:14 | takes off your star rating. Command+0
on a Mac, you can see those stars are now
| | 01:18 | gone, and then Ctrl+0 on a PC. Or
Command on a Mac, Ctrl on a PC, and then the
| | 01:24 | number to re-add that star rating.
| | 01:27 | Now here is what else I can do. I can
then filter my search results a number of
| | 01:30 | different ways. I can go up to the Star
pulldown menu, and I can say, you know
| | 01:34 | what? Show me the files that have one
or more stars. Okay, well, now I can see
| | 01:37 | all the files that have one or more
stars. Well, what about 2 or more stars?
| | 01:40 | Okay, I now have much less of a
selection. What about three or more? So I'm
| | 01:44 | just going to get to that final image.
| | 01:46 | We can see also that it checked off
the different star ratings here. If I go
| | 01:50 | ahead and click on those options, it's
going to remove those from my filtering
| | 01:53 | criteria. If I click on the 1 star
rated images, it will only show me the files
| | 01:58 | have a 1 star rating. So the filtering
that we see in our Filter panel and this
| | 02:03 | filtering here is a little bit different.
This is one or more, or however many
| | 02:07 | or more. This is the exact number. So
in this case, I could say, well, show my
| | 02:10 | images with the 1 star and then also
show me the images that have a red label.
| | 02:15 | So here, I have the only image that
has a one star rating and a red label.
| | 02:19 | Click again to move those labels and
rating. Now why am I showing all this
| | 02:23 | stuff? Well this stuff is really
important, because as you start to work in
| | 02:27 | Camera Raw, you are going to have a
lot of files, and one of the things that
| | 02:30 | you need to do when you are working in
Camera Raw is have vision. You have to
| | 02:33 | be able to see beyond the clutter of
all of your files, especially if you are
| | 02:37 | shooting in the Raw format, because a
lot of times you have all these files,
| | 02:40 | you are probably a little bit
discouraged because you can't find the keepers.
| | 02:44 | And so what you want to do is go
through your images, you want to rate and rank
| | 02:47 | them and then, you finally, you want to
be able to filter or sort those files,
| | 02:51 | so you are just looking at the best
images and then, ultimately so you are just
| | 02:55 | working on the best images, so that
you come up with the best results.
| | Collapse this transcript |
| Camera Raw preferences| 00:00 | In this movie, I want to take a little
bit about our Camera Raw preferences.
| | 00:04 | Let's navigate to the Adobe Bridge CS4
pulldown menu. We'll go ahead and click
| | 00:07 | on that and then choose Camera Raw
Preferences to open up the Preferences dialog.
| | 00:12 | Now, we are going to walk through
these different options, yet before we do that,
| | 00:15 | let's just take a look at the
grouping. We have our General Preferences,
| | 00:18 | Default Image Settings and in the next
group is our Camera Raw Cache- really
| | 00:22 | interesting, we'll talk about that in a
second- DNG File Handling and then JPEG
| | 00:26 | and TIFF Handling.
| | 00:26 | Okay, well let's go all the way back to
the top. Well, in General, when we save
| | 00:32 | our image settings, where do we want
this information to be stored? Because you
| | 00:35 | know how Camera Raw files work, right?
You have a raw file, then you have this
| | 00:38 | little set of instructions which help
interpret that file. They tell us how to
| | 00:41 | display that file in a particular way.
| | 00:43 | What we are going to do here is save
these in our Sidecar .xmp files if we are
| | 00:48 | going to be using them as Raw files. Now,
do we want to save in the Camera Raw
| | 00:51 | database? Typically not. You want
that XMP file to travel with the Raw file
| | 00:55 | itself. So go ahead and choose that option.
| | 00:57 | Now, apply the sharpening. Do we want
apply the sharpening just to the preview
| | 01:00 | of the image, or to all of the images?
Now, this is actually pretty hotly
| | 01:04 | contested, because a lot of times
people say the sharpening is kind of
| | 01:08 | irrelevant on a Raw file, because what
matters is where the file is going to be
| | 01:12 | outputted. That's what determines the
amount of sharpening. So say in that
| | 01:16 | case, just apply it to the preview of
the image. You know what? I only just
| | 01:19 | want to be able to see how this image
could be sharpened, but don't actually
| | 01:23 | apply the sharpening.
| | 01:25 | Now, there are others. You say, you
know what? The Camera Raw sharpening is so
| | 01:28 | good. I want to apply a little bit
of that sharpening. I want to do some
| | 01:31 | sharpening to the native file and
then at the very end of my workflow, just
| | 01:35 | before printing, I'm going to apply
some more sharpening. So in that case I'm
| | 01:38 | going to choose All Images.
| | 01:40 | Now, my preference, my own personal
preference is All Images. You are going to
| | 01:43 | have to decide what works best for
you, because I do think that camera
| | 01:46 | sharpening works pretty well. I want to
apply little bit of that and then I do
| | 01:50 | my final sharpening at the end of my workflow.
| | 01:53 | Now, Default Image Settings. What are
the options here? We want to click on the
| | 01:56 | options, the bottom three here: Apply
auto grayscale mix, that will give us a
| | 02:00 | good starting point, Make our default
specific to our camera number and our
| | 02:03 | camera ISO setting. Great. But I
recommend you don't turn on Apply auto tone
| | 02:07 | adjustments because we'll be doing all
of our own tone adjustments. So we don't
| | 02:09 | want to start off with that base
auto tone, especially if you are a
| | 02:13 | photographer, right? You are shooting,
you know how you are shooting, you are
| | 02:15 | getting your exposure one way or
another, you want to be able to modify that
| | 02:19 | from your starting point,
not the auto starting point.
| | 02:21 | All right, the Camera Raw Cache. Well,
what's that about? Well, this is a
| | 02:25 | different cache then the Bridge cache.
This has to do adjust your raw files,
| | 02:29 | and you have that the cache for your
raw files because when you look at a
| | 02:33 | preview of the image, you are not
actually seeing the raw data. You are rather
| | 02:36 | seeing an extracted preview
of that particular raw file.
| | 02:40 | Now, if they had to generate that
preview every time from scratch, it will just
| | 02:44 | bog Camera Raw down. So what it does,
it saves these Camera Raw previews.
| | 02:49 | Now, if you have a lot of extra hard
drive space, you want to increase this
| | 02:52 | number because this will speed up
your overall work with Camera Raw. If you
| | 02:56 | don't have a lot of extra space, you
want to keep this number pretty low. And
| | 02:59 | then on the other hand, let's say that
you have worked on a bunch of files and
| | 03:02 | you have transferred them off to
another hard drive, you know you are not
| | 03:05 | getting accessing them, you may want to
purge your cache so that it doesn't get
| | 03:08 | bog down with any
unnecessary Camera Raw previews.
| | 03:12 | All right, moving along to the DNG
File Handling. Now, what do you want to do
| | 03:16 | here? And why there is an option to
ignore Sidecar .xmp files? Well, when you
| | 03:20 | are working with a DNG file, you don't
need an XMP file. Except there are some
| | 03:25 | photo editors that will actually add
XMP file to a DNG file, and in that case,
| | 03:30 | when you bring that back in the
Photoshop, you will have conflicting
| | 03:33 | information. Should Photoshop read the
core XMP file that's inside of the DNG
| | 03:37 | or the one that's external to it?
| | 03:39 | So it sounds kind of strange, right?
But if you know that you are using another
| | 03:42 | add in the application, which is going
to create XMP files, you want to choose
| | 03:46 | Ignore so that you don't have that conflict.
| | 03:49 | Now, if you are not going to be
using anything else besides Photoshop and
| | 03:52 | besides Camera Raw, this option is
really irrelevant. So for me it's
| | 03:54 | irrelevant, I don't need to worry about
that. If there are XMP file though that
| | 03:58 | have been accidentally added to this,
or someone else did that. I'm going to
| | 04:01 | go ahead and choose Ignore but
again it's not that relevant to me.
| | 04:04 | Now, the next option has to do with
your JPEG previews. Now each DNG file has a
| | 04:08 | particular preview. Now, in my opinion,
it's best to update that embedded JPEG
| | 04:13 | preview all the time. So I'm going to
go ahead and click that on. I'm going
| | 04:16 | to choose this Medium Size versus the Full Size.
| | 04:19 | Now, this is going to take a little
bit of extra time, it's going to be worth
| | 04:22 | it because the preview that I'll be
looking at will always be the most accurate
| | 04:26 | preview. So again my
recommendation is to turn that option on.
| | 04:30 | All right, all the way down to the
bottom. Now, JPEG and TIFF File Handling.
| | 04:33 | Now, what do we want to do? We haven't
actually talked about working with JPEGs
| | 04:36 | and TIFF files, yet we'll be doing that shortly.
| | 04:39 | So for now all I'm going to say is
simply leave this on Automatically open
| | 04:43 | JPEGs with settings as opposed to
change this to Disable JPEG support or to
| | 04:48 | Automatically open all supported JPEGs.
So we want to leave it on the default
| | 04:52 | settings of Automatically open JPEGs
with those settings. Now, you don't really
| | 04:56 | know what that means just yet, but
you will when you watch that movie on
| | 05:00 | working with JPEGs and TIFFs.
| | 05:02 | All right, well those are all of our
Camera Raw preferences we need to dial in.
| | 05:06 | Let's go ahead and click OK to exit
out of that and that wraps up this movie.
| | Collapse this transcript |
| Opening images in Camera Raw| 00:00 | In this movie, we are going to begin
to talk about how we can open up our
| | 00:03 | images inside of Camera Raw. Now, if you
are like me, you may be thinking, okay
| | 00:06 | what's a big deal? Why don't you just
open them up? Well, there is actually some
| | 00:10 | strategy to opening up your images
inside of Camera Raw and there are couple of
| | 00:14 | really interesting shortcuts that you
can use in order to open up your photos.
| | 00:17 | Well, the first couple of shortcuts
that I want to highlight are here on the
| | 00:21 | screen. If you press Command on the Mac,
Ctrl on the PC, plus o, you can open up
| | 00:27 | your images in Camera Raw hosted by Photoshop.
| | 00:31 | On the other hand, if you press Command
on the Mac or Ctrl on the PC, plus R,
| | 00:35 | you can open up your files inside of
Camera Raw hosted by the Adobe Bridge. So,
| | 00:40 | what's the big deal, why would you want
to open up a file in Photoshop and why
| | 00:43 | would you want to open up a file in
Bridge? Well, what you can do is open up a
| | 00:47 | file in Photoshop and then you can have
Camera Raw do some different things and
| | 00:52 | then Photoshop can be processing that
particular file, or saving that file, and
| | 00:55 | you can go back to the Bridge.
So it can speed up your workflow.
| | 00:59 | All right, well now that we have the
shortcuts, let's take a look at some
| | 01:03 | examples of how this actually might
work. So I'm going to go ahead and
| | 01:06 | navigate back to the Bridge, and here
I have one file. Now I'm going to press
| | 01:10 | Command+O on a Mac, Ctrl+O on a PC.
You are noticing that I'm in Photoshop and
| | 01:15 | here we have Camera Raw.
| | 01:17 | Well, let's go back to the Bridge.
When I go back to the Bridge, I'm going to
| | 01:20 | now select the next image, press
Command+R on a Mac, Ctrl+R on a PC. Now I'm
| | 01:24 | in Camera Raw, but I'm in Bridge.
Interesting. I can go to Photoshop by
| | 01:29 | clicking on the Photoshop
icon and here I'm in Photoshop.
| | 01:32 | So again, well what's the big deal
with all of this? Well, the big deal with
| | 01:36 | all of this is what I can do is
actually have let's say 20 files open inside
| | 01:40 | of Camera Raw. I can then choose Save
Images. Now, that's going to take about
| | 01:43 | 30 or 40 seconds to
actually save all of those files.
| | 01:47 | Well, I can either sit and stare the
screen and watch it as it saves those
| | 01:50 | files, or I can say, you know what?
See you later Photoshop, I'm heading over
| | 01:54 | to the Adobe Bridge. I'll go ahead and
cancel this for a moment. So here I'm
| | 01:58 | back in the Bridge. Photoshop is doing
some processing for me. Here I'm going
| | 02:01 | to rate, rank, sort my files or even
better, I'm going to press Command+R on a Mac,
| | 02:06 | Ctrl+R on a PC, I'm going to
process those files, so I'm going to go ahead
| | 02:08 | and add some Contrast, click Done and
I can do that all while Camera Raw in
| | 02:13 | Photoshop is doing something else.
| | 02:16 | Now, keep in mind you can also do the
opposite. You can have Camera Raw in
| | 02:20 | Bridge working on some of your files,
so that Photoshop can be freed up so
| | 02:25 | that you can do some other Photoshop work.
| | 02:27 | Now, this may sound a little bit
esoteric and a little bit strange initially,
| | 02:30 | but just keep in mind that what this
can do for you is it can really help you
| | 02:33 | speed up your overall workflow.
At this juncture, all that I want you to know
| | 02:38 | is that you have two different
shortcuts. One shortcut allows you to open up
| | 02:42 | the file hosted by Bridge; another allows
you to open up the file hosted by Photoshop.
| | 02:46 | All right, well, let's go back to the
Photoshop for a moment and cancel out of
| | 02:50 | this particular version of the Adobe
Bridge. You can think of the Adobe Bridge
| | 02:53 | as a separate application, yet it
doesn't work on its own. You have to work
| | 02:58 | with in unison with Bridge
or in unison with Photoshop.
| | 03:02 | Now, there are only two more things
that I want to show you here. One is that
| | 03:06 | you can double-click an image. That
will then open the file up in Camera Raw
| | 03:09 | hosted by Photoshop, we can see that
here. Or let's say we open that up,
| | 03:14 | process the file, add some Contrast,
modify this just quite a bit. We'll talk
| | 03:18 | more about how to do that later, but
for now we'll say hey! I like that,
| | 03:21 | click Done, and then we go back to the Bridge
and we can see that updated thumbnail,
| | 03:26 | we move on to some other images and we
say you know what? I'm really ready to
| | 03:29 | open this file inside of
Photoshop because I want to print it.
| | 03:33 | But I don't want to open up Camera Raw.
I don't want to open up Camera Raw in
| | 03:37 | Bridge, I don't want to open up Camera
on Photoshop. I just want this image in
| | 03:39 | Photoshop. Well, what do I need to
do? Hold down the Shift key and then
| | 03:43 | double-click the image, ah!
That's a great shortcut, right?
| | 03:46 | Shift+Double-click skips the Camera Raw
dialog. Because one of things you will
| | 03:51 | find is as you are working with Camera
Raw files, you'll finish a file and you
| | 03:55 | don't always need to see that Camera
Raw dialog. Sometimes you just want to go
| | 03:58 | straight to Photoshop and that shortcut, Shift+
Double-click, will allow you to do just that.
| | Collapse this transcript |
| Opening JPG and TIFF files in Camera Raw| 00:00 | Now that we know a little bit about
opening up our files, we can apply what we
| | 00:03 | know to working with JPEGs and TIFF
files. Let me show you what I mean, but
| | 00:08 | first what we need to do is navigate
back to our Adobe Bridge CS4 pull-down
| | 00:11 | menu and then choose Camera Raw
Preferences. I just want to highlight that our
| | 00:15 | preference is to Automatically open
JPEGs that have been previously modified in
| | 00:20 | Camera Raw, and that's going to be our
best option and here's why it's going to
| | 00:23 | give us quite a bit of flexibility. We
can basically do whatever we want with
| | 00:28 | that option, so let's go ahead and click OK.
| | 00:30 | Now one of the things that you're
going to see here is you can notice that
| | 00:33 | there are certain files that have been
modified by Camera Raw. Here we can see
| | 00:36 | that this JPEG has been modified.
There is an icon there telling me that it's
| | 00:40 | been modified by Camera Raw as has this
image which is a TIFF file. So this is
| | 00:44 | going to work the same way whether
we're on a JPEG or a TIFF, let's go ahead
| | 00:48 | and start off on a JPEG.
| | 00:49 | Now if I'm on an image that has been
modified, and I double-click that image,
| | 00:54 | you know what's going to happen right?
It will open it up in Camera Raw, hosted
| | 00:57 | by Photoshop, interesting. Let's click
Cancel. Let's say I want to skip Camera
| | 01:02 | Raw altogether. I'm done processing
this image; I just want to get it inside of
| | 01:06 | Photoshop. Well, Shift+Double-Click that same
file. It will then skip the Camera Raw dialog.
| | 01:11 | Okay, great! Let's go ahead and close
that one and go back to the Bridge. Now
| | 01:15 | at this file, never been modified in
Camera Raw. I double-click it, well; it
| | 01:20 | just opens it up inside of Photoshop.
This isn't a "Raw" processed file, so
| | 01:26 | let's go ahead and close that navigate
back here. Well, how then do I open this
| | 01:29 | inside of Camera Raw?
| | 01:30 | Well, Command+R on a Mac, Ctrl+R on a
PC, will open that bad boy up inside of
| | 01:36 | Camera Raw. Well, let's go ahead and
click Cancel and look at a TIFF file
| | 01:40 | briefly. Again, TIFF file, same thing,
double-click it, it's going to open it
| | 01:43 | up inside of Camera Raw. Here, I can
modify its contrast and give it a little
| | 01:47 | processing here, just have some fun
with this file, make it look really punchy.
| | 01:51 | I love the colors of this image.
| | 01:53 | I'll go ahead and click Done, so that's
been modified. It's going to show me an
| | 01:57 | updated thumbnail preview here. It
shows me that it has been modified. Now
| | 02:01 | again if I want to skip Camera
Raw altogether, that's going to be a
| | 02:04 | Shift+Double-Click and that will
then bring it open inside of Photoshop.
| | 02:09 | All right, well, closing that and
navigating back to this particular folder.
| | 02:13 | The one thing that I'm trying to show
you here is that when you're working with
| | 02:16 | JPEG and TIFF files, you definitely
want to be able to take advantage of Camera
| | 02:19 | Raw. Yet you don't want to open up
every JPEG inside of Camera Raw. There are
| | 02:24 | certain JPEGs, like JPEGs that I shot
in my Point 2 Camera, I don't even need
| | 02:28 | to process them really, I just need to
open them up in Photoshop and maybe do a
| | 02:32 | couple of things to the file.
| | 02:34 | Well, in that case, with this option,
just a double-click to open those up.
| | 02:38 | Now, what's the other way we can open
our files up? Well, we can go to the JPEG
| | 02:42 | or TIFF and press Command+O on a Mac
or Ctrl+O on a PC. In an addition, that
| | 02:48 | will also just bring the
file right into Photoshop.
| | 02:51 | So as you can see, we have a bunch of
different shortcuts here floating around.
| | 02:55 | Let's do a quick review of some of
those shortcuts in regards to JPEG and TIFF
| | 02:59 | files. Right now we have two
different types of files, files that have been
| | 03:03 | modified in Camera Raw, files that
haven't. Let's first talk about the files
| | 03:08 | that have been modified,
like this number 5 here.
| | 03:10 | With this number 5, double-click, opens
it up in Camera Raw. Shift+Double-Click
| | 03:17 | skips Camera Raw, opens it up inside
of Photoshop. It's almost as if, it's a
| | 03:22 | Raw file, like this file here. Same
exact shortcuts and techniques that we use
| | 03:26 | with this raw file that was captured
in the raw format. Now let's move to our
| | 03:30 | other types of files, our JPEGs and our
TIFF files that haven't been processed
| | 03:34 | in Camera Raw.
| | 03:36 | Now with those files, if we want to
process them in Camera Raw, that's
| | 03:39 | Command+R on a Mac, Ctrl+R on a PC.
That will then open them up in Camera Raw.
| | 03:45 | We'll click Cancel. On the other hand,
if the file hasn't been processed in
| | 03:49 | Camera Raw, it's just as simple as
double-clicking or pressing Command+O on a
| | 03:53 | Mac, Ctrl+O on a PC. That will then
open up that image inside of the Photoshop.
| | 03:58 | All right. Well, I hope that this
conversation has added a little bit of
| | 04:02 | clarity to the somewhat confusing
topic of working with and opening TIFF and
| | 04:07 | JPEG files in Camera Raw and in Photoshop.
| | Collapse this transcript |
| Comparing RAW, JPG, and TIFF files| 00:00 | Well, now that we know a little bit
about the mechanics of working with JPEG
| | 00:03 | and TIFF files and we know that we can
actually process our JPEG and our TIFF
| | 00:07 | files with Adobe Camera Raw, we need
to learn a couple of more things and one
| | 00:11 | of the things that we need to learn is,
well, what's actually better? A Raw
| | 00:14 | file or a JPEG file? Here you can see
that I've two files open inside of Camera
| | 00:18 | Raw. I have JPG_baja.jpg and I've RAW_baja.CR2.
| | 00:22 | Now when I click on these two images,
they look pretty similar. Yet one of the
| | 00:26 | things that I'm noticing is when I
click on the RAW file, I have some values of
| | 00:30 | numbers inside of Camera Raw. Now
when I click on the JPEG file, all those
| | 00:34 | numbers have been rendered, have been
baked in, so everything is going to be
| | 00:38 | zeroed out. Okay, well, what's the big deal?
| | 00:40 | Well, I actually have a little bit less
control and here's why. I don't have as
| | 00:44 | much information. That's why it's
always a good idea to shoot in the RAW
| | 00:48 | format. Well, just to illustrate this,
I'm going to jump ahead, just a little
| | 00:52 | bit, but I'm going to select the
Color Sampler tool and I'm going to set a
| | 00:54 | little Color Sampler here on the
bumper of my friend's truck, because that
| | 00:58 | bumper is a little bit too white.
| | 01:00 | Now look at the RGB values. 255, 255
and 255, practically no detail at all.
| | 01:06 | That's not very good. Let's go ahead
and go down to the RAW file. I'm going to
| | 01:09 | do the same thing here and I'll go
ahead and click in that same point. Well
| | 01:13 | again, I have really high amount.
It's not quite as high, a little bit more
| | 01:16 | information there, but still I
don't have much detail at all.
| | 01:19 | So in order to bring back some of
the detail, I'm going to go down to the
| | 01:22 | Recovery slider and I'll crank the
Recovery slider all the way up, I'm also
| | 01:26 | going to lower the Exposure just
because I'm interested in illustrating a point
| | 01:29 | here. Now when I lower the Exposure to
a -0.35 and Recovery at 100, let's take
| | 01:35 | a look at our numbers. They're in the
220s or 230s. Let's do the same exact
| | 01:39 | thing to the JPEG file.
| | 01:41 | So I'll go ahead and go over here to
the JPEG file. My Recovery goes all the
| | 01:44 | way up to 100. My Exposure, in this
case, I'm going to take it exact same
| | 01:48 | amount down, in this case, -0.35. All
right, well, was I able to recover much
| | 01:53 | information there?
| | 01:55 | Well, actually, not at all. If you
look at the information that we have here,
| | 01:58 | it's 254, 254 and 250. 255 is absolute
no detail, so I wasn't able to recover
| | 02:06 | much detail. I wasn't able to use
one of these amazing controls inside of
| | 02:09 | Camera Raw, which is called
Recovery, because it's a JPEG file.
| | 02:13 | Now again in comparison let's look at
the RAW file, our numbers are much lower.
| | 02:16 | I was able to pull back some of that
information so that I could ultimately
| | 02:20 | create a pretty good print.
| | 02:22 | Now keep in mind here, my point with
this movie isn't to teach you how to work
| | 02:25 | with Camera Raw, my point here is to
say that it's always better if you can
| | 02:30 | work with RAW files versus JPEG or
TIFF files. That being said, you can still
| | 02:35 | do some pretty amazing things,
with your JPEGs and your TIFF files.
| | Collapse this transcript |
| Converting files to the DNG format| 00:00 | In this movie, I want to briefly talk
about how you can covert your files to
| | 00:03 | the DNG format. Now keep in mind, the
DNG format, it's been around for quite a
| | 00:08 | while, about four years now and it's
known as the Digital Negative file. And
| | 00:11 | it's just a way to wrap up the pixels
that you have. It's just a little container.
| | 00:15 | So what we want to do is take some
of our RAW files or capture in the RAW
| | 00:18 | format, convert them to this DNG
format. That way I don't have to deal with
| | 00:21 | sidecar files, I don't really have to
worry about going between Lightroom and
| | 00:24 | Bridge. And in my own experience I
have a great success with this format.
| | 00:28 | So I want to download this
particular converter. So navigate to
| | 00:31 | adobe.com/products/dng and then click
on the link on the right, Downloads. You
| | 00:36 | want to choose a converter for your
particular operating system. Then scroll
| | 00:39 | down, Proceed to Download, then
finally download that particular application.
| | 00:44 | Now once you've downloaded it and
installed it, you can go ahead and open up
| | 00:47 | the DNG Converter. Now this is a
pretty simple little application, but it's
| | 00:51 | actually doing something quite
significant. Let's go through these steps here,
| | 00:55 | Select the images to convert, I'm going
to go ahead and select a folder. In my
| | 00:59 | case, I'm going to
select the folder, 02_initial.
| | 01:02 | Now how many files is it going to
actually covert? Is it going to convert my
| | 01:05 | JPEG and TIF files? No, just those RAW
files there, perfect. I'll click Select.
| | 01:10 | Now where do I want to save those files?
We are going to go ahead and choose
| | 01:13 | Select Folder. Here I'm in that 02_
initial, I'll create a new folder. In this
| | 01:16 | case, I'll call this folder DNG,
just to separate it from my other files.
| | 01:21 | Do I actually need to do that? Not at
all. Right, it's not going to overwrite
| | 01:24 | any of the other files because it is
a different file extension. So again,
| | 01:28 | saving it to a new folder is really
contingent upon your own workflow, I
| | 01:32 | wouldn't have to do it in this
particular case. Although I'm going to do it
| | 01:35 | just to illustrate how that
works. Click Create and Select.
| | 01:40 | Next select a name for the converted
images. Well, corwig_ plus that serial
| | 01:45 | number, perfect! Begin with 1; there
are only two images that I'm going to
| | 01:49 | convert 01 and 02, perfect! File
extension, lowercase, now my Preferences.
| | 01:53 | Let's take a look at these. These are
all going to work really well for me.
| | 01:56 | My JPEG Preview, Medium Size is going
to work excellent. Compressed (lossless),
| | 02:00 | I'm not losing any information.
Preserve Raw Image, yeah; this is going to
| | 02:03 | save it in that mosaic format that
means I have more data that's preserved. I
| | 02:07 | can always convert it to a linear image
later, but if you go linear, you can't
| | 02:12 | go back to the raw image. So I'm
going to choose Preserve Raw Image.
| | 02:15 | Now Original Raw File, this option is
actually quite debated. Now here are the
| | 02:21 | different schools of thought. One
school of thought says yeah, preserve the
| | 02:23 | original raw files and here is why.
You don't want to lose that important
| | 02:27 | information, there may be a camera
manufacturer out there that has access or
| | 02:30 | they know about the proprietary way to
access those pixels and modify them and
| | 02:34 | tweak them in really unique ways. So
in that case you don't want to lose the
| | 02:38 | original raw file. So create a DNG
file that has a DNG plus the raw file,
| | 02:43 | increased file size but increased flexibility.
| | 02:47 | Now the other school of thought says,
you know what, DNG, all it is, is a
| | 02:50 | wrapper; it's a container, its open
source. It contains all the information
| | 02:54 | that I need to use in order to be able
to access and process my file. I'm not
| | 02:58 | too concerned that there is
proprietary information in there that I'm not
| | 03:00 | going to be able to access with this
DNG format because you know what; I'm
| | 03:04 | kind of in a way trusting Adobe. They
deal with software; they know how all
| | 03:08 | this stuff works and they know how it
works incredibly well and maybe even, in
| | 03:11 | my opinion, better than the camera
manufacturer, right. Because what a camera
| | 03:15 | manufacturers manufacture?
Cameras. What does Adobe do? Software.
| | 03:19 | So in my own workflow, what's my school
of thought or what's my thinking? Well,
| | 03:23 | I don't choose this option. I choose
to not embed the original Raw file,
| | 03:26 | because I say you know what? That DNG
file is going to be fine, it's going to
| | 03:29 | be fine for all of my work inside of
Bridge, inside of Camera Raw, inside of
| | 03:33 | Lightroom and I have enough access to
the information, everything that I want
| | 03:37 | to do in order to create
compelling and stunning photographs.
| | 03:41 | So again, I just want to point out that
there are two different sides to this,
| | 03:43 | yet in my own workflow I choose not
to embed the original raw file. I'll go
| | 03:47 | ahead and click OK and then click
Convert that will then convert both of those
| | 03:52 | files. We can see it converted them.
Here is my converted filename. I'm going
| | 03:55 | to click OK to exit out of that and I'm
going to go to my Finder window and in
| | 04:00 | my Finder window, I see that I have
this little folder DNG. I created that
| | 04:03 | folder, right? And in inside of
that, I have those two DNG files.
| | 04:08 | Let's go ahead and select those files
and drag them up into this folder, just
| | 04:13 | to illustrate that I didn't necessarily
need to create that sub folder. Here we
| | 04:17 | can see something kind of interesting.
Here is my original raw file. The DNG
| | 04:21 | file. Well, it's smaller by 2
megabytes. So not only is the DNG file format
| | 04:27 | really versatile, it also saves a
little bit of size and in the long run it's
| | 04:31 | going to speed up my workflow by leaps
and bounds. I don't have to worry about
| | 04:34 | XMP sidecar files. So in my own
particular workflow, I found converting to DNG
| | 04:39 | is incredibly helpful.
| | Collapse this transcript |
|
|
3. The Camera Raw InterfaceIntroducing the Camera Raw toolbar| 00:00 | In order to really learn how Camera
Raw works, we need to deconstruct the Raw
| | 00:04 | interface. So we know everything that
there is to know about the Raw interface
| | 00:07 | and let's start off by looking at the toolbar.
| | 00:09 | Now you can see that I have selected
an image and it's a JPEG file. I want to
| | 00:13 | open this one up inside of Camera Raw.
In order to do that I press Command+R on
| | 00:17 | the Mac, Ctrl+R on a PC. And at the
top of the interface, we see all of the
| | 00:21 | different tools. Now it's kind of hard
to focus in on the tools because there
| | 00:25 | is really quite a bit included in
this Raw interface. So let's focus in on
| | 00:29 | those tools by moving to another
slide where we can really zero in on those
| | 00:33 | tools, their names and
their respective shortcut keys.
| | 00:37 | Now that we are looking at the tools
in this reduced view, it's still kind of
| | 00:41 | complicated, right? One of the things
that I want to point out here is that the
| | 00:44 | tools are grouped. We have two tools
together, let's go ahead and look at the
| | 00:48 | different groupings of those tools.
Well, the first set of tools are the Zoom
| | 00:51 | tool and the Hand tool. Why
are they grouped together?
| | 00:54 | Well, because you will use those
together, the Zoom tool allows you to zoom in
| | 00:58 | and out. The Hand tool, when you select
that, allows you to pan or move around
| | 01:01 | your image. Now here's a nice shortcut
for you. Double click the Zoom tool,
| | 01:05 | it will take your image to 100%. Double
click the Hand tool and it will take your
| | 01:09 | view to Fit In View so that you
can see the entirety of your image.
| | 01:12 | All right, well the next set of tools
are the White Balance and Color Sampler tool.
| | 01:16 | Now these look pretty similar,
although they do different things. The White
| | 01:19 | Balance tool actually is an active tool;
it corrects your color balance or your
| | 01:23 | white balance problems. The Color
Sampler tool on the other hand, it's just a
| | 01:26 | descriptive tool. You set little
points on your images and then you can view
| | 01:31 | the values, the RGB values, for those points.
| | 01:34 | The next set of tools are the Crop
tool, shortcut key C, and the Straighten
| | 01:37 | tool, shortcut key A. You are going to
be using these again in unison with each
| | 01:41 | other. A lot of times you will need to
straighten your image first which will
| | 01:44 | then require that you crop the image.
Then you may apply that crop and then go
| | 01:48 | back and want to modify it even further.
| | 01:51 | All right, well, what's the next set?
Well, the next set of tools are the fun
| | 01:55 | tools. This is where all the magic
really happens, where we get to do the Spot
| | 01:58 | Removal, shortcut key B, the Red Eye
Removal, shortcut key E. The Adjustment
| | 02:02 | Brush, new to Photoshop CS4, allows
you to paint in adjustments to specific
| | 02:07 | areas. Then finally the Graduated
Filter, shortcut key is G on that one.
| | 02:12 | This one allows you to modify an area
of your image and to specify how you are
| | 02:16 | modifying it in a real unique way.
We will be looking at that tool later.
| | 02:19 | All right, well, the next set of tools
are just the miscellaneous tools. Here
| | 02:22 | we have the ability to open up our Raw
Preferences dialog. We can also rotate
| | 02:27 | the image to left and the right. You
see those shortcut keys, right? Rotate to
| | 02:30 | the left is the L key;
rotate to the right is the R key.
| | 02:33 | Well, now that we know a little bit
about the tools in the toolbar, let's
| | 02:37 | continue to deepen our knowledge about
the Camera Raw interface and we will do
| | 02:41 | that in the next movie.
| | Collapse this transcript |
| Navigating in Camera Raw| 00:00 | In this movie, I want to focus in on
how we can zoom in and out of our images
| | 00:04 | and really take advantage of a couple
of different techniques that we can use
| | 00:07 | to view and evaluate our photos.
| | 00:09 | Now the first thing that you want to
do when you come to Camera Raw is press
| | 00:12 | the F key. You Do you know what the F
key does in Photoshop? Well, it takes you
| | 00:15 | to Full Screen View mode. It does the
same thing in Camera Raw. You want to
| | 00:19 | cover up as much of the interface as
possible. You can also toggle between the
| | 00:24 | Full Screen mode and the Regular mode
by clicking on this icon here. Let's go
| | 00:28 | ahead and go to the Full Screen View mode.
| | 00:30 | Now the next thing that we want to do
is talk about how we can zoom. Well, I
| | 00:32 | have the Zoom tool selected; I can
click on the image, of course, to zoom in.
| | 00:36 | You notice that it's changing my
percentage down here. Now I can also select a
| | 00:40 | different zoom level. I'll
go ahead and select 100%.
| | 00:43 | Well, at this juncture I can't really
see the rest of the image. So I'll press
| | 00:47 | the Spacebar key. That will
temporarily give me access to the Hand tool. It's
| | 00:52 | the same shortcut in Photoshop. You
notice I didn't leave the Zoom tool. Now of
| | 00:57 | course, I could select the Hand tool
and then go ahead and pan around the image
| | 01:00 | and then select the Zoom
tool to go back to that.
| | 01:03 | Well, so far we have seen how we can
begin to use the Zoom tool and the Hand
| | 01:06 | tool, but there is got to be better way.
If we were going to do a lot of work
| | 01:09 | in Camera Raw, we need to know every
shortcut that's possible. So check out
| | 01:13 | these shortcuts. These are phenomenal.
On the Mac, it's Command key, on the PC
| | 01:17 | it's Ctrl key, Plus will zoom in, Minus
will zoom out and then zero, what will
| | 01:21 | that do, fit in view, phenomenal!
| | 01:24 | Now here is one more shortcut for you.
If you press Command+Option+0, it will
| | 01:29 | then take you to the actual pixel. So
it will show you your image at 100% and
| | 01:33 | that's a shortcut on a Mac, that's
Command+Option+0. On a PC, that's
| | 01:38 | Ctrl+Alt+0. Just look at your keyboard
for a second. Hold down the Command key
| | 01:41 | on Mac, Ctrl key on PC, Plus, Minus
then Zero, and then add the Option key on
| | 01:46 | the Mac, Alt key on the PC and then
click on the zero and that will then take
| | 01:50 | you to that 100% view mode.
| | 01:52 | Now of course, you can also access
those shortcuts in other way. Let's go ahead
| | 01:56 | and exit out of Full Screen View mode
and navigate to our View pull-down menu.
| | 02:00 | So if you have a tough time remembering
those shortcuts, exit Full Screen View
| | 02:04 | mode and you can find those that in that View
pull-down menu; yet that means my preference.
| | 02:09 | What I'm going to be using throughout
the rest of this training is Full Screen
| | 02:12 | View mode. So I'll go ahead and press
the F key, press the Spacebar key to
| | 02:17 | reposition what I'm viewing here. That
wraps up our look at how we can better
| | 02:22 | navigate inside of Camera Raw.
| | Collapse this transcript |
| Analyzing images with the histogram| 00:00 | Just to spice it up a little bit, we
will be working on this file corwig_02.
| | 00:04 | Let's press Command+R on the Mac, Ctrl+
R on the PC to open this file up inside
| | 00:08 | of Adobe Camera Raw. Here I'll notice
that it remembered that I prefer Full
| | 00:12 | Screen View mode and I access
that by pressing the F key, great!
| | 00:16 | Well, here I have a photograph of my
daughter and a couple of her best friends
| | 00:19 | on a hike, really close to where our
house is. It's a beautiful place to hike,
| | 00:23 | because when you get to the top you
can see the ocean. I have this photograph
| | 00:26 | and I want to begin to analyze the
photograph and I'm going to do that by way
| | 00:29 | of the histogram.
| | 00:31 | Now we have the histogram at the very
top of the interface and what's the deal
| | 00:34 | with the histogram. Well, for starters
what the histogram is, it's a graphic
| | 00:37 | that represents different levels in
your channel. So it's showing us a
| | 00:41 | visualization of the pixels or
the raw information in the image.
| | 00:46 | Now we can see that there is these
different colors and there is white. Well,
| | 00:49 | what's the deal with white? Well, white
is where you have equal amounts of your
| | 00:52 | Red, Green and Blue channels. Here we
can see I have my red, green and blue.
| | 00:56 | When I hover over something we can see
the different amounts. When I hover over
| | 01:00 | blue that B number down below is much
higher than the R and the G. Of course,
| | 01:04 | right, because there is more
blue in that particular area.
| | 01:07 | All right, so white shows us equal
amounts of R, G and B. Red is red of course,
| | 01:12 | this green is the green channel and
then the blue is the blue channel. What
| | 01:15 | about these other colors like cyan and
magenta and yellow? When you see those
| | 01:19 | channels, what it's showing you is
when you have an overlap of two channels.
| | 01:22 | All right, well so far so good.
| | 01:24 | Let's go ahead and jump down to the
Exposure slider. Now I'm going to make an
| | 01:27 | adjustment. Let's watch the histogram.
As I do this, all of a sudden, it's like
| | 01:30 | my histogram comes to life, and it's
slowly leaning to the right. Isn't that
| | 01:35 | interesting? We see that the image is
now a little bit overexposed. That's not
| | 01:38 | necessarily a good adjustment. But
how can we be sure that it isn't good?
| | 01:42 | Well, there are a couple of techniques
that you can use in order to show where
| | 01:45 | you have clipping. What clipping is, is
where you push some of the information
| | 01:49 | just off the map and you are not going
to have enough detail there, so that the
| | 01:52 | final print won't be good and the
image won't be very good and you can't push
| | 01:55 | the image that far.
| | 01:56 | Well, you can click on the triangle
here up top and that will show you your
| | 01:59 | highlight clipping. You can also
press the O key to toggle that ON and OFF.
| | 02:03 | That is definitely one of those
shortcuts you just have to write down. Write
| | 02:07 | down the O key for your highlights.
Then what's the shortcut for your shadows?
| | 02:10 | Well, it's the U key and you can
see that that isn't turned ON there.
| | 02:14 | Well, do I have any clipping in the
shadows? Well, my highlight clipping
| | 02:17 | indicator is red, my shadows is blue.
I can see a little bit of blue. I'll
| | 02:20 | increase the black so now I can see oh
gosh! I have a lot of clipping there.
| | 02:24 | What happened to the histogram? Well,
it's almost like we squashed it, we
| | 02:27 | stepped on it, we squished it down
and we have all this clipping and that's
| | 02:30 | happening over here and over here. We
have lots of information because we have
| | 02:34 | stretched this histogram and we
have stretched the information too far.
| | 02:38 | What are the shortcut keys to turn
those ON and OFF? Well, it's O for the
| | 02:42 | highlights, U for the shadows. You can,
of course, always click on these icons
| | 02:46 | here. Let's go ahead and turn ON the
clipping warning and then bring out
| | 02:50 | Exposure down. Now as I do that, I
can see that that particular warning is
| | 02:55 | gone. I'll then bring my blacks down as
well and now that warning is gone as well.
| | 03:00 | Now in this case I have at least
increased my Exposure a bit, without any loss
| | 03:03 | of Detail. Go ahead and increase it a
little bit more there. I don't want to go
| | 03:06 | too far with that. So in that case I
was able to shift the whole histogram a
| | 03:10 | little bit to the right. Double-click
the triangle on the Exposure slider. That
| | 03:14 | takes it back to the default setting
and then let's increase that just a bit.
| | 03:17 | You can see how I'm distributing the
tones out a little bit more evenly. So I
| | 03:21 | have a little bit more of an even toned
image and it looks a little bit better, right.
| | 03:25 | Now if I drag it to the left we can see
that the histogram is showing me, hey!
| | 03:28 | This is a pretty dark image. If I drag
it to the right, it's showing me, hey!
| | 03:32 | That's a pretty bright image. But if I
have something like this where I have a
| | 03:35 | lot of even distributed tones, it's
showing me something about this image.
| | 03:39 | Now will that be the case with every
image? No, because certain images you have
| | 03:42 | a wider dynamic range. This particular
image was photographed on an overcast
| | 03:47 | day, so in this case I have a
pretty even tonal distribution.
| | 03:52 | The last thing that I want to point
out is to the right of the RGB values we
| | 03:55 | have our EXIF read out. In this case,
it's showing me some descriptive
| | 03:59 | metadata. The aperture that this
particular image was shot at, the shutter
| | 04:03 | speed, the ISO and the lens that was
used and at what particular focal length.
| | 04:08 | That EXIF Info is being pulled from the
image and it's kind of helpful because
| | 04:12 | it helps me getting to mind how this
image was captured. It helps me begin to
| | 04:16 | look for things. It might be potential
problems, like; do I have a really high
| | 04:20 | ISO? No, but I do have a real shallow
depth of field. So I might have to do
| | 04:24 | some sharpening that I wouldn't have to
do if I shot it at a different f-stop.
| | 04:28 | All right, well that wraps up our
conversation. About this top portion of the
| | 04:31 | Camera Raw interface, the histogram,
the clipping warning indicators, turn
| | 04:35 | those ON with U and O and then finally below
the histogram the RGB and the EXIF read outs.
| | Collapse this transcript |
| Introducing the Image Adjustment tabs| 00:00 | In order the further broaden and
deepen our understanding of Camera Raw, what
| | 00:03 | we are going to do in this movie is
focus in on the image adjustment tabs. So
| | 00:07 | I'm going to go ahead and zoom
in on the Camera Raw interface.
| | 00:10 | Now you can find the Image Adjustment
tabs just below the histogram here in the
| | 00:14 | RGB and the EXIF read outs and here
we could see we have a series of icons
| | 00:18 | which lead us to different
types of image adjustments.
| | 00:21 | Now we can click on those icons in
order to access different controls and I
| | 00:25 | don't want to talk about those
controls just yet, but what I do want to do in
| | 00:28 | this movie is begin to build up some
familiarity with those icons, so that we
| | 00:32 | can know what icon we actually want to
click on. So I'm going to go ahead and
| | 00:36 | minimize everything else so we can
really focus in on those icons. And again,
| | 00:39 | all I want to do here is just begin to
get you to recognize what icon does what.
| | 00:43 | Now the first icon is that small little
icon there. You could see it looks like
| | 00:46 | a camera shutter and that has to do
with making basic adjustments. That's where
| | 00:51 | we are going to spend a majority of our
time inside of Camera Raw. Now the next
| | 00:54 | icon gives us access to the Tone Curve
controls. Now there are two different
| | 00:58 | types of tone curves and we
will be talking about those later.
| | 01:01 | In this series, where we can do some
real fine-tuning of our overall Exposure
| | 01:05 | and Contrast and Tone in our image.
The next tab gives us access to controls
| | 01:09 | where we can work on the overall noise,
some problems with our image and in
| | 01:14 | addition, we can sharpen our
image there with the Detail controls.
| | 01:18 | Now the next icon gives us access to
the HSL and the Grayscale controls. Now
| | 01:22 | these are kind of interesting controls
and what we can do with these is begin
| | 01:25 | to modify Hue, Saturation or Luminosity
or we can get rid of hue and saturation
| | 01:30 | altogether so that we are just looking
at the grayscale image and begin to come
| | 01:33 | up with a really compelling
black and white conversion.
| | 01:36 | If we click on the next icon, this is
the icon that gives us ability to Spit
| | 01:40 | Tone our images and what that means is
we can add color to the highlights of
| | 01:44 | our images and we can add another color
to the shadows. We can blend those two
| | 01:48 | colors together in order to come up
with some pretty interesting toning.
| | 01:51 | Now keep in mind that while the name
split-toning implies that you are always
| | 01:55 | going to have two tones, you can also
use these controls to simply add a little
| | 01:59 | bit of a tone to an image. Let's say
you have a black and white conversion and
| | 02:02 | you want to make it have a little bit more
of a sepia tone, well you can do that here.
| | 02:06 | If we click on the next icon, that's
where we get to our Lens Corrections
| | 02:10 | controls and the Lens Corrections
controls are actually pretty interesting. We
| | 02:14 | can use these to enhance our images or
to correct our images. We can work on
| | 02:18 | the edges and the vignetting and there
are also some new features here inside
| | 02:21 | of Photoshop CS4 we will be looking at later.
| | 02:24 | The next icon is a picture of a camera
and this gives us access to the Camera
| | 02:28 | Calibration controls. We are going to
be navigating here in order to calibrate
| | 02:32 | tones based on our particular camera.
In addition, we can use those controls
| | 02:35 | for some pretty creative outcomes.
| | 02:38 | Now if we click on the final icon it
will take us to our presets and here we
| | 02:41 | can create our own presets or we can
actually import other peoples' presets and
| | 02:45 | then we can use those in order to
speed up our overall workflow. All right, I
| | 02:49 | want to go through those one more time
just so you have a bit more familiarity
| | 02:53 | with those icons.
| | 02:54 | Here we are going really quickly. The
first one is Basic, second one is Tone
| | 02:57 | Curve, third one is Detail, fourth one
HSL and Grayscale, the next one is Split
| | 03:02 | Toning, then we have Lens Correction,
then we have Camera Calibration and
| | 03:06 | finally our presets.
| | 03:08 | All right, we will enclose in. We are
obviously going to learn about all these
| | 03:11 | controls throughout the rest of the
movie. Learning about the controls is
| | 03:14 | really important, but we also need
to know where to find those controls.
| | 03:18 | So the intent here is to simply build
up a little bit of familiarity with the
| | 03:22 | Camera Raw interface, so that later,
once you know how to use all these
| | 03:25 | controls you actually know where to find them.
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| Navigating the Camera Raw panels with keyboard shortcuts| 00:00 | Now that we know a little bit about
the Camera Raw interface, what I'm going
| | 00:03 | to do here is talk about these amazing
shortcuts. We can use these shortcuts to
| | 00:08 | navigate between the different panels.
| | 00:10 | I'm going to go ahead and zoom in on a
screenshot of Camera Raw here. One of
| | 00:13 | the things that you can see here is we
have our little tabs, which take us to
| | 00:16 | different panels. Now we can click on
those or we can use these shortcuts.
| | 00:21 | Now here I have dimmed the lights a
little bit and zoomed in on those panel
| | 00:24 | tabs there. If you are on Mac it's
Option+Command and then 1-8; on a PC that's
| | 00:29 | Alt+Ctrl+1-8. Now this is really
interesting because rather having to click on
| | 00:34 | these little icons you can actually
press that shortcut key to navigate that
| | 00:39 | particular panel.
| | 00:40 | Well let me show you what I mean. I'll
go ahead and open up Camera Raw and here
| | 00:43 | I'm in the Basic panel. So on a Mac,
I'll go ahead and press Command+Option,
| | 00:47 | on a PC that's Ctrl+Alt, and then I'm
going to press 2 on my keyboard. And in
| | 00:51 | this case, I'm pressing the 2 right
above the W key there on the keyboard.
| | 00:54 | I'll go ahead and press that.
It takes me to the Tone Curve.
| | 00:57 | I'll press Command+Option+1. It
takes me back and you can see that I'm
| | 01:00 | navigating through these different
panels simply by using that shortcut. Now
| | 01:04 | there are certain people that hate
shortcuts and I understand that because you
| | 01:07 | are like, you know what do I try really
need this extra shortcut to navigate in
| | 01:11 | this way? Well, not necessarily. It's
not an essential shortcut. Although, you
| | 01:15 | may find that it will really speed up
your overall workflow as you work your
| | 01:19 | way through Camera Raw.
| | 01:20 | So use whatever navigation
technique works best for you, but at least
| | 01:24 | experiment with this shortcut a
little bit. Again, on a Mac its
| | 01:28 | Command+Option+1-8, on a PC that's Ctrl+Alt+1-8.
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| Previewing your adjustments| 00:00 | In this movie we will be working with
the file corwig_03.jpg. Go ahead and
| | 00:04 | press Command+R on the Mac, Ctrl+R on
the PC to open this one up in Camera Raw.
| | 00:09 | Now you may have noticed that I've
skipped over something that's actually
| | 00:12 | pretty important with regards to the
Camera Raw interface and that is the
| | 00:15 | Preview button. I skipped over that
because we need to learn something quite
| | 00:19 | important about that preview. Now we
already learned about our different
| | 00:22 | adjustments and all these little icons here.
I'm in the Basic adjustments panel now.
| | 00:26 | What I'm going to do is, I'm going to
go ahead and desaturate this image by
| | 00:30 | clicking on the Saturation slider and
drag in it to the left. Now if I want to
| | 00:34 | see the before or after, all I need
to do is press the P key- that's the
| | 00:37 | shortcut for Preview- or click on this
option here. Here is my before and after.
| | 00:43 | Okay, well so far so good. Now what's
the big deal? I'm going to go ahead and
| | 00:46 | navigate over to a different
adjustment. I'm going to Lens Corrections and
| | 00:51 | here what I'm interesting in doing
is adding some Lens Vignetting. So I'm
| | 00:54 | going to go ahead and add a little bit
of Lens Vignetting, darken the corners,
| | 00:57 | I'm going to add Post Crop Vignetting
as well to make this really dark and I'm
| | 01:01 | only doing this to
illustrate how this Preview works.
| | 01:04 | So what happens if I press the P key or
if I click on the checkbox? Well, here
| | 01:07 | is my before and after, interesting!
It's only showing me the preview for the
| | 01:12 | particular adjustment area that I'm in,
in this case, Lens Corrections. But
| | 01:16 | let's say that what I really want to do
is I want to see my overall before and
| | 01:19 | after. I want to see the original image
compared to the image with a black and
| | 01:23 | white conversion and the Lens
Correction Vignetting that I have added.
| | 01:27 | Well, in order to see that here is
what you need to do. Navigate over to your
| | 01:30 | Presets panel. Then in your presets
panel press the P key and that takes you
| | 01:34 | all the way back to the very original
image, press it again and it will bring
| | 01:39 | back those adjustments that you have made.
| | 01:41 | So as you can see this, little Preview
button there is actually quite powerful,
| | 01:44 | because it can help you determine hey!
Was this Lens Vignetting good before and
| | 01:47 | after? No, it wasn't. Okay, hey! I need
to back this off, you know my black and
| | 01:51 | white conversion was fine,
but that vignetting wasn't.
| | 01:53 | Now again P, before and after. Okay,
just a subtle darkening, maybe a little
| | 01:57 | bit more there will look nice, great!
Then other times when you really need to
| | 02:01 | see everything, head on over to your
presets and then press that P key to see
| | 02:04 | your overall before and after.
| | 02:07 | All right, well I hope you learned
something in this movie, catch you in the next one.
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| Working with multiple files in Camera Raw| 00:00 | One of the reasons why working with
Camera Raw is so amazing is because of
| | 00:03 | course everything that we are doing
is nondestructive. We can always undo it
| | 00:07 | at any time. In addition, one of the
reasons why working with Camera Raw is so
| | 00:11 | good is because it can really speed up
your workflow and that's particularly
| | 00:15 | true when we are working with
multiple files. Here I have three files.
| | 00:18 | I'll click on one, Shift-click on the
last one to select all of them.
| | 00:23 | Next, Command+R on the Mac, Ctrl+R on
the PC to open those up inside of Camera
| | 00:27 | Raw. Now why we are talking about
working with multiple files here? Well, as
| | 00:31 | you can see it's actually changed
the overall Raw interface. I now have a
| | 00:35 | filmstrip on the left hand side.
I have those thumbnails over there.
| | 00:38 | To navigate through the thumbnails, press
the Down Arrow key, as you can see I'm
| | 00:41 | going through the different
thumbnails, or simply click on a thumbnail.
| | 00:45 | Now in addition, if those thumbnails
are too big or too small, what you can do
| | 00:48 | is click and drag this little dividing
line, you can drag it to the left or to
| | 00:51 | the right in order to change
the overall thumbnail size.
| | 00:54 | Now because I'm recording this movie
on a pretty low-resolution monitor right
| | 00:58 | now, in order to be able to have this
online, you can see that my thumbnails
| | 01:02 | don't change very much in size. Yet on
your monitor, the change will be much
| | 01:06 | more significant. So again, drag that
to the left or the right and you will see
| | 01:09 | that difference on your own computer.
| | 01:10 | All right. Now because these images
are all basically the same, they are
| | 01:14 | captured at the same time, same lighting,
same f-stop, same exposure, etcetera,
| | 01:18 | I'm probably going to want
to process these together.
| | 01:21 | Now there are a number of different
ways that we can begin to work with
| | 01:24 | multiple files. Let me show you how
this works. So I selected the first image,
| | 01:27 | I'm going to go ahead and desaturate
this. So I'll click my Saturation slider
| | 01:31 | to the left.
| | 01:32 | Next, I'm going to click on either all
of the other images or maybe one of the
| | 01:36 | other images. Let's go ahead and
select all for starters. I'll click Select
| | 01:39 | All, so that they are all selected. Then
I'll click Synchronize to open up the
| | 01:43 | Synchronize dialog window. Now
what exactly do I want to synchronize?
| | 01:46 | Well, I'm not exactly sure but the one
thing that I do know is I just want to
| | 01:50 | make those adjustments I made in the
Basic panel. In this case, all of these
| | 01:54 | adjustments here, or for that matter if
there is another adjustment I could go
| | 01:57 | to that particular adjustments tab.
| | 01:58 | But in my case, I just want to apply
the Basic adjustment. So I'll go ahead and
| | 02:02 | click OK and then you will see that
those thumbnails are now updated. Keep in
| | 02:06 | mind that this works with everything
that you do inside of Camera Raw, even if
| | 02:09 | you are retouching.
| | 02:11 | All right, well, so far so good. I see
that I converted these images to black
| | 02:13 | and white, but I decided you know what?
I like the color in the image. I want to
| | 02:17 | take all of these images back to their
original state. So I'll go ahead and click
| | 02:20 | on one and then on Mac hold down the
Command key, on the PC hold down the Ctrl
| | 02:24 | key and then click on the other images.
| | 02:27 | That's going to be helpful when you
have a lot of images and you don't want to
| | 02:29 | select all of them. Next, I'll press
the Option key on the Mac, Alt key on the
| | 02:33 | PC. That will change my Cancel button
down here to the Reset button. Click on
| | 02:37 | Reset, it will then reset all of those images.
| | 02:40 | So this is kind of interesting, isn't it?
We've learned something. You can
| | 02:43 | either modify one image and apply that
to all of them or you can select all the
| | 02:47 | images, make a change and it will affect
all the images. Let me show you what I mean.
| | 02:50 | Let's go ahead and increase the
Contrast, lower the Saturation, increase the
| | 02:55 | overall Exposure and I'm just trying to
make real drastic changes. You can see
| | 02:59 | that it's affecting all of the images.
Okay, well, now onto a little bit of strategy.
| | 03:03 | Let's go ahead and click off of these
for a second. We will click on one image.
| | 03:07 | When would you want to just modify one
image and apply it to all or when, on
| | 03:11 | the other hand, would you want to
select all and just make sure you are making
| | 03:14 | the adjustments to all the images?
| | 03:16 | Well, if you have 20 images open
inside of Camera Raw, it's probably a better
| | 03:20 | idea to select one and then make a
little adjustment, make another little
| | 03:23 | adjustment, then make another little
adjustment. Then when you are done, I'll
| | 03:27 | go ahead and lower the Exposure here,
make this image look a little bit better
| | 03:32 | and then when you are done, apply that
to the rest of your images. So in this case,
| | 03:35 | I'll modify this image, I'll go
ahead and choose Select All, Synchronize
| | 03:40 | and click OK, just
synchronizing those basic adjustments.
| | 03:43 | So as you are beginning to see,
working with multiple files is actually quite
| | 03:47 | amazing because you can use these
techniques for creative or technical
| | 03:51 | purposes. Let's say you have 15 images
and the White Balance is all off. Well,
| | 03:55 | you can correct the White Balance
on all of those images simply by
| | 03:58 | color correcting one and then applying
those settings to all the rest of the images.
| | 04:02 | On the other hand, let's say you want
to apply a creative vignette around the
| | 04:05 | image. Again, apply it to one and
then synchronize to apply the vignette to
| | 04:09 | all the rest of the images. Well,
again we just barely scratch the surface
| | 04:12 | with what's possible here. But again my
hope is that this has given you vision
| | 04:16 | for how you can begin to work with
multiple files inside of Camera Raw.
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|
|
4. Camera Raw Workflow OverviewViewing and reviewing photos| 00:00 | In this chapter I'm going to
provide you with a bit of an overview of a
| | 00:03 | photographic workflow using the Adobe
Bridge and Adobe Camera Raw. Now you may
| | 00:08 | be wondering, okay Chris why do you
have a workflow chapter so early in this
| | 00:11 | training title? What I'm interested in
doing here is giving a bit of a demo,
| | 00:15 | a bit of an overview of how to begin
to work with Bridge in Camera Raw.
| | 00:18 | Keep this in mind, the topics that we
will be covering here, in addition to
| | 00:22 | other topics, we will be getting into
in more detail throughout the rest of
| | 00:26 | this training. So again, think of this as a
bit of a demo, a bit of a workflow overview.
| | 00:31 | All right, well for starters I have
these photographs that I have taken and
| | 00:34 | they happen to be on the subject matter
of surfing and also a pro surfer. Now I
| | 00:39 | have copied these images from my camera
on to my hard drive. I've put them in a
| | 00:42 | folder; in our case I've put
them in a folder 04_workflow.
| | 00:46 | Now once you've used the Adobe
Bridge to browse to the folder, one of the
| | 00:49 | things that I like to do initially is
just get familiar with the photos. There
| | 00:53 | are a couple of different
ways that we can do that.
| | 00:55 | For starters we are in the Essentials
workspace. I can use the arrow keys to
| | 00:58 | scroll through my images and I have a
preview over here. That preview is a
| | 01:01 | little bit small; I can click and drag
to make it a bit bigger. Or on the other
| | 01:05 | hand, I can go to another workspace
like the Filmstrip workspace where I have a
| | 01:09 | nice large preview.
| | 01:10 | Let's go back to the Essentials
preview to take a look at a few other
| | 01:13 | techniques that we can use in order to
just evaluate these photos. Let's say
| | 01:17 | that I want to get familiar with the
set of photos. I'm going to go ahead and
| | 01:20 | select all of them by pressing Command+
A on a Mac, Ctrl+A on a PC. I'll then
| | 01:25 | press Command+B on a Mac, Ctrl+B
on a PC to enter into Review Mode.
| | 01:30 | Now these mode is really nice because I
can use the arrow keys to scroll around
| | 01:33 | and again I'm just trying to get
familiar with the set of images, what I
| | 01:36 | actually have to work with. Okay,
great! Well, now that I have seen them in
| | 01:40 | this format, I'll press the Escape
key to exit out of the Review Mode.
| | 01:43 | I think it would be kind of
interesting also to see these images as single
| | 01:47 | images, not as a set, but single images.
So with all the images still selected,
| | 01:52 | I press the Spacebar key that enter
into Full Screen View Mode and now use the
| | 01:56 | arrow keys again to scroll through these photos.
| | 01:58 | All right, well now that I'm
scrolling through these photos, I have a good
| | 02:01 | handle on the images, as singles, as a set.
I'll go ahead and press the Escape key
| | 02:05 | to exit out of that. I have also seen
them in my Preview panel over here and I
| | 02:10 | have seen them in two different workspaces.
| | 02:12 | Again, initially all that I'm
interested in doing is getting a little bit
| | 02:15 | familiar with my photos. Well now
that we've become familiar with them, we are
| | 02:19 | ready to use Bridge to add labels or
star ratings and then finally sort and
| | 02:22 | filter the files, because we want to
find the keepers from this set of photos.
| | 02:27 | All right, we will go ahead and talk
about how we can use Bridge to add labels
| | 02:30 | and star ratings in the next movie.
| | Collapse this transcript |
| Using Bridge to label, rank, sort, and filter| 00:00 | In this movie, we are going to look at
how we can add labels or star ratings to
| | 00:03 | our photographs, and one of the things
that's really important to do is when
| | 00:06 | you get to this mode of editing in
your overall workflow, you have to really
| | 00:10 | put the old thinking cap, you have to
put on your vision, you have to be able
| | 00:14 | to see, you have to be able to look
beyond all the clutter of all your
| | 00:16 | photographs in order to find the keepers.
| | 00:19 | Now there are a couple of different
ways that we can rate or rank our photos.
| | 00:23 | We can do it right inside of this
workspace here, and I can do that by pressing
| | 00:26 | Command+1 to 5 for star
ratings, 6 to 9 for labels.
| | 00:30 | So I'll go ahead and press Command+1
to add a star rating to this particular
| | 00:33 | photo. I can also do that in Full -
Screen View Mode, I'll press the Spacebar
| | 00:36 | key, now I'm in Full-Screen View Mode,
now press Command+6 to add a red label,
| | 00:40 | and we can see that down here
in the lower left hand corner.
| | 00:43 | Now if we want to remove the label or
the star, on a Mac, it's Command+6, on a
| | 00:47 | PC, Ctrl+6. To remove the star, you
actually have to add a star rating of 0, so
| | 00:51 | you press Command+0 on a Mac,
and then Ctrl+0 on a PC.
| | 00:56 | Let's press the Esc key to exit out
of that. We will go ahead and select
| | 00:59 | multiple files and now press Command+B
on a Mac, Ctrl+B on a PC to enter into
| | 01:04 | Review Mode. I'll add a star rating by
pressing Command+1 here. So I can also
| | 01:08 | add my star rating here. So I can do
it inside of one of the workspaces in
| | 01:12 | Full-Screen View Mode and Review Mode. You
can do it anyone of those different formats.
| | 01:17 | I'm going to exit out of this and I'm
going to navigate to another workspace
| | 01:21 | just to illustrate a nice way to begin
to edit your files. I'll go ahead and
| | 01:25 | click off all of those and then click
on one, so I can really focus in on this
| | 01:28 | big large preview.
| | 01:29 | All right, well, I'm going to go ahead
and increase the star rating a little
| | 01:32 | bit. I'll press Command+2 on a Mac,
Ctrl+2 on a PC. Now this image is
| | 01:36 | completely out of focus, but I kind of,
like it out. I think it's kind of,
| | 01:39 | artistic, and sometimes going out of
focus can really add a bit of an emotion.
| | 01:44 | In this case, it makes the image a
little bit more anonymous. So I like that,
| | 01:47 | except that I'm not really sure if
it's one of my top keepers, so I'm going
| | 01:50 | to press Command+1, just a one star.
| | 01:52 | I'll move to this next image, I would
like the overall image there, Command+1
| | 01:56 | for one star, move to that next one. I
really like the position of the surfer
| | 02:00 | here, so I'm going to press
Command+2 on a Mac, Ctrl+2 on a PC.
| | 02:04 | Now how you actually use the star
ratings and the labels, it's really going to
| | 02:08 | be contingent upon your own workflow.
So in my case, I'm just starting out
| | 02:11 | with one star, and then if its better,
perhaps a two, and then, if it's really
| | 02:14 | good, maybe even a three.
| | 02:16 | So I'll move to the next image. I like
the shape of the wave there, so I'll go
| | 02:19 | ahead and give this one a 1 star rating,
Command+1 on Mac, Ctrl+1 on a PC. And
| | 02:24 | here we have this next image,
which is a portrait of a world champion
| | 02:27 | pro-surfer, Shawn Thomson. It's a
little bit out of focus, and I kind of, again
| | 02:32 | like that, but it's not amazing so
I would give that a 1 star rating.
| | 02:35 | Now, moving to the next image, here we
can see some of the Polaroids from this
| | 02:39 | particular shoot. And I just took a
snapshot of those on the kitchen tables, I
| | 02:43 | began to develop and process these
photos. And so, I'm going to go ahead and
| | 02:46 | give that a label. In this case, a red
label, Command+6 on a Mac, Ctrl+6 on a
| | 02:51 | PC because this is just an image of
interest, and I have decided to say, you
| | 02:55 | know what, for my labels, this red label
is just going to be something that's for me.
| | 02:59 | Hey! I like this image, it's not
going to go my portfolio but it kind of
| | 03:02 | documents that whole photo shoot in an
interesting way. All right, moving right
| | 03:06 | along, pressing the right arrow key,
here I'm going to go ahead and press
| | 03:09 | Command+2 to add a 2 star
rating to this particular photo.
| | 03:13 | All right, so far so good, we have
gone through the photos. We have added
| | 03:16 | either a label or a star rating. We are
now ready to begin the Filter based on
| | 03:21 | this criteria and we will
do that in the next movie.
| | Collapse this transcript |
| Using the Filter panel| 00:00 | Now we are ready to begin to filter
our photos in order to view the photos
| | 00:04 | based on different filtering criteria.
Now in order to focus in on filtering,
| | 00:08 | I'm going to go ahead and navigate
back to the Essentials workspace.
| | 00:11 | I can do that by pressing Command+F1 or
Ctrl+F1 on a PC, or by clicking on the
| | 00:16 | button up on the top. And I'll go
ahead, and open up some more space for my
| | 00:19 | Filter panel here, and I'm going to
open up Rating and here, you can see that
| | 00:23 | I can click on to show the particular
label, in this case, the red label or a
| | 00:27 | particular star rating.
| | 00:28 | I want to see the images rated with
a 1 star or the images with a 2 star
| | 00:32 | rating. I can also say, well, show me
the images with a 2 star rating and a red
| | 00:36 | label. Well, there is nothing there. So
I can combine these different filters.
| | 00:40 | We will go ahead and turn-off those
options and just open up a few others. I
| | 00:44 | can also look at my ISO Speed Ratings.
So let's see all the images that were
| | 00:47 | shot at 100 ISO, and you can think of
this as descriptive metadata. It hasn't
| | 00:52 | been added but its part of the
file based on how it was captured.
| | 00:56 | There is other types of descriptive
metadata as well. We will go ahead and turn
| | 00:59 | that option off, and go down to Focal Length.
| | 01:01 | Well, here we can either choose a
particular lens that I shot this with. In
| | 01:04 | this case, a 300 mm lens with an
extension tube, or I can go to my 85 mm lens
| | 01:10 | and view the photos that we are
taking with that particular lens.
| | 01:13 | So as you can see, you can use these
filters in some really unique ways, and
| | 01:16 | it's incredibly helpful, especially
when you start to find the keepers.
| | 01:20 | All right, well, now that we have
looked at how we can filter our files or view
| | 01:23 | just specific files, let's begin to talk
about how we can edit this with Adobe Camera Raw.
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| Correcting color with the White Balance tool| 00:00 | As we get into using Adobe Camera Raw,
we are going to be working on multiple
| | 00:03 | images, just so we can begin to see
how we will use these different workflow
| | 00:06 | steps in different scenarios. Now the
first image that I'm going to work on is
| | 00:10 | this snapshot here of this Polaroids.
| | 00:11 | I want to white balance that image
because as I was reviewing it, I notice that
| | 00:15 | there is quite a bit of strong yellow
tint to this image. It doesn't look very
| | 00:19 | white to me, looks like there is a problem
with my color temperature. I want to correct that.
| | 00:24 | So I'll select the file and I'll go
ahead and press Command+R on a Mac, Ctrl+R
| | 00:27 | on a PC, to open it up inside of
Adobe Camera Raw. Next, I'll hold down the
| | 00:32 | Shift key which will give me temporary
access to the white balance tool, then
| | 00:35 | I'll click on something
that I know it should be white.
| | 00:38 | In this case, I know that these
Polaroid back here definitely are white. Then,
| | 00:41 | I'll press the P key to look at my
before and after. Here is before and after.
| | 00:46 | Okay, that looks much better.
| | 00:48 | I can then modify my color temperature
even further. If I want to take this one
| | 00:51 | way or the other, maybe cooling
this off just a bit there, and at this
| | 00:55 | juncture, I'll say, you know what? That
image has now been successfully color corrected.
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| Cropping and composing| 00:00 | The next topic that we are going to
cover in this overview, in this synopsis
| | 00:03 | chapter, is how we can crop and compose.
Now when I was evaluating my images, I
| | 00:08 | notice that there are two images that
I like. In particular, this photo here
| | 00:11 | and this photo here, where the
composition just wasn't good enough. I notice
| | 00:15 | that there is some distracting
elements taking away from the central point of
| | 00:19 | the image, which is the surfer on the wave.
| | 00:20 | So I'm going to go ahead and select
both of those files by clicking on one,
| | 00:24 | holding down the Shift key, and
clicking on another and then press Command+R on
| | 00:28 | the Mac, Ctrl+R on a PC to open both
of those up inside of Adobe Camera Raw.
| | 00:33 | Now I'll press the C key to access the
Crop tool and I'll go ahead and choose
| | 00:37 | 2/3, the same ratio that I have here
to maintain that aspect ratio. I'm just
| | 00:42 | looking to crop this image so that I
can remove those distracting elements.
| | 00:46 | Again, I'm cropping to enhance the
overall composition. I'll press Enter or
| | 00:50 | Return to apply that. That looks a ton better.
| | 00:54 | Next I'll select the image underneath
that by clicking on it in the Filmstrip,
| | 00:57 | grab the good old Crop tool. Again,
click and drag to expand that across this
| | 01:03 | area, and then press Enter
or Return to apply that crop.
| | 01:06 | Now that I have successfully crop
both of these images, I just want to
| | 01:09 | double-click to make sure those look
good. That new crop looks great. I'll
| | 01:13 | click Done to apply that.
| | 01:15 | We will now see that these thumbnails
have been updated, and we will see that
| | 01:18 | in the Content panel as
well as in the Preview panel.
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| Enhancing color and tone| 00:00 | In this movie, we are going to begin to
talk about how we can work on our color
| | 00:03 | and tone in a photograph. Let's go
and select one of the images, then press
| | 00:07 | Command+R on a Mac, Ctrl+R on a PC to
open it up in Camera Raw, and in this
| | 00:12 | case I'm selecting corwig_surfin_05.
| | 00:16 | Now that it's open in Camera Raw. I'm
going to go ahead and increase the color
| | 00:19 | temperature. I'm going to warm this
image up a bit, increase my recovery
| | 00:22 | sliders to save some of the brightest
tones there, a little bit of fill light,
| | 00:26 | and increase the contrast a bit.
| | 00:28 | Next I'm going to navigate over the
Split Toning, what I'm interested in
| | 00:31 | doing here is bringing in some green
into the darker tones. I'll go ahead and
| | 00:35 | increase that, gives it this nice kind
of tropical fill, a little bit more of
| | 00:39 | aqua green water. In the highlights,
I'm going to add some yellows there, so
| | 00:42 | I'll increase the saturation of the yellows.
| | 00:44 | To see the before and after, here's the
before and after of that Split Toning.
| | 00:48 | Click on the presets tab and then,
click before and after to see the overall
| | 00:52 | before and after for the color and tone.
| | 00:55 | All right, well, that looks much better.
Let's go ahead and click Done to apply
| | 00:59 | those changes. We have now
successfully enhanced this photograph.
| | 01:03 | Let's say we want to apply these
settings to the other photos. We will hold
| | 01:05 | down the Command key on a Mac, Ctrl key
on a PC, and click on the other photos
| | 01:09 | that you want to modify, then press
Command+R on a Mac, Ctrl+R on a PC. That
| | 01:14 | will open the images. Click on the
image that's been modified. Click Select All
| | 01:19 | and then, click Synchronize.
| | 01:21 | We want to synchronize everything, but
watch the crop, and click OK. That will
| | 01:25 | then update all those photos. We will
click Done to apply those changes, and
| | 01:29 | here you can see we have modified the
overall color and tone of all of these photographs.
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| Removing distractions| 00:00 | An essential step in any Camera Raw
workflow is to look for distracting
| | 00:04 | elements in the image in order to
reduce and simplify, in order to create a
| | 00:07 | more compelling photograph.
| | 00:08 | In this movie, we will be working on
the file corwig_surfing_03 because I
| | 00:14 | notice a little element that I need to
correct. Let's go ahead and select that
| | 00:17 | file. Press Cmd+R on a Mac, Ctrl+R on a
PC to open it up in Camera Raw. Here we
| | 00:22 | can see the new color and tone. I kind
of like it. It makes the image feel a
| | 00:25 | little bit more vintage.
| | 00:27 | Let's double click the Zoom tool so
that it takes the image to 100% and then
| | 00:31 | let's press the Spacebar tool to
reposition the image and move around the image
| | 00:35 | to look for any potential problems.
| | 00:37 | One little problems I noticed that I
have these little pieces of seaweed on the
| | 00:40 | water here; these little dots are
showing up. I want to remove a couple of
| | 00:44 | those. So I'm going to go ahead and
select the Spot Removal tool. I'm going
| | 00:47 | to heal those away, I'll click-and-
drag right over those and when I do that,
| | 00:51 | it's going to sample a new area
there to try to remove that and I can go
| | 00:55 | through these and remove all these
little tiny dots, I just need to make sure
| | 00:58 | to position these circles over clean areas.
| | 01:01 | Now the green circle is the sample area,
the red circle is the area that's been
| | 01:05 | removed. In order to illustrate this
even more clearly we will move over to
| | 01:09 | left and notice that you have a little
surfer who just made over the top of the
| | 01:13 | wave. That's distracting. Well, what
we are going to do is click-and-drag to
| | 01:17 | expand the circle over his head.
Now we can either move the green and
| | 01:20 | white-checkered circle or the red and
white-checkered circle. I'll go ahead and
| | 01:24 | move the red and white-checkered circle.
And what I'm looking to do is to try
| | 01:27 | to create a pretty good line
there and I can modify this by
| | 01:30 | clicking-and-dragging it to left in
order to choose a different portion of the
| | 01:33 | wave and I'm just kind of going
back and forth evaluating these.
| | 01:36 | Now if these circles are distracting
press the V key that will them hide those
| | 01:40 | circles, then press the P key to look
at your before and after. Well, so far so
| | 01:44 | good, I think that looks pretty nice
and I don't think anyone is going to
| | 01:47 | notice that at all. Press the V key to
bring those back. The next thing that I
| | 01:51 | would like to do when I'm retouching
small details is to double-click the Hand
| | 01:55 | tool. That takes it to the Fit and View Mode.
| | 01:58 | Now when I do that, I need to then
reselect the Spot Removal tool, I then need
| | 02:02 | to press the V key to hide the circles
and then the P key to look at my before
| | 02:06 | and after. And again, all that I'm
noticing is this guy is gone and there are
| | 02:10 | a few of these little
seaweed spots gone as well.
| | 02:12 | Now if I were actually retouching this
image I would remove a few more of those
| | 02:16 | spots. Yeah, for the most part that's
really the most significant adjustment,
| | 02:20 | removing that guy there;
this image is now much stronger.
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| Adding a vignette| 00:00 | In this movie we will take a look at
how we can add a vignette, how we can
| | 00:03 | darken the corners and really redirect
how the person looks at the image.
| | 00:07 | We will be working on the file corwig_
surfing_02. Select that press Cmd+R on the
| | 00:12 | Mac, Ctrl+R on a PC.
| | 00:14 | Now this particular image again I like,
I like that it's out of focus, it's a
| | 00:17 | little bit dreamy. I like that you can
identify the surfer. You know sometimes
| | 00:21 | in photographs when you can't identify
the subject or you can't actually see
| | 00:24 | the face it's actually easier to
identify with the image, it's easier to be
| | 00:28 | drawn into it.
| | 00:29 | Well, let's go ahead and navigate over
to our Lens Corrections controls and all
| | 00:33 | that I'm going to do here is add
much more darkening to the corners here,
| | 00:37 | bring in my mid-point, we can see I'm
darkening the edges, press the P key to
| | 00:41 | see the before and after, okay. So far
so good, I want to bring those in and a
| | 00:45 | little bit further there. Again before
and after, next navigate to the basic
| | 00:49 | controls, add a little bit of fill
light, some brightness, touch of contrast,
| | 00:54 | and then go to the presets tab and press
P. Before and after. Isn't that amazing?
| | 01:00 | This is now much more centralized, here
is our before much more even tones and
| | 01:04 | now we are drawn into it, it's almost
like we are looking down the tunnel and
| | 01:08 | there is the light at the end of the
tunnel, we are really focused in on this
| | 01:10 | area of the image and we have now
successfully darkened the corners, added a
| | 01:15 | special effect, this Lens Vignette
Effect. Keep in mind when you are going to
| | 01:19 | create or add a Lens Vignette Effect
you also -- almost always, need top go
| | 01:23 | back to your basic adjustments and
make some further adjustments because
| | 01:26 | whenever you darken something you want
to go back and just dial-in the rest of
| | 01:30 | your controls in order to
make the image look its best.
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| Converting to black-and-white| 00:00 | In this movie we are going to take a
look at how we can convert an image to
| | 00:03 | black and white as well as modify
the overall tone in the photograph. In
| | 00:07 | particular we are going to look at
how we can use the Graduated Filter.
| | 00:10 | Go ahead and select this file, corwig_
surfing_06. Press Cmd+R on a Mac, Ctrl+R
| | 00:15 | on a PC. Take a look at the colors here,
we have green in the foreground, the
| | 00:19 | sky is really quite white. So I'll
go ahead and navigate over to our
| | 00:23 | HSL/Grayscale controls and click on
Convert to Grayscale. Now I can control
| | 00:27 | this foreground here by modifying my
yellows as well as modifying my greens,
| | 00:31 | bringing a little bit of brightness or
darkness or contrast there just making a
| | 00:35 | little bit more interesting.
| | 00:36 | All right, press the P key to look at
our before and after, so far so good,
| | 00:41 | again we can modify that even further.
I can't really get to the sky, right; I
| | 00:45 | want to darken the sky. In order to do
that I'll click on the Graduated Filter,
| | 00:50 | I'll lower the exposure just a bit
here and then click-and-drag and drag down
| | 00:55 | to create a little bit of a darkening
effect, here is our before and after just
| | 00:59 | darkening the sky.
| | 01:01 | Next thing that we are going to do is
exit out of this tool. We are going to
| | 01:04 | exit out of this tool by selecting
another tool. Now that we have another tool
| | 01:07 | selected we will go back to the
basic panel, here I want to increase the
| | 01:11 | contrast, bring in a little bit of Fill
light, increase my blacks and a little
| | 01:16 | bit of brightness as well and I'm
going to brighten this up quite a bit
| | 01:19 | because next I'm heading to my Lens
Corrections panel, and here I'll add a
| | 01:24 | little bit of a Lens Vignette, we
already know how to do this right from the
| | 01:28 | previous movie. I'll go ahead and
darken that down a bit, I just want to create
| | 01:32 | a nice little darkening effect on
this image, darken up those corners.
| | 01:37 | All right, so far so good, let's click
on the presets tab and then press the P
| | 01:42 | key to see our overall before and
after, and now we have seen how we can
| | 01:47 | convert our images to black and white
as well as we have learned how we can use
| | 01:52 | some of our other controls in order to
enhance that black and white conversion.
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| Making a localized correction| 00:00 | As we continue to hop, skip and jump
through this workflow overview we have now
| | 00:04 | landed at the point where we can use
one of the most amazing new tools inside
| | 00:08 | of Adobe Camera Raw and it's the
Adjustment Brush. We are going to be using
| | 00:11 | that on this image here in order
to make a localized correction.
| | 00:15 | Select the file corwig_surfing_08,
press Cmd+R on a Mac, Ctrl+R on a PC, and
| | 00:23 | here we have this portrait of one of
the world's greatest surfers of all time.
| | 00:27 | And I like this portrait, I like the expression.
| | 00:29 | One of the things that I'm noticing is
there are some shadows around the eyes
| | 00:32 | that I want to brighten up. So I'm
going to go ahead and grab the Adjustment
| | 00:34 | Brush by clicking on its icon. Now
that I have this, what I'm going to do is
| | 00:38 | increase the Exposure amount here,
now my brush size is going to be pretty
| | 00:42 | small, I have a nice small size little
bit less Feather, my flow needs to come
| | 00:46 | down quite a bit there, then I'm going
to go ahead and I'm going to paint in
| | 00:50 | this area around the eyes just
looking to brighten up some of the shadows
| | 00:54 | around the eyes. And my Flow may be a
little bit high here, so I might have to
| | 00:57 | back this off just a touch but
that's all right. Let's take a look at our
| | 01:00 | before and after, here is before and
after, again that's a little bit too
| | 01:04 | strong, so I'll decrease the exposure
amount, just want a little bit of light
| | 01:08 | there. Here is now our before and after,
so far so good. Double-click the Zoom
| | 01:13 | tool to zoom in on the image.
| | 01:14 | Now that we are zoomed in on the image,
I also noticed that I would like to
| | 01:17 | brighten the teeth up a bit, so I'll
go ahead and grab the Adjustment Brush,
| | 01:21 | click New and now that new has been
selected, I'm going to increase the
| | 01:24 | Exposure, decrease the Saturation,
turn Auto-Mask on at this juncture, I want
| | 01:29 | to have that on Flow we are going to
bring that down a little bit and I'm just
| | 01:32 | going to look to paint over these
teeth and all that I'm interested in doing
| | 01:36 | here is brightening and whitening
just a touch. Now keep in mind that this
| | 01:41 | topic as well as others will be covered
more thoroughly later, but for now here
| | 01:45 | is our before and after. We have
brightened and whitened those teeth, we have
| | 01:49 | also brightened these shadows a little
bit and that image looks much better.
| | 01:53 | Let's press the V key to go ahead
and hide those pins, so they are not
| | 01:56 | distracting us there. Press the V key
again to bring them back. And you know
| | 01:59 | what? That looks pretty good. Then
press the P key overall before and then
| | 02:04 | after, we have successfully corrected
this image with this amazing new tool,
| | 02:08 | the Adjustment Brush which allows us
to make corrections to local or specific
| | 02:13 | areas of our photographs.
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| Improving details| 00:00 | In this movie we are going to take a
look at how we can improve the overall
| | 00:03 | details of this photograph here corwig
_surfing_08. Go ahead and select it,
| | 00:09 | press Cmd+R on a Mac, Ctrl+R on a PC
to open it up inside of Photoshop, and
| | 00:13 | next click on the tab for the Details panel.
| | 00:16 | Now in order to modify the details
either Sharpening or Noise Reduction we have
| | 00:20 | to go to 100%, so double-click your
Zoom tool to take the image to 100%.
| | 00:24 | All right, here what I'm going to do
is go ahead and increase the overall
| | 00:27 | Sharpening amount. Now because this is
a relatively low resolution file, you
| | 00:32 | can have a pretty low Amount, pretty
low Radius and because it's a photograph
| | 00:35 | of a person, a real low Detail amount.
Masking, I'm going to bring that up.
| | 00:39 | That will then focus the sharpening
to the edges of the image, rather than
| | 00:42 | sharpening the skin, it's going to
sharpen the edges or say the wrinkles or the
| | 00:46 | teeth or the hair, things that need to be sharp.
| | 00:48 | Let's take a look at our before and
after, here is before, here is after.
| | 00:52 | That's pretty subtle, I'll increase it
more so you can kind of get a feel for
| | 00:55 | what's happening, here is before and
after, and then I'll zoom in so you can
| | 00:58 | actually see before and after.
| | 01:01 | Now when I mentioned sharpening the
wrinkles why would I want to sharpen those?
| | 01:04 | Well, they have defined line, and I'm
going to make that a little bit more
| | 01:07 | defined, in this case it adds a bit of
character to the face, I just want to be
| | 01:10 | careful that I don't over-sharpen those
and masking will limit my sharpening to
| | 01:14 | specific areas.
| | 01:15 | Now I also need to increase my
Luminance and my Color Noise correction,
| | 01:19 | double-click the Zoom tool so we can
see this at 100%, click on the Preview
| | 01:23 | button to look at our before and then after.
| | 01:26 | Notice this is going to be a little
tricky for you to see, but on my monitor,
| | 01:29 | this is looking pretty good, although
it's a little bit too sharp so I'll lower
| | 01:33 | my Sharpening amount. Again, you want
to evaluate this on your monitor at 100%
| | 01:37 | in order to dial-in the appropriate
amount of Sharpening and Noise Reduction.
| | 01:43 | Let's go ahead then and double-click
the Hand tool just to zoom out on this
| | 01:46 | image. Make sure we haven't over-
sharpened anything. That's distracting. And
| | 01:49 | you know what? That looks pretty good.
And on that note this wraps up our
| | 01:53 | conversation about Camera Raw workflow.
| | 01:56 | Now my hope for this chapter is that
it's giving you a vision for what's
| | 01:59 | possible in regards to working with
Camera Raw, and in addition I hope that
| | 02:03 | this chapter has been inspiring and
that it has inspired you to want to learn
| | 02:07 | more about how to work with this
amazing tool, Adobe Camera Raw.
| | Collapse this transcript |
|
|
5. Opening and SavingResizing in Camera Raw with workflow options| 00:00 | In the next few movies, we will be
working with this file annika.CR2. Let's go
| | 00:04 | ahead and open this one up in Camera Raw.
Press Cmd+R on a Mac, Ctrl+R on a PC.
| | 00:08 | Now, some of you may have been wondering,
you know, okay, so I opened an image
| | 00:11 | up inside of Camera Raw and I can
double-click the Zoom tool. That will take
| | 00:15 | the image to 100% and here
I can see the actual pixels.
| | 00:19 | Now what's determining this actual file
size and why is this 100%? Well, if you
| | 00:24 | look at the bottom of the Camera Raw
interface, you will see that you have some
| | 00:26 | workflow options. Here is the color
space, the bit depth, the actual pixels and
| | 00:31 | then the resolution.
| | 00:33 | Well, let's say you want to change
those. All you need to do is click on this
| | 00:35 | little link here. It will open up
your Workflow Options dialog window. Now,
| | 00:39 | it's kind of interesting. We can
control our color space. You have a number of
| | 00:42 | different options there. I'm going
to go ahead and leave it in Adobe RGB
| | 00:45 | (1998) although the two color spaces that I
typically use are ProPhoto or Adobe RGB (1998).
| | 00:51 | ProPhoto has a wider gamut, more colors,
yet increased file size, so it really
| | 00:55 | depends on your overall workflow, but
we will leave it there for now. Our Bit
| | 00:58 | Depth, we can choose between 8 and 16.
Again, 16 Bits/Channel gives us more
| | 01:03 | flexibility, more colors to access,
more information to work with, but 8 will
| | 01:07 | work fine for this image. And then
we have our image size, interesting.
| | 01:10 | Well, here I'm currently at this
about 3000 by about 4000 pixels wide and tall.
| | 01:16 | What if I change this to something
kind of small? I'm going to go ahead
| | 01:19 | and do that, click OK. Well now look at
my 100% view. Here I'm still 100%, but
| | 01:25 | I'm zoomed out because the image has
been 'resized'. So the interesting thing
| | 01:29 | about that is that Camera Raw takes all
the mystery, all the complexity, out of
| | 01:34 | resizing your images and
it's actually quite phenomenal.
| | 01:37 | So let's say that I set these
settings here. I have this nice small file,
| | 01:41 | because this image is going to go on a
website. So I want to resize it down and
| | 01:45 | then I'll resize it even further in
Photoshop, but for now I just want to
| | 01:48 | resize it down in Camera Raw here.
| | 01:50 | So go ahead and click Open Image. Now
when I do that, it will then open that
| | 01:53 | file up inside of Photoshop. I'll double
-click the Zoom tool here to take this
| | 01:57 | image to 100%.
| | 01:59 | Okay great, well, so far so good. I
then go back to the Bridge and back in the
| | 02:03 | Bridge, I want to open this file up.
Cmd+R on a Mac, Ctrl+R on a PC. And I
| | 02:07 | decide, you know what? I want to open
up this image at full res, so I click on
| | 02:10 | my Workflow Options and take this to
its native size. This image was captured
| | 02:14 | with 5D, so it's a 12-megapixel camera,
so we can see the actual native size
| | 02:19 | there, I'll click OK to apply
that and then open the image.
| | 02:23 | Well now that I have opened this image,
what I want to do is I want to compare
| | 02:26 | these side-by-side, so go ahead and
navigate to one of my views where I can
| | 02:29 | compare them. I'll take this image to
100%, double-click the Zoom tool to take
| | 02:34 | it to 100%. We can see that both
images are at 100%. This one is 100 and this
| | 02:39 | one is 100. The overall resolution and
the file size was determined by those
| | 02:44 | Workflow Options.
| | 02:46 | Okay, well, so far so good. We are
starting to see how we can begin to change
| | 02:49 | our image size. There is one more
important thing that I want to show you. Go
| | 02:53 | ahead and close both of these files.
I don't need to save them and I'm going
| | 02:57 | to go back to this particular file
here. What I'm going to do here is open
| | 03:01 | this up in Camera Raw, go to my
Workflow Settings and I'm going to take this
| | 03:04 | back to this really small
size, click OK and then Done.
| | 03:09 | Now has anything changed? Well, not at
all. Nothing has changed until I have
| | 03:13 | actually opened the image. But what I
do want to point out here is that Camera
| | 03:17 | Raw remembers whatever settings you
have used most frequently or most recently
| | 03:21 | I should say. So whatever the last
settings you used, it remembers that.
| | 03:25 | What's going to happen is you are going
to get really advanced with Camera Raw.
| | 03:27 | You are going to be working fast, you
are going to be like, you know what?
| | 03:31 | These images are already been
processed, I just want to open it up in
| | 03:33 | Photoshop. I'm going to Shift+double-click
this file to open that file up in Photoshop.
| | 03:38 | Now how is it going to open that file
up? Well, if we double-click the Zoom
| | 03:41 | tool, you've got it right. It opened
it up at those small dimensions. Now the
| | 03:46 | reason I want to show this is, once you
get more advanced with Camera Raw, you
| | 03:49 | are going to move much more quickly.
And there are going to be times when you
| | 03:52 | are going to open up your image and say,
hey, what happened? This is a small file.
| | 03:56 | I thought I shot this on the 5D.
What's the deal? I don't have enough
| | 03:59 | information here? And then, you will
say, Oh yeah, oh yeah, I forgot. I had
| | 04:03 | changed my Workflow Options to a
smaller resolution and that's what happened.
| | 04:08 | So just keep that in mind that
Photoshop has some built-in memory there.
| | 04:11 | Whatever you have used most recently,
it will then remember that and apply
| | 04:15 | that. And that's especially important
when you are skipping Camera Raw.
| | 04:19 | When you are not skipping Camera Raw,
it's no big deal, right, because you simply
| | 04:22 | open up the image, double-check your
file size and color space and all that.
| | 04:26 | And then finally click Open
Image once you know that that's good.
| | 04:29 | So you have a little visual to help you
out, but if you are using that shortcut
| | 04:32 | Shift+double-click, you don't have
that visual so in that case you just need
| | 04:35 | to pay attention and remember
what you used most recently.
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| Three ways to open photos in Photoshop| 00:00 | In this movie, we are going to talk
about three different ways that we can open
| | 00:03 | our images from Camera Raw, and most
people only know about one of these
| | 00:06 | techniques, so you are going to learn
something kind of interesting here.
| | 00:09 | We are going to be working with the file
annika.CR2. Press Cmd+R on a Mac, Ctrl+R
| | 00:12 | on a PC, to open this
image up inside of Camera Raw.
| | 00:17 | Now typically what happens is you
open your image up and then you make some
| | 00:20 | kind of a modification. Let's say we
convert this to black and white. Now
| | 00:24 | again, the point here isn't the
conversion of black and white but I'm doing
| | 00:27 | that in order to illustrate
how we can open our images.
| | 00:30 | All right, well notice that it's
black and white right now. Now what most
| | 00:33 | people do is simply click Open Image.
Now that's not necessarily a bad
| | 00:36 | technique, but let's take a look at
what happens here. So currently, I have
| | 00:40 | this image open and it is now
converted to black and white, and when I look
| | 00:43 | back in the Bridge and I see the
original raw file, the metadata has been
| | 00:47 | updated, so that we are seeing this
'original file' now converted to black and
| | 00:52 | white, or with whatever adjustments
we have made in Camera Raw, kind of
| | 00:56 | interesting.
| | 00:57 | Okay, well let's go ahead and close
this file for a moment, and Don't Save, and
| | 01:01 | go back to the raw file. Okay, we're
going to open up the raw file, Cmd+R on a
| | 01:04 | Mac, Ctrl+R on a PC. Double-click the
slider for Saturation, it brings it back
| | 01:09 | to 'normal' and then click done. All
right, well here we can see that we have
| | 01:14 | the image as it was.
| | 01:16 | Let's take a look at another
technique for opening these images. Cmd+R on a
| | 01:19 | Mac, Ctrl+R on a PC. Now we can
actually open this image in unique way. Let's
| | 01:24 | make the same adjustments that we
did before. We will de-saturate this
| | 01:27 | particular image.
| | 01:29 | Now, you notice that there is the Open
Image button here, but if I press this
| | 01:33 | shortcut key that's known as the
Renegade, do it its own way shortcut key. It's
| | 01:37 | the Option key on a Mac, Alt key on a
PC. If I press that key it says Open As
| | 01:42 | Copy. I'll go ahead and click on this
button now to open this as a copy, and
| | 01:46 | why would I want to do that?
What's the big deal? Well, it's kind of
| | 01:49 | interesting.
| | 01:50 | This image has now been processed with
all of those raw adjustments, yet the
| | 01:54 | original file has not been updated, it
stays as is. Now there are times when
| | 01:58 | you want to make adjustments to raw
file but you don't want to change or modify
| | 02:02 | the original file. In that case, you
want to open this one up as a copy. All
| | 02:07 | right, well, that's technique two. Okay,
let's go ahead and close this file and
| | 02:10 | then click Don't Save.
| | 02:11 | What's technique three? We will go back
to the original raw file here. Cmd+R on
| | 02:15 | a Mac, Ctrl+R on a PC to open this
file up. What I'm going to do is I'm going
| | 02:20 | to de-saturate, increase the contrast,
increase the blacks, and again, I'm
| | 02:25 | just doing this in order to illustrate
how we may want to work in Camera Raw.
| | 02:29 | And I decide that I'm going to create
a layered file in Photoshop and I want
| | 02:32 | to open this one up as a smart object.
| | 02:34 | To do that, I hold down the Shift key.
That changes Open to Open Object. I'll
| | 02:39 | then click on that button. It will
then update the original file; we can see
| | 02:43 | that in the background. We also notice
that I have this layered document, and
| | 02:47 | here I have this layered document with
an icon showing me that this is a smart
| | 02:51 | object. I'll grab my Type tool and then
I'll add some type here. And I'll make
| | 02:56 | that a little bit smaller. And the
point here isn't type, but that I'm
| | 03:00 | creating a layered document and I'm
going to have flexibility with this
| | 03:04 | layered document. I'll go ahead and
save this and I'm going to save this out
| | 03:08 | into my Chapter 05 folder. And I'll
find that Chapter 05 folder and I'll call
| | 03:12 | this annika with type, and I'll
save that file, and then close it.
| | 03:19 | Now why have I done that? Well, I have
some that in order to be able to go back
| | 03:22 | to the Bridge and illustrate how smart
objects work. Smart objects give you an
| | 03:26 | incredible amount of flexibility. Okay,
for a moment, forget the layered file;
| | 03:31 | let's focus on 'original' raw file.
I'm going to reopen this one, Cmd+R on a
| | 03:35 | Mac, Ctrl+R on a PC, and here what
I'm going to do is I'm going to take its
| | 03:39 | Saturation back to normal, so I have
brought the Saturation back and I'll click
| | 03:44 | Done. Now what has been updated? Well,
just this file, not this file at all.
| | 03:49 | So let's go ahead then and go back to
this layered document, double-click that
| | 03:53 | one to open it up. Yet we know that
this image is somehow connected to the raw
| | 03:57 | file because it's opened up the raw as
a smart object, and all that I need to
| | 04:01 | do to access all of those raw controls
is to double-click on the icon, it will
| | 04:05 | open up Camera Raw for this particular
layer on this particular file, and in
| | 04:10 | this case, just to make something really,
really visual, I'm going to go ahead
| | 04:13 | and increase Exposure drastically. Now,
I'm not saying this is looking good.
| | 04:17 | I'm just trying to make a real
dramatic change so that we can see something
| | 04:21 | here. And I have increased that quite
dramatically, its different look than we
| | 04:25 | had before. I'll click OK
to apply those adjustments.
| | 04:29 | It's now updating my smart object, but
it's not updating the original raw file.
| | 04:33 | So it's almost as if we have another
set of instructions, it's almost as if we
| | 04:37 | have this virtual copy. We have another
version of the raw file inside of this
| | 04:42 | layered document. And the nice thing
about opening up your images, your raw
| | 04:46 | files as smart objects is you have
incredible flexibility, and you have
| | 04:50 | flexibility until this image has been
flattened. And so in this case, I can
| | 04:53 | say, you know what? That black and
white conversion wasn't any good. I'll
| | 04:56 | double-click this icon here. I didn't
like how high I brought my Exposure. I'll
| | 04:59 | bring that back down, click OK to
apply that. It will then update this file.
| | 05:03 | So again, I'm able to take advantage
of all of those raw controls from right
| | 05:07 | inside of a layered document, and
that's one of the reasons why smart objects
| | 05:10 | are so popular with people is because
they give you an incredible amount of
| | 05:13 | flexibility and when I mean incredible
in regards to Camera Raw anything you
| | 05:17 | can do inside of Camera Raw, you can do
with this particular smart object layer.
| | 05:21 | All right, I'll go ahead and save this,
Cmd+S on a Mac, Ctrl+S on a PC, and
| | 05:25 | then I'll close this file and go back
to the Bridge. By way of quick review, I
| | 05:30 | want to talk about how we can open our
files three different ways. I'm going
| | 05:34 | to go back to this original file, Cmd+R
on a Mac, Ctrl+R on a PC. The first way
| | 05:40 | is to click Open Image. Now when we
click Open Image, it creates a new document
| | 05:44 | inside of Photoshop and it updates the original.
| | 05:47 | The second technique that we looked at
is to hold down the Option key on a Mac,
| | 05:51 | Alt key on a PC to open it as a copy.
We can see we have a new option there.
| | 05:55 | When we do that, it doesn't update the
Metadata of the original image. And then
| | 05:59 | the final technique was to hold down
the Shift key and when we do that, we can
| | 06:02 | then open this image up as a smart
object, and then we can take advantage of
| | 06:07 | all of that flexibility that
smart objects empower us to have.
| | Collapse this transcript |
| Saving from Camera Raw| 00:00 | In this movie I want to talk about how
we can save our images from Camera Raw.
| | 00:04 | We are going to be working with the
file annika.CR2. Just to spice it up a
| | 00:08 | little bit, let's open this image up a
different way. Let's double-click this
| | 00:11 | one. That will then open it up in Camera Raw.
| | 00:13 | All right, well for starters, go ahead
and go to our Workflow Options, Color
| | 00:17 | Space, Bit Depth, Size, and I want this
to be a pretty big image. So I'm going
| | 00:21 | to go ahead and take it back to its
native size. And that's a pretty big file.
| | 00:24 | It's captured on a 5D 12-megapixel
camera, so we have quite a bit of
| | 00:28 | information. I'll click OK.
| | 00:29 | Now that I have dialed-in those
Workflow Options, I'm going to go over here to
| | 00:33 | my Save Image button. I also want to
point out that it's Save Image... That's
| | 00:38 | kind of telling me that if I
click this, I'm going to see a dialog,
| | 00:41 | interesting!
| | 00:42 | Now where do I want to save this? I'm
going to go ahead and save it in the
| | 00:45 | same location, save it in the same
folder that I'm in. I want to save this out
| | 00:49 | as a JPEG, so I'll name this one annika_
smaller_. In this case, I don't need to
| | 00:55 | start with 04. I'll just start with 1,
and it has that 2-digit serial number.
| | 00:59 | So annika_smaller_01.
| | 01:01 | I'm going to save it out as a format of
a JPEG. Now there are other formats of
| | 01:06 | course, you can save it as Digital
Negative TIFF and Photoshop but for this
| | 01:09 | demo, I'm going to save it as a JPEG,
at a Quality setting of somewhere
| | 01:12 | between 0 and 10.
| | 01:13 | In this case, what I'm interested in
having is a file that's much smaller than
| | 01:16 | my huge raw file, but it's at the
same dimensions. So I'm going to take my
| | 01:21 | Quality down a little bit. I'm going to
apply all this JPEG Compression to the
| | 01:24 | file. I'm going to have a much smaller
file. So I want to save this out. I'll
| | 01:27 | click Save. When I do that, you will
notice I have a little progress here next
| | 01:31 | to the Save Image dialog.
| | 01:33 | Okay, well, great. Let's go ahead and
click Done and check out the Adobe Bridge.
| | 01:37 | Now when I go back to the Adobe Bridge,
I see that it created this small JPEG
| | 01:40 | for me. Let's take a look at our
Metadata. Now in regards to the metadata, we
| | 01:44 | have the pixel dimensions. Those are
exactly the same as we started with. File
| | 01:47 | size, it's 1.3 megs. Really small, not
even 1.5 megs there. Let's compare that
| | 01:52 | to the raw file. Well that's about 12
megs. We have the same dimensions. In
| | 01:56 | this case, we have this much
smaller file and it was saved out at those
| | 02:00 | particular settings.
| | 02:02 | All right, well, so far so good, but
let's say that we accidentally decide, you
| | 02:07 | know what, I don't want this JPEG or
we delete it for some reason, I'll go
| | 02:11 | ahead and delete it by pressing the
Delete key, click Delete and move that to
| | 02:14 | the Trash, okay. And then I go back to
the raw file here. I'll double-click it
| | 02:19 | to open it up, and I say, you know what,
I really wish I had that small JPEG.
| | 02:23 | It was too bad I trashed it; I want a
JPEG at those exact dimensions that I
| | 02:27 | used previously.
| | 02:28 | Well, here is all you need to do. You
need to do is press the Option key on a
| | 02:31 | Mac, Alt key on a PC, and those dots
disappear. It now says just Save Image.
| | 02:36 | Now when I click on this, it's going
to then save that file out. With those
| | 02:40 | same exact settings that I used
previously the only thing that's going to
| | 02:43 | change is one small variable. Let's
open up this dialog. Notice that it's going
| | 02:48 | to begin the numbering now at 03. Why
is that? Well, let me show you. I'll go
| | 02:52 | ahead and click Done here and go back
to Bridge. Now Bridge saved this file out
| | 02:56 | as 02. It remembers that I previously
saved the JPEG as 01, and then it saved
| | 03:02 | it out as 02. And then, the next
number that it gave me for an Option was 03.
| | 03:07 | So it's trying to help you
not overwrite your files.
| | 03:10 | So again if I were to go to this file,
double-click it to open it. Hold down
| | 03:13 | the Option key on a Mac, Alt key on a
PC, and save that image out, and then
| | 03:17 | we'll go ahead and click Done to view
that. We now see that we have the same
| | 03:22 | JPEG but it's at this new extension, 03.
And I point that out because it's kind
| | 03:26 | of helpful especially when you are
trying to move quickly, and especially, when
| | 03:30 | you use that shortcut, and you want to
make sure you don't overwrite a file.
| | 03:33 | Bridge will really help you out
because with that naming convention, it will
| | 03:37 | help to prevent you from
overwriting a previously existing file.
| | 03:41 | All right, well, just a couple more
things I want to talk about here. We will
| | 03:44 | go back to Camera Raw, we will double-
click the file. The last thing that I
| | 03:47 | want to point out is in this Save
Options dialog window you can of course save
| | 03:51 | it to a new location. You can change
your file naming convention in a number of
| | 03:54 | different ways. You have a wide range
of options here that you can choose from
| | 03:58 | these pull-down menus. You can also
determine the extension if it's going to be
| | 04:01 | a lowercase or capital, and then in
addition you have a few different formats.
| | 04:06 | Now there is one format that's
kind of interesting, actually kind of
| | 04:09 | fascinating. We know about Digital
Negative TIFF, well, that's pretty
| | 04:12 | straightforward. We can choose a
compression. Well, Photoshop, Preserve Cropped
| | 04:17 | Pixels. Well, what's that all about?
Let me show you this, this is really cool.
| | 04:21 | I'll go ahead and click Cancel here
and grab the Crop tool and I'm going to
| | 04:23 | crop way in on the image, just make a
free-form crop, press Enter or Return to
| | 04:28 | apply that. Okay, I'm then going to
choose Save Image. Now when I choose Save
| | 04:33 | Image, I'm going to save this out
as a Photoshop document and I want to
| | 04:37 | preserve the cropped pixels. Rather
than getting rid of those pixels, I want to
| | 04:40 | preserve them.
| | 04:40 | I'll go ahead and name this annika_ps
for Photoshop, extension 1 there. I'll
| | 04:47 | click Save and then once that's done,
I'll click Done. Now I'll go back to the
| | 04:53 | Adobe Bridge and here I have that file.
| | 04:55 | Now the interesting thing about this is
if I open this file in Photoshop, yes,
| | 04:59 | I have this file, it's a pretty large
file, and why is it large? Well, because
| | 05:03 | all of the other pixels are still there.
If I click-and-drag this around, I can
| | 05:07 | actually access those or even better.
| | 05:10 | Let's go to Full-Screen View Mode.
Press F to go to Full-Screen View Mode. If I
| | 05:14 | go to Image and then Review All, oh, yup,
you got it. It's going to show me all
| | 05:18 | of those pixels, because they were there.
It was just that the document window
| | 05:22 | was much smaller.
| | 05:23 | So you can use that option in a number
of different ways when you are creating
| | 05:26 | composites, or when you are not quite
sure about your crop. You don't know if
| | 05:30 | you want to get rid of those pixels,
but do keep this in mind, it does increase
| | 05:34 | your overall file size, but sometimes
that extra bit of file size is worth it
| | 05:38 | because it gives you extra flexibility.
| | Collapse this transcript |
|
|
6. Cropping, Composing, and StraighteningUsing the Crop and Straighten tools| 00:00 | In the next few movies we are going to
learn how to use the Crop tool inside of
| | 00:03 | Camera Raw. Here's the good news. The
Crop tool is much better inside of Camera
| | 00:07 | Raw CS4. So let's go ahead and select
this first file, corwig_crop_01. It's a
| | 00:12 | JPEG right, so we need to press Cmd+R
on the Mac, Ctrl+R on a PC, to open this
| | 00:17 | sunrise photograph up inside of
Camera Raw. Now in order to access the crop
| | 00:21 | tool you can press the C key on your
keyboard that will then give you the Crop tool.
| | 00:25 | To create a crop all you need to
do is click and drag. So I'm going to
| | 00:29 | go ahead and navigate to the top left
corner and click and drag across the
| | 00:32 | entirety of the image.
| | 00:34 | Now with this image we are going to
do a number of different things and my
| | 00:37 | intent here is to begin the build up
your familiarity with how to use the Crop
| | 00:41 | tool. Right, when I extend that crop
across the entirety of the image, I see
| | 00:45 | that I have different corner points
or anchor points. If I drag one of the
| | 00:49 | middle corner points, like this one,
I can then change the overall image. Now
| | 00:53 | when I bring that up one of the things
I notice is, you know what? My horizon
| | 00:57 | isn't level. One of the things I'll
teach you in all beginning photography
| | 01:00 | courses is you want level horizons,
right? So I notice I have a problem, but
| | 01:04 | I say, okay, kind of interesting.
| | 01:05 | I notice I can do kind of a free form
crop by grabbing any of these corner
| | 01:09 | points and changing them. I can
change the overall aspect ratio of the crop,
| | 01:13 | kind of interesting. Yet as I do that I
realize you know what? That's not going
| | 01:17 | to work for me. I need the original
aspect ratio. How can I undo this? We will
| | 01:21 | press the Escape key to undo that.
Let's then go back and click and drag across
| | 01:25 | the image. Now that we've clicked and
dragged across the image, what we are
| | 01:28 | going to do is hold on the Shift key
and then click and drag one of the four
| | 01:32 | corner points. That will
maintain the aspect ratio. Nice.
| | 01:36 | Next I can hover over of the middle of
the crop and reposition that. Now so far
| | 01:40 | so good, but what about the horizon
line which isn't straight? Well, here's one
| | 01:44 | approach. I can move my cursor to one
of the four corners and approach that
| | 01:48 | corner till I see the bent cursor with
the double arrows there and then click
| | 01:51 | and drag and I could try to guess how
far I need to go. Yet that gets a little
| | 01:56 | bit tricky. To make things even better,
I'm going to grab the Straighten tool.
| | 01:59 | Shortcut key is the A key, or
you can click on it in the toolbox.
| | 02:03 | What I'm going to do here is simply
click and drag across something that I
| | 02:06 | know should be straight. And that's
pretty close to the horizon line. That will
| | 02:09 | then tell me or rotate my crop for me,
what I need to do, or how far I
| | 02:13 | need to rotate that image in order to
make that level. Now in previous versions
| | 02:18 | of Photoshop, this was as far as you
could go. You couldn't really see a crop,
| | 02:21 | and that was real downer, right? Because how can
you really know if this crop is going to look good.
| | 02:25 | For now in Bridge CS4, all that you
need to do is press Enter or Return or
| | 02:30 | select another tool. I'll go ahead and
select another tool like the Hand tool,
| | 02:34 | and just for the record, you could just
press the shortcut key as well. It will
| | 02:37 | then apply that crop. To reactivate
the crop press the C key. That will then
| | 02:42 | bring up all of those crop handles
and you can reactivate it. And let's say
| | 02:45 | when I have reactivate it, I'd say
the rotation was just a little bit too
| | 02:48 | strong. I don't want to quite that
rotated, so I'll go ahead and click and drag
| | 02:53 | that a little bit this way and then
press Enter or Return to apply that.
| | 02:57 | All right, well, now I am done with
this image. All I need to do is click
| | 02:59 | Done and then we'll see that our
thumbnail has been updated. The nice thing
| | 03:03 | about this is it showing me, hey,
this image has been cropped. It's been
| | 03:06 | cropped in Camera Raw. If I don't like
that crop, all that I need to do: Cmd+R
| | 03:10 | on the Mac, Ctrl+R on the PC, press
the C key to activate the Crop tool, press
| | 03:15 | the Escape key to delete or
remove that crop and then crop again.
| | 03:21 | All right, well, so far so good, we've
learned a little bit about the Crop tool
| | 03:24 | and the Straighten tool, but of course,
we have more to learn and we will do
| | 03:28 | that in the next few movies.
| | Collapse this transcript |
| Working with the Crop tool| 00:00 | In this movie we'll be working with
this file corwig_crop_02. Let's go and open
| | 00:05 | it up in Camera Raw. Press Command+R
on the Mac, Ctrl+R on a PC. This is a
| | 00:10 | photograph that I took in New York
City of the Apple Store there, kind of an
| | 00:14 | interesting perspective. Yet, when I
look at the photograph, I say, I kind of
| | 00:18 | like it. The lines are kind of
interesting, and I like lines when you are
| | 00:21 | shooting with wide angle lines, except,
it's a little bit off, right? This line
| | 00:25 | right here isn't quite straight. In
addition I might be interesting in kind of
| | 00:29 | cropping it a little bit,
just to see what it looks like.
| | 00:31 | So I'll go ahead and grab my Crop tool.
I press the C key on the keyboard, and
| | 00:35 | I'm going to go ahead and click and
drag across the image here. I'm just
| | 00:39 | going to click and drag to create a
little bit of a free form crop. So I'm
| | 00:41 | going to go up where this building is,
and come into this portion, the image
| | 00:45 | here, and again, I'm just trying to get
a little creative and what not. One of
| | 00:49 | the things that I noticed is, indeed,
it's definitely not straight, because I
| | 00:52 | can see that this line here in this
particular image doesn't follow this line.
| | 00:56 | And that's why it's kind of a nice
demo file. So how then can I get those
| | 01:00 | aligned up? Well, there is a great
shortcut that I want to share with you, and
| | 01:02 | it's this shortcut.
| | 01:04 | When you have the Crop tool active,
you can press the Command key on the Mac,
| | 01:06 | Ctrl on the PC, and you can access the
Straighten tool. How cool is that? So
| | 01:11 | you don't actually ever really need to
use a Straighten tool, because you can
| | 01:14 | always get it right while you're
inside of the Crop tool. Now here all I'm
| | 01:17 | going to do is click and drag across
this line, because I know that that should
| | 01:21 | be straight. Okay, well, so far so good.
| | 01:24 | Next I'll hold on a Shift key and I'm
going to bring this down to constrain
| | 01:27 | this proportion just inside of that line.
Or if I don't want to constrain it, I
| | 01:31 | can simply bring in my two points here
on the edge. And I can go ahead and do
| | 01:35 | that, and I see that I have my top
point on that line, bottom point here. Looks
| | 01:40 | like for the most part I'm in pretty
good shape, I'll press Enter or Return to
| | 01:43 | apply that crop.
| | 01:44 | Well, now of course it's a very
different image, and the nice thing I like
| | 01:47 | about Camera RAW in CS4 is I can
actually evaluate the image. One of the things
| | 01:50 | I noticed here is it's not quite right
for me. I want to get those lines right
| | 01:54 | in the corner. So I'll press the C key
to reactivate the crop. When I do that
| | 01:58 | it zooms so far out, I can't actually
see what I'm working on, right, because
| | 02:03 | I'm seeing all the grayed out area of
the crop, so what can I do? Well, there
| | 02:07 | are actually a couple of different
techniques that you can use. One of them is
| | 02:11 | double-click the Crop tool; that will
then take your crop to the 100% view,
| | 02:15 | which is really nice. It will fit that
crop in your view, so you can see all
| | 02:18 | the edges. And I like that shortcut,
because it helps me really focus in on the
| | 02:22 | image. Now here what I'm going to do
then is click and drag this line, so that
| | 02:27 | line or that piece of glass that just
lined up right into the corner, and then
| | 02:31 | I'll do the same thing on this side.
Just trying to create a little bit of
| | 02:34 | visual interest there. Now that was
subtle, hopefully you will begin a see that
| | 02:38 | that shortcut can really help you out,
and again that shortcut was double
| | 02:41 | clicking the Crop tool.
| | 02:42 | Well, now to apply this crop and
actually see it in its final setting, press
| | 02:46 | Enter or Return, and apply that. I can
say, you know what, I like that small
| | 02:49 | detail and that image is much better.
Also keep in mind this is a small low Res
| | 02:54 | file, so we can see a little of
artifact in the image. I do have the RAW file,
| | 02:58 | and I cropped the RAW file the same way.
Now the nice thing about using Camera
| | 03:02 | RAW for cropping your images is it's
completely non destructive. And if any
| | 03:06 | time you don't like the crop, all that
you need to do is reactivate the Crop
| | 03:10 | tool, and simply press the Escape key.
| | 03:11 | Now I don't want to do that here.
I'm going to leave this one as is, just
| | 03:14 | because I think it's kind of a
interesting, kind of fun. Now is this image
| | 03:17 | better than the other one? Well, not
necessarily, but we did learn a thing or
| | 03:20 | two about how to Crop tool works.
| | Collapse this transcript |
| Cropping with an aspect ratio| 00:00 | In this movie we'll be working on the
file corwig_crop_03. Let's go ahead and
| | 00:05 | select that and press Command+R on a
Mac, Ctrl+R on a PC. This opens up an
| | 00:10 | image I captured in Brighton Beach in
the UK. One of things that I noticed
| | 00:14 | about the image is the image isn't
quite leveled. So let's keep that in mind.
| | 00:17 | What I want to talk about here is if
we go up to the Crop tool, you'll notice
| | 00:19 | that from the Crop pulldown menu you
have a number of different options. You
| | 00:23 | have different aspect ratios. If you
go ahead and select one of those, like 1
| | 00:26 | to 1 for example, what you can do is,
be able to crop in a 1 to 1 square, kind
| | 00:30 | of interesting, right?
| | 00:31 | Well, if I have a crop visible, and
then I change that, let's say I changed
| | 00:34 | that to the 2 X 3, which is a current
aspect ratio that I have here, I can go
| | 00:39 | ahead and expand that. It's going to
allow me to expand that completely. On the
| | 00:43 | other hand, if I have a different crop
ratio, like 3 X 4, it's going to only
| | 00:46 | allow me to expand it as far as it can
go in order to maintain that particular
| | 00:50 | aspect ratio. Also keep in mind that
when you are cropping you can't enter in a
| | 00:54 | custom crop. So I'll go ahead and
choose Custom. In the Custom Crop that I'm
| | 00:58 | interested in choosing is going to be 1 X 7
| | 01:02 | I'll go ahead and click OK. Well, now
in this case, in this 1 X 7 crop, I can
| | 01:07 | then click and drag to expand that,
and here I'm saying that I'm getting
| | 01:10 | closer to a crop perhaps that I
could create a little bit of a panel, or
| | 01:14 | perhaps the panel that has the colors
of the doors there in those images. Okay,
| | 01:18 | well, I actually don't want to apply
that particular crop, so I'm going to go
| | 01:21 | ahead and press the Escape key to exit
out of that. What I do want to apply is
| | 01:26 | a crop that's a little bit tighter.
| | 01:27 | So I'm going to go ahead and choose 2
X 3, and here I'm going to click and
| | 01:30 | drag to expand across this image,
and I can also rotate that particular
| | 01:35 | orientation. Make it a 3 X 2 by
simply clicking and dragging as I have done
| | 01:39 | here. I'll press the Escape key just
to illustrate that again. So as I click
| | 01:44 | can drag down, I get that 3 X 2, but
then when I click and drag to the right, I
| | 01:48 | then get that 2 tall by 3 wide. So
you can alternate between those two
| | 01:53 | different types of crops.
| | 01:55 | Now I'm going to go ahead and move
the crops, so that I can see a couple of
| | 01:58 | different items in this image. Now
I'm not trying to improve the overall
| | 02:02 | composition of the image, but I do want
to illustrate how you can work with the
| | 02:05 | Crop tool. All right, at this
juncture, we want to zoom in on the image a
| | 02:09 | little bit. Now what are a couple of
different ways we can zoom in? Well, I
| | 02:12 | can't press Command+Plus on a Mac,
Ctrl +Plus on a PC to zoom in. I can also
| | 02:17 | press Command +Option+ 0 on a Mac, or
Ctrl+Alt+0 on a PC, to go to 100% view,
| | 02:24 | and that kind of helps as well. We
also leaned that shortcut where we can
| | 02:28 | double-click the Crop tool, and then it
will fit that crop in view. So we have
| | 02:32 | a couple of different ways
to zoom into our crop area.
| | 02:35 | Now so far we have looked at how we can
straighten an image. We can see that it
| | 02:38 | definitely isn't straight, right? We
have more road here than we do over here
| | 02:42 | underneath these little beach-huts.
Well, how then can I straighten it? Well,
| | 02:47 | with the Crop tool active, we know that
we can press the Command key on a Mac,
| | 02:49 | Ctrl key on a PC, and click and drag
across something that we think should be
| | 02:53 | straight. Well, that's now what I
want to do here, so I'll go ahead and do
| | 02:56 | that, and then undo it by pressing
Command+Z on a Mac, Ctrl+Z on a PC. Yup,
| | 03:01 | that's right. Command and Ctrl+Z or
Undo works inside of the Crop's dialog. It
| | 03:06 | works inside of Camera RAW.
| | 03:07 | All right, what I want to here that was
illustrated how I can also drag across
| | 03:12 | something that I know should be
straight like this pole. I know that this pole
| | 03:15 | should be straight up and down. So
I'll go ahead and grab the Straighten tool
| | 03:18 | either by clicking on it, or by
pressing the Command key on a Mac, Ctrl key on
| | 03:22 | a PC, and then I'm going to click and
drag along that pole, and then I'll let
| | 03:26 | go. Now once I let go, we should see
that it's a pretty decent crop, it's
| | 03:30 | making that pole straight, I have
relatively almost equal amount of space
| | 03:35 | underneath each of these, so that looks
good, It's not quite perfect though, so
| | 03:38 | I'm going to go ahead and lick and
drag this just a touch there to sweeten
| | 03:41 | that up a little bit, and then I'll
go ahead and press Enter or Return.
| | 03:45 | So now I have everything straightened
out, and I straightened everything out by
| | 03:49 | a way of finding something that was
vertical on the image. So keep in mind,
| | 03:53 | when you are using that Straighten
tool, you can either straighten off of
| | 03:56 | horizontal or vertical lines, just
look for something that you know should be
| | 03:59 | either one or the other.
| | Collapse this transcript |
| Composing with the Crop tool| 00:00 | Any conversation about using the Crop
tool would not be complete unless we
| | 00:04 | talked a little bit about Composition.
So we are going to talk about that with
| | 00:07 | this file here. Let's go ahead and open
it up. It's titled corwig_crop_04.jpg.
| | 00:11 | Press Command+R on a Mac, Ctrl+R on a PC
to open this one up inside of Camera Raw.
| | 00:16 | Now, this is the original image as shot.
I've saved this out as a JPEG, yet I
| | 00:20 | haven't modified any other settings.
This is the original file. I like this
| | 00:24 | photo, it's a photograph of World
Champion Surfer Shaun Thompson, someone who I
| | 00:28 | admire immensely; the guy
is just absolutely amazing.
| | 00:33 | As I look at this particular image, one
of the things I notice is that he is a
| | 00:37 | little bit too centered in the frame
because his face is about in the center of
| | 00:41 | the frame, there is a little bit too
much space above him. The composition
| | 00:45 | isn't very good. Now, his expression
in kind of this bottom portion of the
| | 00:49 | image here is great. I just need to
get rid of some of this extra space,
| | 00:53 | because I want this to be a little bit
more of a stronger portrait of Shaun.
| | 00:58 | All right, so in order to do that,
I'll grab the Crop tool. I'm going to go
| | 01:01 | ahead and press the C key on the
keyboard. Now, what aspect ratio do I want?
| | 01:05 | Well, I want the Aspect Ratio that
this was captured and which is 2-3, and
| | 01:09 | that's what I used last time,
so I'll go ahead and select that.
| | 01:12 | Next, I'm going to click and drag
across the entirety of the image just to get
| | 01:15 | a feel for the file. Next, I'm going
to go up to one of my corners, hold down
| | 01:19 | the Shift key and click and drag down.
I'm going to click and drag down pretty
| | 01:22 | far because I can of course hover over the
crop area and move that one way or the other.
| | 01:28 | Now, what I'm interested in doing
here is trying to improve the overall
| | 01:31 | composition, make it a little bit more
flattering, make it a little bit more
| | 01:35 | interesting. So I'll go ahead and
press Enter or Return to do that.
| | 01:38 | Now, when I do that, one of the
things I notice is that his eyes are much
| | 01:41 | higher in the frame, right. They are up,
they are closer to that rule of third
| | 01:45 | spot, and that's much more interesting.
I also like that these are a little bit
| | 01:48 | off centered, makes the
image just a touch more dynamic.
| | 01:52 | Now, is this the best crop? Well, I'm
not necessarily sure. So I'll press the
| | 01:55 | C key to reactivate the crop. I'll go
ahead, hold down the Shift key and click
| | 01:59 | to drag those corners, and then I'll
reposition this crop, and I'll reposition
| | 02:03 | it so that there is a little bit more
space here on the right-hand side, press
| | 02:06 | Enter or Return to apply that.
| | 02:08 | Now, that's pretty interesting, but
it's not quite as interesting because the
| | 02:12 | jacket is a little bit softer here.
It's a little bit more unfocused, it kind
| | 02:14 | of trails or fades off over on this
side. So I like that better. Press the C
| | 02:19 | key again to access the Crop tool,
click and drag this way, and then press
| | 02:23 | Enter or Return to apply that.
| | 02:25 | Okay. Well, this is getting closer to
what I like. What I'm doing here is just
| | 02:29 | trying to discuss how I begin to think
about composition with the Crop tool.
| | 02:33 | Now, all good photography teachers
will tell you crop and compose on camera,
| | 02:37 | you shouldn't have to crop afterwards,
and there are some photographers who
| | 02:40 | don't crop at all after the fact.
| | 02:42 | One of the things that I find is,
even though I try to crop and compose on
| | 02:45 | camera, there are times like with this
image that if I crop it, it will look
| | 02:49 | that much better. All right, so I'll go
ahead and press the C key to reactivate
| | 02:52 | the Crop tool. I want to bring this
down even farther, and I'm going to go
| | 02:55 | pretty extreme this time and click and
drag to reposition this. Press Enter or
| | 02:59 | Return to apply that, and then I
have yet a different look as well.
| | 03:03 | As I'm looking at all of these
different looks or compositions, I'm trying to
| | 03:08 | determine how I feel about the image.
One of the things that I'm finding here
| | 03:11 | is that I find it better when it's
really more about his face, because his face
| | 03:15 | is so expressive, there are so much
character there. So I'm going to go back
| | 03:18 | to my initial crop. I'll press the C
key to reactivate the Crop tool, hold down
| | 03:21 | the Shift key, and then click to drag,
to expand those just a bit, and then
| | 03:25 | reposition that just so it's off
centered, just a touch, press Enter or Return.
| | 03:30 | In my opinion, that's a crop that I
like. It's not too extreme or too tight,
| | 03:34 | but it did definitely improve the image.
So as you start to work with the Crop
| | 03:38 | tool, keep in mind that the Crop tool
is of course a very functional tool. It
| | 03:41 | can help you straighten things, it can
help you clean up your composition, and
| | 03:44 | what not. But, in addition, you can
come up with some really interesting
| | 03:48 | creative results. In this case, it's creating
a portrait that is that much more compelling.
| | Collapse this transcript |
| Creative cropping| 00:00 | In this last movie where we were
working on the file corwig_crop_05,
| | 00:05 | I just want to point out that you can notice
this has been modified in Camera Raw. It
| | 00:08 | was converted to black and white, and
the image has been cropped. You can think
| | 00:13 | about this movie as a bit of a bonus movie.
It's kind of a movie to help you think big.
| | 00:17 | So I'm going to go ahead and open this
file. Press Command+R on a Mac, Ctrl+R
| | 00:20 | on a PC. Well, I like this particular
portrait. I like the way it was captured.
| | 00:25 | I was photographing in the sun, and
we can kind of see that, and I like the
| | 00:27 | expression and all those things,
yet it didn't start off so well.
| | 00:31 | So let's go ahead and grab the Crop tool,
press the C on the keyboard, and here
| | 00:34 | you can see that much of the image was
cropped out, well why? Let's press the
| | 00:37 | Escape key. Well, in this case, you
can see there is a quite a bit of lens
| | 00:40 | flare in the lower portion of the image.
Now, because I was photographing into
| | 00:43 | the sun that lens flare caused a
problem, so how can I then correct that?
| | 00:47 | Well, I can either get rid of the image.
I can toss it and say, you know what;
| | 00:50 | it didn't really work for me. I'm
going to have to choose another image, or I
| | 00:53 | can begin to think outside of the box a
little bit, and that's what I did here.
| | 00:57 | So all that I need to do is go to the
Crop tool, select 1 to 1 ratio and begin
| | 01:01 | to click and drag across the image.
| | 01:03 | I'm also thinking about, how can I
reduce and simplify. You always hear that
| | 01:07 | in photography, reduce and simplify,
reduce and simplify. So maybe I need to
| | 01:10 | reduce it even further and then go
ahead and press Enter or Return. Now, I have
| | 01:15 | a much different portrait than
the one we initially looked at.
| | 01:18 | So one of the things that I'm trying
to do here obviously is to just to get
| | 01:21 | you to begin to think creatively. Begin
to think how you can use a Crop tool in
| | 01:25 | technical ways and also in creative ways,
in order to come up with some pretty creative outcomes.
| | Collapse this transcript |
|
|
7. Adjusting White BalanceImproving color balance| 00:00 | In this movie, we are going to begin
to look at how we can white balance or
| | 00:03 | color correct our photographs. We're
going to work on two images here, go ahead
| | 00:06 | and select both of those and let's
open them up in Camera Raw. We'll press
| | 00:10 | Command+R on a Mac or Ctrl+R on a PC.
| | 00:13 | Well, here we have these two
photographs and when I look at these photographs I
| | 00:16 | say, you know what? They are looking
okay except there seems to be something
| | 00:19 | that's a little bit wrong. The color
temperature doesn't look quite right. As I
| | 00:23 | start to analyze the image, I'm
going to go ahead and navigate up to my
| | 00:25 | Sampler tool, press the S key or click
on the tool here, and I'll click on the
| | 00:28 | sample point in the background.
| | 00:29 | Now, when I look at that sample point
and I look at the RGB values, it's telling
| | 00:33 | me you know what? There is a lot of
blue in that background and I was there so
| | 00:37 | I know that background wasn't quite
that blue. It was much more neutral and in
| | 00:40 | fact it was gray. So because I'm able
to know that something in the image was
| | 00:44 | neutral, that can really help me out.
| | 00:46 | All right, well how then can I
correct this image? I have to begin to think
| | 00:50 | about what went wrong. Well, this image
was captured in open shade. So I have a
| | 00:53 | nice cool cast that's coming through
the image, and in addition, I set my
| | 00:57 | camera's white balance setting to Auto
and it didn't do a very good job.
| | 01:01 | All right, well for starters, I can go
over to my White Balance controls and I
| | 01:04 | can choose a different setting like
Cloudy. Well, that didn't quite do it.
| | 01:07 | Well, what about Shade? Well, it was in
shade, well that looks much better. One
| | 01:11 | of the things we are noticing is
that our numbers are much more close.
| | 01:14 | Now, if our RGB values are equal, it means
we have a neutral color. I can also in
| | 01:18 | addition modify my sliders. So I
could go ahead and modify my Temperature
| | 01:22 | sliders as well. Let's say we want
to go even further. Well, we know that
| | 01:26 | background was most likely neutral.
So let's grab our White Balance tool.
| | 01:30 | When I select the White Balance tool
in the toolbox, I'm thinking I want to
| | 01:34 | click on something that's neutral. I
don't want to click on something that's
| | 01:36 | pure black or that's pure white, but
something that's neutral and has a lot of
| | 01:39 | information in it like this background.
I'll go ahead and click on that Sample
| | 01:43 | point there.
| | 01:43 | Now, that made that background
completely neutral and one of the things I want
| | 01:48 | to do is compare where the image was
and where it is now. Command+Z goes
| | 01:51 | backwards, on that PC that's Ctrl+Z,
and then press that shortcut again to
| | 01:55 | bring it back to where it was.
Okay, kind of interesting.
| | 01:57 | Well, one of the things I notice is yes,
that background is indeed neutral yet
| | 02:01 | it went a little bit too far. So I'm
going to go ahead and reduce some of the
| | 02:04 | overall warmth of the color of that
image there and bring that down just a bit.
| | 02:08 | Now, I think that looks much better.
Let's look at our Preview. Press the P key,
| | 02:11 | before and after. Now, isn't
that interesting? We didn't even realize
| | 02:15 | there was a color shift, but we used
that Color Sampler tool to teach us that
| | 02:18 | there was a color problem.
| | 02:20 | We also thought back to how the
image was captured and kind of potential
| | 02:23 | problems we might have discovered
from that. All right, well now that this
| | 02:26 | image is in a much better place,
I want to apply these settings to the other
| | 02:30 | file. To apply them to the other file,
I'm going to go ahead and hold down the
| | 02:32 | Command key on a Mac, Ctrl key on
a PC and click on the other image.
| | 02:36 | I need to click Synchronize, yet
check it out, it says 'Synchronize...'
| | 02:40 | If I click on that, that means it will
open up the Synchronize dialog window. Well,
| | 02:44 | I don't want to do that. I don't want
to have to view this window. So I'll hit
| | 02:47 | Cancel here. I'll hold down the
Option key on a Mac, Alt key on a PC, those
| | 02:50 | dots disappear, and voila! I now have two
color correct images. Here is my first one,
| | 02:55 | and here is my second one. Out of the
two I think that second one has a little
| | 02:59 | bit better composition. I like the
overall look and feel of that one much
| | 03:02 | better and in addition, we'd learned
a little bit about how we can color
| | 03:06 | correct our images, so they look even better.
| | Collapse this transcript |
| Using the White Balance tool and controls| 00:00 | In this movie, we will be working
with the file corwig_color_03 and 04.
| | 00:04 | Go ahead and select both of those and
press Command+R on a Mac, Ctrl+R on a PC.
| | 00:08 | Now, what I want to do here is just
continue to talk about white balance,
| | 00:11 | because one of the things I have
found is white balance is actually kind of
| | 00:14 | tricky. We need to think in a new way
as we begin to think about color and
| | 00:18 | color temperature.
| | 00:19 | Now, with this initial photograph,
one of the things I'm noticing is I like
| | 00:22 | it, I like the overall composition and
what not. Yet, there is quite a strong
| | 00:25 | hue and I'm seeing that in particular
in the hair. Now, it's hard to see it in
| | 00:29 | the plant surrounding the model. It's
hard to see it in the skin tone and in
| | 00:32 | the garment, but I can definitely see
it in the hair. I'm thinking, you know
| | 00:36 | what? The hair was most likely black,
so I can then use that to my advantage.
| | 00:39 | So I'll grab the White Balance tool,
and I'll do that by pressing the I key.
| | 00:43 | Next, I'm going to go ahead and
hover over the image and look at my RGB
| | 00:46 | readouts right here. One of the things
I notice is yeah, I definitely have a
| | 00:49 | problem there. I notice my red is
really low in, addition to that blue/yellow
| | 00:52 | channel. So I'll go ahead and hover
around and what I'm looking for is finding
| | 00:56 | an area where I'm noticing a
difference, but it's not quite too drastic
| | 00:59 | because I don't want to click on
something that's phenomenal here, but I want
| | 01:02 | to click on something that's kind of
representative of this color shift. So I'm
| | 01:05 | going to go ahead and hover around the
document here, just looking for a place
| | 01:08 | where I'm noticing that.
| | 01:09 | All right, well as I do that and
after I clicked on that spot, one of the
| | 01:12 | things I notice is okay, it corrected
the file, but it went way too far. Let's
| | 01:16 | look at the before and after. Press
Command+Z on a Mac, Ctrl+Z on a PC. There
| | 01:20 | is before and there is after.
| | 01:22 | If I look at my Temperature and Tint
slider, you'll see that what it did is it
| | 01:25 | push them all the way far to the right.
You know what, it pushed them too far.
| | 01:28 | So I'm going to go ahead and bring
both of those back, trying to keep that
| | 01:31 | relationship, and I'm going to go
ahead and bring those way back and now look
| | 01:35 | at my before and after, press the P key
to do that. Here is before and here is
| | 01:38 | after. That looks much better. The skin
tones look so much natural, the overall
| | 01:43 | yellow looks nice. So I'm going to go
ahead and modify this one way, see how
| | 01:46 | it looks there, I can lower that a
little bit, and do the same thing with my
| | 01:49 | overall tint.
| | 01:51 | Now my tint, I can go really green in
this case, and I should have some green
| | 01:54 | in it because I have this reflective
light off all the green plants. I don't
| | 01:57 | want to go too far, but it's okay to
have a little bit of green there, and then
| | 02:01 | our overall before and after.
Press the P key, before and after.
| | 02:05 | So one of the things I'm trying to
illustrate here is it times you use that
| | 02:08 | White Balance tool. You are going to
try to sample an area; you may not always
| | 02:11 | get it. In my case, I didn't. I got a
point and it shifted it way too far. I
| | 02:15 | don't want to remove all of that hue
from the hair. I don't want to make that
| | 02:18 | pure black because when I do, it just
made my color just looks completely strange.
| | 02:23 | In this next image, we have a
photograph of a bride and groom. Now, a lot of
| | 02:27 | times when we have a photograph like
this, we think okay, I know the color
| | 02:30 | scheme, right? I know black suit,
white dress. I can click on one of those
| | 02:33 | areas. So I'll grab my Eyedropper
tool, and I click on the jacket here.
| | 02:37 | Now, when I click on the jacket, I
think Oh! My gosh, what happened? I must be
| | 02:40 | crazy. That definitely doesn't look
good. What happened in this case is the
| | 02:44 | jacket was actually brown because I was
there, and had I forgotten that, I may
| | 02:48 | have clicked on that point.
| | 02:49 | Now, the wedding dress. Well, that
works for us. Now, are all wedding dresses
| | 02:52 | actually white? Not necessarily, some
of them are little bit off white. Let me
| | 02:56 | go ahead and try that next. Now, we'll
go ahead and click on an area where I
| | 02:59 | have some nice tone.
| | 02:59 | I want to be careful that I'm not
clicking on an area that's too white. I want
| | 03:03 | to click on area again where it has
some nice tonality. Here, I think that
| | 03:06 | looks pretty good. It neutralized the
overall color shift. Press the P key.
| | 03:09 | Here is our before and then
after; that looks much nicer.
| | 03:13 | Yet, remembering back to this
particular wedding, I know that there was a
| | 03:16 | little bit more hue in that
particular dress. So I'm going to go ahead and
| | 03:19 | navigate over my Temperature slider,
and just warm things up just a touch
| | 03:22 | there, and bring in a little bit
more warmth to this particular image.
| | 03:27 | So again, what I'm trying to
illustrate here is how we are going to use those
| | 03:30 | White Balance tools. A lot of times
they work perfectly, they work perfectly on
| | 03:33 | the first click. Other times what
you are going to want to do is further
| | 03:36 | customize your overall color balance,
or your white balance or your color
| | 03:39 | temperature with those Temperature
sliders and ultimately, by using both of
| | 03:43 | those tools together; the White
Balance tool in addition to those Temperature
| | 03:47 | and Tint sliders, and some of your
other controls, you can ultimately come up
| | 03:51 | with more compelling photographs. I
think that looks pretty good, and that
| | 03:54 | wraps up this movie.
| | Collapse this transcript |
| Correcting color with white balance cards| 00:00 | In this movie, we are going to talk
about how we can white balance our images
| | 00:03 | or color correct our photos when we
first photograph something neutral. So we
| | 00:07 | have something neutral we know is color
correct, we can then correct that item
| | 00:11 | and apply those settings to other files.
| | 00:13 | You can see we have files white_balance
_demo_01. We're going to use that file
| | 00:17 | all the way to 05. Hold down the Shift
key and click on the last image, then
| | 00:20 | press Command+R on a Mac, Ctrl+R on a
PC because these are JPEG files. Now,
| | 00:25 | does it work better to color correct
on JPEGs or raw files? Well, it works a
| | 00:28 | ton better on raw files. Yet, for
demo purposes, the JPEGs will work fine.
| | 00:33 | Now, because I have these ColorChecker
charts, what I can do is I can sample an
| | 00:36 | area on one of these charts. I know
this is white, gray and black. If I go to
| | 00:40 | my other ColorChecker chart, again I
have all of these neutral swatches down
| | 00:44 | here. What I'm going to do then is
grab the White Balance tool and I'm going
| | 00:47 | to click on one of the swatches,
not the pure white or the pure black.
| | 00:49 | Typically, it works best to use one of
these colors here. So I'll go ahead and
| | 00:52 | click on that one where I have enough
information to actually create a good
| | 00:55 | color correction.
| | 00:56 | All right, well now that I have that,
I'm going to go ahead and Select All,
| | 00:59 | and I'm going to this by way of
shortcut Command+A on a Mac, Ctrl+A on a PC.
| | 01:03 | Now, the next shortcut that I'm going
to use is to hold down the Option key on
| | 01:06 | a Mac, Alt key on a PC will change
Synchronize... to just synchronize. Click on
| | 01:11 | that Synchronize button, it will then
color balance or white balance all of
| | 01:15 | those different images, and we can
click through those and begin to see that
| | 01:17 | yes, indeed those look much better.
| | 01:19 | Now, the nice thing about this is we
can look at our before and after. Here is
| | 01:22 | our before and then here is our after.
Definitely an improvement. Now, because
| | 01:27 | these are JPEG files, the improvement
isn't perfect, it's not ideal. Yet, if
| | 01:31 | they were raw files, if I had more
information, the color correction would be
| | 01:35 | that much stronger. But, for these
images, I think you can see that they do
| | 01:38 | work pretty well.
| | 01:39 | So one of the things that you may
want to do is consider picking up a
| | 01:42 | ColorChecker chart, and bringing
that with you when you are creating your
| | 01:45 | photographs, including a few in
your frames with a particular lighting
| | 01:49 | situation. That way, it will speed
up your overall color correction.
| | 01:53 | I'll talk about a few different color
correction resources at the end of this
| | 01:56 | chapter. So if you are interested in
integrating that into your workflow, be
| | 01:59 | sure to check out that
final movie in this chapter.
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| White balance vision and creativity| 00:00 | In this movie we are going to deepen
and broaden what we know about color
| | 00:02 | correction and white balance.
We will be working on three files
| | 00:05 | corwig_dandelion.CR2, dylan.jpg, and
backcountry_009.jpg. Go ahead and select
| | 00:08 | those files, press Cmd+R on the Mac to
open them up in Camera RAW. My intent
| | 00:12 | here is to just get you to begin to
think outside of the box in regards to
| | 00:15 | color correction, and to begin to
think about some of the other issues in
| | 00:19 | regards to color and color temperature.
| | 00:21 | Here we have a photograph of a
dandelion that I took and I like the photograph,
| | 00:24 | but a lot of times what happens is you
open up your photos and they just don't
| | 00:28 | grab you, right? You look at the RAW
file. There is a little bit of a letdown.
| | 00:31 | You have to see beyond that, and that's
one of the things that color correction
| | 00:34 | will teach you. A quick color
correction can really help you discover something
| | 00:38 | interesting.
| | 00:39 | So I'll grab the White Balance tool,
and I'll go ahead and click on one of
| | 00:41 | these little areas of this particular
item, and all of a sudden this image
| | 00:44 | really comes to life. Now the color is
a little bit different than the way I
| | 00:47 | saw it. Although it's pretty close,
yet that White Balance tool took me from
| | 00:52 | here to here, amazing. Right now all
I need to do is increase the contrast,
| | 00:56 | maybe some blacks, increase my
overall exposure, and I have a pretty
| | 00:59 | interesting image.
| | 01:00 | Press the P key for before and after.
So what my hope says, as you begin to
| | 01:05 | work with color and color balance;
that you begin to see beyond the original
| | 01:09 | image, and see to how it should look
in your mind, and then work to use these
| | 01:13 | controls in order to create that, even
if they are creative in a sense. I could
| | 01:16 | modify the overall color temperature,
make this one perhaps a little bit more
| | 01:20 | warm, a little bit more natural. Here
is my before and after in that case. All
| | 01:24 | right, well let's then click
on this next image of dandelion.
| | 01:26 | Now in this particular photograph of
one of my friend's son, I can see there
| | 01:29 | are some color problems, right? He was
shot indoors next to a chalkboard, and
| | 01:34 | there we can see his name on the
chalkboard, and I like his expression, I like
| | 01:38 | this image. And I'm not exactly sure
what's wrong, except the chalkboard looks
| | 01:41 | really blue, and I know that
chalkboards are typically black. So I may try to
| | 01:45 | color correct off of that. Now when I
do that the image isn't going to look
| | 01:48 | good at all.
| | 01:49 | So I need to undo that. Cmd+Z on a Mac,
Ctrl+Z on a PC. The next thing that I'm
| | 01:53 | going to try is, I'm going to look
for something that's right around middle
| | 01:56 | gray. Something that has a little bit
more tonality to it. In this case his
| | 01:59 | shirt. And if I sample on area of his
shirt, the image all of a sudden looks
| | 02:02 | much better. Here is our before, and
here is our after. Now if I sample other
| | 02:07 | areas on his shirt, it even will go
farther, and will add more warmth to the
| | 02:10 | image. Now I can then decide how far I
actually want to go with it. We can look
| | 02:14 | at our before and after, and I need
to have vision, I need to experiment a
| | 02:18 | little bit. I need to try to find the
correct point in order to color correct the file.
| | 02:22 | One more example of that. Here is
somewhat of a self-portrait that my friend
| | 02:26 | Travis took, of he and I in a recent
trip up into the mountains. And one of the
| | 02:29 | things I like about this image is
that you have the warm and the cool
| | 02:32 | juxtaposition. You have the cool
shadows back here on the mountains, and then
| | 02:35 | the warm sunset on our faces. So I
want to color correct the file, and I may
| | 02:40 | think, you know what? This trap shadow
over here, open shade, that's not going
| | 02:42 | to look good. I'll click on that, and
when I do that, whoa, whoa, whoa I have
| | 02:45 | problems that didn't work for
me. So I'm going to undo that.
| | 02:49 | Where else could I click? Well, I
could try the snow. I mean that snow looks
| | 02:52 | white compared to this blue snow; it's
got to be white. So I'll go ahead and
| | 02:55 | click on that, and one of the things
that taught me was, okay, well, that's
| | 02:58 | kind of interesting. Here is my
before and then after. It did just take a
| | 03:01 | little bit of that yellow out of there,
and meaning that, just a touch. I'm
| | 03:04 | going to go ahead and do that even
maybe a touch more. And now here is my
| | 03:08 | before and after, just removing a
little bit of that yellow so it's not quite
| | 03:12 | so orangey yellow. Little
bit more of a corn yellow.
| | 03:16 | I think that's kind of a subtle, yet
perhaps significant adjustment. Again,
| | 03:19 | here is my before and after. Now my
whole point here is just to get you to
| | 03:23 | begin to think creatively about how you
color correct your images. And I'm not
| | 03:28 | talking about creative in regards to
coming up with these wild colors; I'm
| | 03:31 | talking about creative in regards to
technical color. I'm thinking about where
| | 03:34 | you click, and also having vision.
Seeing something and saying, hey, that looks
| | 03:38 | good, but I want to look beyond that.
Maybe it could even look better. And one
| | 03:41 | of the things I have found that I
think you will soon discover is that if you
| | 03:44 | can begin to experiment with these
tools, you can come up with some really
| | 03:47 | compelling results.
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| Color balance resources| 00:00 | All right, so if you are interested in
taking your color correction, your white
| | 00:03 | balance, and taking your photography to
the next level, you may want to pick up
| | 00:07 | a ColorChecker Chart and then begin to
shoot that way, because it can really
| | 00:10 | expedite your real process, and in
addition it can help you come up with more
| | 00:14 | accurate color, which ultimately
means more compelling photographs.
| | 00:18 | So in this movie what I'm going to do
is simply show you three different sites
| | 00:21 | where you can find some more
information about picking up a ColorChecker Chart.
| | 00:23 | The first one is Xrite. Now Xrite,
they create a wide range of amazing color
| | 00:28 | management supplies. They have a couple
of different ColorChecker Charts. They
| | 00:31 | also have some training movies on how
to use them. Well, definitely will be
| | 00:34 | worth looking into. Another place that
you may want to go is ExpoDisc. You will
| | 00:38 | also find that they have a tool that's
really helpful that you actually put on
| | 00:41 | the front of your camera in order
to create a custom white balance.
| | 00:44 | Now there is another place you may
want to go, and that's the QPcard's site.
| | 00:47 | And it's pretty interesting. Because
these cards are actually really small,
| | 00:50 | they are easy to transport, they are
easy to use, they have a little bit of an
| | 00:53 | adhesive to the back of them, kind of
like a sticky note, so you can actually
| | 00:56 | stick it somewhere, and then
photograph that image. That's really helpful, at
| | 01:00 | least it's really helpful for me, in
situations when you are out shooting
| | 01:03 | stuff, and you don't have someone to
hold the ColorChecker Chart, you don't
| | 01:05 | have a good place to set it down.
| | 01:07 | So I have had great success with those.
As a matter of fact, I have had great
| | 01:10 | success with all three of those
different products. All I wanted to do here is
| | 01:14 | to show you that there are a couple
of different places that you can go in
| | 01:17 | order to get more information about
white balance and color correction, and in
| | 01:20 | addition that there are some good
products out there that can really help out
| | 01:23 | your photography.
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|
|
8. Using Basic AdjustmentsDeconstructing basic adjustments| 00:00 | In this movie we are going to begin
to deconstruct how we can use our basic
| | 00:04 | adjustments in order to enhance, and
correct, and improve our photographs.
| | 00:08 | We are working on this file grayscale.jpg.
Let's go ahead and open that one up in
| | 00:12 | Camera RAW. Press Cmd+R on the Mac,
Ctrl+R on a PC. Now here is a trick you
| | 00:16 | just have to know. If you want to
teach yourself how to do something in
| | 00:18 | Photoshop or Camera RAW, create a
grayscale and modify it. You can begin to
| | 00:22 | deconstruct how the different tools work.
| | 00:24 | All right, well, let's go ahead and
navigate down to some of our basic
| | 00:27 | adjustments. We are going to start off
by working on our Exposure. Now Exposure
| | 00:32 | is actually pretty interesting. If I
slide this Exposure to the right, one of
| | 00:34 | things we are going to see is we
can make some drastic adjustments. It's
| | 00:38 | affecting almost the entirety of the
image, brightening it up. On the contrast
| | 00:42 | if I darken it, again, it's darkening
up almost the entire image. So the thing
| | 00:46 | that's kind of interesting in regards
to your Exposure slider is that you can
| | 00:49 | do a lot of damage, you can also do
a lot of good. And I say that because
| | 00:53 | typically you want to be
careful with your Exposure slider.
| | 00:56 | Now you can't swing this pretty far one
way or another, not to the full extreme
| | 00:59 | typically, but you can get away with
moving this, but just keep in mind it does
| | 01:03 | cause clipping. And what clipping is,
is loss of information. So let's say that
| | 01:07 | we go ahead and increase our exposure
a little bit. Well, we don't have much
| | 01:09 | information here in our whites, in
our highlights. Well, we can use that
| | 01:13 | Recovery slider, I'll go ahead and
increase that, and you can see what that's
| | 01:16 | doing for me is darkening up this
area here. I'll go ahead and decrease this
| | 01:20 | is a little bit more, so we can see it
even more and here is our before and
| | 01:25 | then our after. Again, you can see that it's
working on this upper part of the grayscale.
| | 01:29 | All right, well interesting. Let's
go ahead and reset this. Hold down the
| | 01:33 | Option key on the Mac, Alt key on the
PC. That will change Cancel to Reset,
| | 01:36 | bring it back to Normal. Let's move on
down to the Fill Light. Well, what's the
| | 01:40 | Fill Light about? I like to think of
the Fill Light is kind of like reflected
| | 01:43 | light. It's almost like you have a
reflector and you are bouncing light into
| | 01:47 | the more mid tone range to the image.
So go ahead and increase this and as I
| | 01:50 | do that you are going to see that's
really affecting this portion of the
| | 01:53 | overall grayscale.
| | 01:54 | Now it's not really affecting my whites.
It's not really affecting my blacks.
| | 01:58 | As I increase it higher and higher, yes,
it's going to push into my blacks and
| | 02:02 | if you have a real high Fill Light
amount, typically it looks pretty unnatural.
| | 02:05 | Yet the thing to keep in mind in regards
to your Fill Light is that a lot of times
| | 02:09 | what you will do is increase your Fill
Light, and then you will need to bring
| | 02:12 | the blacks up as well.
| | 02:14 | I like to think of these two sliders
kind of as an older brother and a younger
| | 02:18 | brother. If one goes across street,
the other one tags along with it and
| | 02:21 | typically you will make movements of
these together. Typically Fill Lights are a
| | 02:25 | little bit higher and blacks are a
little bit lower and again of course, this
| | 02:28 | will vary on each image. It is just
something to begin to think about and why is that?
| | 02:32 | Well, if I go ahead and increase my
Fill Light, well now, I don't really have a
| | 02:35 | lot of black detail. It's going to look
a little strange. If I bring in some of
| | 02:38 | that black detail, and now look at my
before and after. Well, that's still
| | 02:41 | going to probably work for me,
although it's not going to look too natural.
| | 02:45 | Typically we are going to find that
these are a little bit closer together, and
| | 02:48 | we can use them in unison.
| | 02:49 | All right, well, let's go ahead and
reset those sliders. Double-click the
| | 02:51 | triangle to take that back to its
default setting. Let's go down to the
| | 02:55 | Brightness slider. So what's that about?
Well, the Brightness slider is kind of
| | 02:58 | like the opposite of the Fill Light
slider, right? It's working on these tones
| | 03:02 | right up here where the Fill Light
worked on the tones down here in between
| | 03:05 | shadows and mid tones.
| | 03:06 | Well, the Brightness slider works on
these three quarter tones, between my mid
| | 03:09 | tones and my highlights. Okay, we will
double-click that to take it back to 0.
| | 03:12 | And then what about Contrast? We know
what that's going to do, right? It's
| | 03:15 | going to make my whites whiter, my
black blacker, or on the other hand it's
| | 03:18 | going to mute the tones out a little
bit more, and that's not very visual with
| | 03:21 | this particular image, yet on a
photograph you will start to see how that
| | 03:24 | contrast slider can add quite a bit of punch.
| | 03:26 | All right, well so far so good. We
have started to learn a little bit about
| | 03:30 | these basic controls. Let's go ahead
and apply what we have learned and we
| | 03:33 | will do that in the next few movies.
| | Collapse this transcript |
| Recovering highlights| 00:01 | In this movie we are going to begin
to work with the controls in the basic
| | 00:03 | panel. Let's go ahead and select the
file corwig_baja.dng. Press Command+R on
| | 00:07 | the Mac, Ctrl+R on the PC to open up
this file. And I like this perspective. I
| | 00:12 | like that truck driving down the beach
and all of that, yet I notice I have a
| | 00:15 | problem. We have actually talked about
this problem in the previous movie, but
| | 00:18 | to reiterate it, press the S key to
grab your Color Sampler, and then click on
| | 00:23 | the front of this bumper here.
| | 00:25 | Now look at those RGB numbers I'm
seeing there, you know what, I'm having
| | 00:28 | some kind of a clip in there, I don't
have enough information. I can also see
| | 00:31 | that by pressing U and O, and I press
those at the same time, look at your
| | 00:35 | keyboard, go ahead and press U and O.
That will turn on your clip in warning
| | 00:39 | indicator of your highlights and your
shadows, showing those clipped areas
| | 00:43 | either in red or blue.
| | 00:44 | In this case what I need to do
obviously is increase my overall Recovery
| | 00:48 | slider. That will then bring back some
detail to that area of the image. Now am
| | 00:52 | I worried about these trapped shadows
in here? Not really. Yet, if the trapped
| | 00:56 | shadows look something like this,
would I still be worried about it? Well,
| | 00:58 | yeah, I would be worried about it,
how then could I fix that? Well, I could
| | 01:02 | bring in some Fill Light, we will see
that Fill Light little counter after
| | 01:04 | that, and again, that's why those two
sliders kind of tend to work out well
| | 01:07 | together, you then to bring those together.
| | 01:10 | Yet I don't need to go that far,
and again, I was just doing that to
| | 01:12 | illustrate. Okay, well, so far so good,
press U and O to turn those clipping
| | 01:16 | indicators off, and then let's go ahead
and select another tool. I'll pres the
| | 01:20 | Z key to select the zoom tool, and
I'm going to go ahead and clear those
| | 01:22 | samples, because those are pretty good,
and I'm going to click on the image to
| | 01:25 | zoom into the front of the car here.
| | 01:27 | Now that I have zoomed away in
front of the car, I seeing, yeah, I do
| | 01:29 | definitely have enough detail there.
I'm going to modify my exposure a little
| | 01:33 | bit. I'm just going to darken it up
just a touch there. I think that will look
| | 01:36 | good. Now when I increase the Contrast
slider, what's going to happen is, it's
| | 01:39 | going to make my whites a little bit
whiter, and my blacks little bit blacker.
| | 01:43 | Press U and O to see what kind of
clipping you have, well yeah, I do have some
| | 01:46 | clip detail, but not as bad as it was.
That still looks pretty good. Lets' go
| | 01:50 | ahead and zoom out, and do you remember
how to zoom out? You press Command+0 on
| | 01:54 | the MAC Ctrl+0 on the PC to fit that in view.
| | 01:57 | Now couple of other things I may want
to do here, I may want to add a little
| | 02:00 | bit more Fill Light, but keep in mind
that if you add too much Fill Light, as I
| | 02:03 | have done here, the image can kind of
start to look a little bit strange. Now
| | 02:07 | some people use that slider for
special effect, and it can look kind of
| | 02:11 | interesting. Of course though, you
will be introducing some noise and some
| | 02:15 | other problems, and I just want to
highlight that, so I'm going to zoom in on
| | 02:18 | the car here and look at this
window here we can see we have some color
| | 02:21 | artifact in.
| | 02:22 | We will talk about how to remove that
later, when I bring that Fill Light back
| | 02:26 | I don't have that, and again that
noise is just because I'm bringing light
| | 02:29 | into this area. Well, I don't have
that much information. Okay, I'll go ahead
| | 02:32 | and zoom out. I'm going to zoom out
and look the image step back a little bit
| | 02:35 | from it, and again our Fill Light
slider though. In this case we can't swing it
| | 02:39 | up pretty high, higher than I would on
many images. I have a nice high amount
| | 02:43 | of contract, I'm going for a pretty
punchy look, and then I want to just dial
| | 02:47 | in over all brightness here
for this particular image.
| | 02:50 | Now the nice thing about using
Brightness say as oppose to Exposure is if I
| | 02:53 | increase my Exposure, I'm going to
have much more loss of detail, much more
| | 02:57 | clipping. So in this case I'm just
going to use that Brightness slider. Now
| | 03:01 | that being said, is there one control
in the basic panel, or one slider that's
| | 03:05 | better than another? No, it's almost as
if you use all the controls, right, you
| | 03:10 | see me jumping back and forth between
this control and that control, and then I
| | 03:13 | modify one then I modify the other, and
you know what, by taking that approach,
| | 03:18 | typically you come up with the best results.
| | 03:20 | So keep that in mind, it's not any one
control that saves the day, rather it's
| | 03:25 | using the controls in combination with
the other controls. Now before I wrap up
| | 03:29 | this movie, I just want to say one
more thing in regards to the Recovery
| | 03:31 | slider. This Recovery slider is
phenomenal, it allows us to save detail, and it
| | 03:36 | takes advantage of that liner data
that we have here, and really bring back
| | 03:40 | some of those bright tones.
| | 03:41 | Yet what can happen is, you can kind
of flatten out an area of an image. So
| | 03:45 | when you increase your Recovery slider,
just watch for areas that have become
| | 03:48 | too flat and as you increase that,
or increase your Fill Light, or your
| | 03:52 | Brightness, be sure to add a little
bit of contrast. So again, keep in mind
| | 03:55 | there's quite a bit of give and take.
| | 03:57 | Now there is more that we could do
with this image. We could work on the sky,
| | 04:00 | we could use a Graduated Filter for
that, right, we could add a little bit of
| | 04:03 | that, and yet that will be really
interesting, then work on the overall color and tone.
| | 04:07 | Yet for the purposes of this movie, I
think we have arrived at a pretty good
| | 04:10 | place, getting this image to look a
little bit better, and ultimately this
| | 04:14 | image will print much better, because
now we have detail, in the front of the
| | 04:17 | car and we have corrected some
of the other tones in the image.
| | Collapse this transcript |
| Basic adjustments speed tip| 00:00 | Now that we know a little bit about
how to work with our basic adjustments
| | 00:03 | controls, what I want to do is share
with you a tip that will help you speed up
| | 00:07 | your overall workflow, as you begin
to work with the color and tone of the
| | 00:10 | image. Let's go ahead and select the
same image, corwig_baja, double-click that
| | 00:14 | to open it up inside of Photoshop.
| | 00:16 | Now we've talked about how we can see
this clipping indicator. How we can press
| | 00:20 | O in order to turn on our Highlight
indicator, or we can press U to turn on our
| | 00:24 | Shadow indicator. Let's go ahead and
press U in order to turn those clipping
| | 00:27 | indicators off. I want to turn those off,
because there is a way quicker way to
| | 00:31 | go about showing that particular
indication of what's being clipped. On the Mac
| | 00:35 | you hold down the Option key, on a PC
and you down the Alt key, and then you
| | 00:39 | reposition or click or drag the Exposure slider.
| | 00:42 | Now as I do that it's showing me all
the areas where I have clipping, and the
| | 00:46 | different colors are showing me the
clipping in the different channels. Now I
| | 00:48 | can lower this, so I don't have any
clipping in the image, or let's say I bring
| | 00:52 | it up. I then go to the Recovery slider,
hold down the Option key on the Mac
| | 00:55 | Alt key on a PC, and here I can see
that I can fix the tones there, and I can
| | 00:59 | see that really quickly.
| | 01:00 | As you can imagine, this can really
speed up your overall workflow, because you
| | 01:04 | can target a little tiny area. We can
also do this with our Blacks as well, and
| | 01:08 | here we are going to see that we have
some clipping in those areas, so that we
| | 01:11 | can dial that in, and they go ahead
and bring up the Fill Light to try to
| | 01:15 | protect that, but then in order to see
the clipping we have to go back to the
| | 01:18 | Black slider.
| | 01:19 | So the one down side of using this
approach is the clipping indicator isn't
| | 01:23 | always on, and when we modified the
Fill Light item out, we couldn't really
| | 01:26 | tell where the sweet spot was, yet, it
was as simple as holding on the Option
| | 01:30 | key, going back and then seeing where
that is, adding a little more Fill Light,
| | 01:34 | going back and clicking, and then again
seeing where the clipping is taking place.
| | 01:38 | All right, well, I hope that you find
that particular shortcut helpful, and you
| | 01:41 | know that's one of those shortcuts that I
use all the time in my own photograph workflow.
| | Collapse this transcript |
| Evening the tone on a portrait| 00:00 | Let's continue to work with the Basic
panel. I'm going to work on this file
| | 00:04 | corwig_sophia.dng. Go ahead and open
that one up by pressing Command+O on the
| | 00:08 | Mac or Ctrl+O on a PC. That will open
up Camera Raw hosted by Photoshop, and
| | 00:13 | again, there are number of different
ways to open your files, and I'm just
| | 00:16 | trying to use a few different
techniques to remind of you those.
| | 00:19 | All right, well, here I have
photograph of my daughter Sophia swinging in the
| | 00:23 | front yard when she was just a little
one. One of things that I want to do with
| | 00:26 | this image is, I want to even out the
tone a little bit. This photograph was
| | 00:29 | captured at sunset, so we see that
nice warm highlight on the right hand side
| | 00:34 | of the image. So what I'm going to do
is go ahead and try to correct that out,
| | 00:37 | I'll try to bring that down just a bit.
| | 00:38 | Now the first thing that I'm going
to do is increase the over all color
| | 00:41 | Temperature. I want to warm this image
up. I want to have this nice nostalgic
| | 00:45 | feel to this particular file. Now
let's look at my before and after. Here is
| | 00:48 | before and after. Again, that's just a
subjective edit. The next thing that I'm
| | 00:51 | going to do is zoom into the face.
Now in order to zoom into the face, I'm
| | 00:55 | going to go ahead and double-click the
Zoom tool that will take this image to
| | 00:58 | 100%, and I'll press the
Spacebar tool to reposition this.
| | 01:02 | Now here I can see the highlight. I
want to bring in some more detail there.
| | 01:06 | I'll move it over here, so we can
actually see the top of the highlight as
| | 01:09 | well, and grab my Recovery slider. Now
as I grab the Recovery slider, what I'm
| | 01:13 | able to do is to bring in some more
tone to this area. So we will look at the
| | 01:17 | before, and then overall after. That
includes our color Temperature changes, as
| | 01:21 | well as that Recovery.
| | 01:22 | Okay, well, that recovery looks pretty
good. I'm going to increase that even
| | 01:25 | more. Now moving over to the other side
of the face, one of things I notice is
| | 01:29 | this side a little too dark, because
it's in the shadow. So I'm going to use
| | 01:32 | my Fill Light to bring in some
brightness to this area of the image. Now it
| | 01:36 | doesn't bring in brightness to just one
area. Of course, it connects to others,
| | 01:40 | but it targets that particular area.
Let's look at our before and after. I have
| | 01:44 | zoomed out here by pressing Command+
Minus on the Mac Ctrl+Minus on the PC. Here
| | 01:47 | is my before, and then after. And
again, you can see that what I'm doing is
| | 01:52 | here is evening the tone out, so there
is a little bit less shadow side, and a
| | 01:56 | little bit less of highlight side.
| | 01:57 | Well, now that I have evened this tone
out, what can happen when we brighten
| | 02:01 | things in this way is we lose a little
bit of its Contrast, or another words,
| | 02:04 | we lose a little bit of image's shape,
it becomes a little bit flat. So in that
| | 02:09 | case we need to be sure to add quite a
bit of Contrast here. So I'm going to
| | 02:12 | go ahead and crank up the contrast,
and then I'll zoom out. Cmd+Minus on the
| | 02:15 | Mac, Ctrl+Minus on PC. Look at my
before and after. When I press the P key,
| | 02:20 | here is my before, and here is my after.
| | 02:23 | Now the overall image is looking much
more interesting, at least in my opinion,
| | 02:27 | and there are a couple of things I do
want to do. In this case I'm going to go
| | 02:29 | ahead and lower my color Temperature
even though I want this nice and warm
| | 02:33 | look, I don't want to go quite that
high. And what changed my mind in regards
| | 02:37 | to that? Well, once I increased the
Contrast, that did increase the overall
| | 02:40 | color density and the overall color
saturation. So I then needed to back that
| | 02:45 | off just a bit.
| | 02:46 | Now let's look at our overall before
and after. Here's our before, and then our
| | 02:50 | after. The light appears to be much
more soft, the tones appear to be much more
| | 02:54 | even, and we need to increase that
Recovery slider just a bit, and that maybe
| | 02:57 | lower the exposure just a touch. Well,
now I think that looks pretty good.
| | 03:01 | Now with this highlight could we
bring this detail down more? Well, these
| | 03:05 | controls know, but if we were to use
a tool like the Adjust Brush, which we
| | 03:08 | will be talking about later, yeah, we
could bring that down even further. Yet
| | 03:12 | that being said, I think this image is
pretty good. That highlight, yes, it is
| | 03:15 | pretty bright, it is pretty it is
pretty hot, but you know what, I'm okay with
| | 03:18 | it. It would be nice to bring it down
to touch, but I would say for the most
| | 03:21 | part, I think that image looks good.
| | 03:22 | One of things that you have to keep
your mind in regards to photography, and in
| | 03:26 | regards to getting really technical
with Camera RAW, is that sometimes you can
| | 03:30 | get so technical that you can forget
with the whole point of an image is
| | 03:33 | emotion. So of course, you want to get
your image to be technically good, or
| | 03:37 | ideally technically perfect. But more
importantly don't get so hung up on the
| | 03:41 | technique that you forget the overall
emotion, or the sentiment of the photograph.
| | Collapse this transcript |
| Enhancing color and tone| 00:00 | In this movie we are going to have a
little bit of fun with some color and
| | 00:03 | tone. We are going to working on
the file corwig_uk, so go ahead and
| | 00:07 | double-click that file and open it up
inside of Camera RAW. All right, well,
| | 00:11 | here we have got this photograph and I
like this photograph. It was captured in
| | 00:14 | the town of Brighton Beach in the U.K.
and I like that overall color and tone.
| | 00:18 | Now I may be tempted to color correct
an image like this. So let's go ahead and
| | 00:22 | see what it looks like if I do that.
I'll grab my eyedropper then I'll click on
| | 00:25 | this sign here. I know that was black.
And when I do that, it says okay, that
| | 00:28 | is technically better, but is it
better or no, not at all. So let's undo that
| | 00:32 | Command+Z on the Mac and Ctrl+Z on a PC.
You know if anything, you know what
| | 00:36 | that taught me is that I want to take
this image even further. So I'm going to
| | 00:39 | go ahead and warm this up even more.
| | 00:42 | Now next that I'm going to do is
increase my Contrast and then I'm going to
| | 00:44 | going to add quite a bit of Fill Light,
but before I add the Fill Light I want
| | 00:47 | to illustrate something. If I want to
make nice punchy deep colors, I increase
| | 00:51 | my Black. Now that doesn't look very
good, it went too contrast, there's too
| | 00:55 | much black there. If I increase my
Fill Light, well, then I can actually get
| | 00:58 | away with a quite a bit of increased
Blacks as well as that Fill Light. So
| | 01:02 | again, here is without that and
then here is with that added Black.
| | 01:05 | I started off by saying, this is just a
fun movie, it's just a way to begin to
| | 01:08 | think about pushing our images in a new
direction, or perhaps trying to observe
| | 01:13 | where the image already is. In this
case, it was already warm. There is a
| | 01:16 | motion blur. I kind of like that, I
like the overall expression, but this shot
| | 01:20 | I like the different lines, there are
two alleyways coming together shot with
| | 01:23 | this real wide angle lens. So I just
decide to extenuate that, to bring it out.
| | 01:27 | Now if it's too yellow, I can always
back that off as well, but I do like the
| | 01:31 | real nice vivid and deep colors. Now
some of you may be thinking, okay, yeah,
| | 01:34 | that looks really nice, but will this
print well? Well, it may be a little
| | 01:38 | tricky printing this file. Let's go
ahead and turn on our clipping. We are
| | 01:40 | going see quite a bit of it, right?
We lost a lot of our shadow detail. Now
| | 01:44 | that's not the worst thing in the world.
You can get away with losing shadow
| | 01:47 | detail and having a lot of blacks in
your images. There are photographers who
| | 01:51 | define their style by having a high
percentage of blacks throughout their
| | 01:54 | images, but those highlights are going
to be a little bit more tricky. Yet that
| | 01:57 | being said, all the areas where the
highlights are taking place, or where I
| | 02:00 | have lights, and this is night
photography, so I'm expecting that. So believe
| | 02:03 | it or not, this image would
actually print pretty well.
| | 02:06 | Now the Contrast overall tone is a
little bit too dark, so need to brighten up
| | 02:10 | with my Brightness and my Exposure
and then maybe back off my Blacks and My
| | 02:14 | Fill Light just a bit here. Now I need
to modify that as well based on the type
| | 02:18 | of paper I was printing too.
| | 02:20 | But again, my whole playing with this
movie was that a little bit of fun. Here
| | 02:23 | is our before and then here is our
after. I want to get you to begin to think
| | 02:27 | about how you can use these controls
to add a little bit of an extra added
| | 02:30 | punch and snapped your own photographs.
| | Collapse this transcript |
| Demystifying the Clarity slider| 00:00 | In this movie, we are going to talk
about the Clarity slider. Yup, the good old
| | 00:03 | Clarity slider. We will be working on
this file, clarity.jpg. Go ahead and
| | 00:07 | select that file. Press Command+R on
the Mac, Ctrl+R on a PC to open this image
| | 00:11 | up inside of Camera Raw.
| | 00:12 | Next, let's use our shortcut. Command+
Option+0 on a Mac, that's Ctrl+Alt+0, in
| | 00:18 | order to zoom to 100%. All right, well
now that I have zoomed in to 100%, I'll
| | 00:22 | press the Spacebar key and then
reposition the image so I can see this whole image.
| | 00:27 | Now here is one of those tricks that
you just have to know right. You make a
| | 00:30 | grayscale, you modify the grayscale
and then you begin to apply your settings
| | 00:34 | to it in order to deconstruct how
Photoshop works and that's what I have done here.
| | 00:38 | Now I did that so we can really focus
in on how clarity works. So let's a look
| | 00:43 | at what happens here. Well, first of
all we have different clarity amounts. We
| | 00:46 | have a negative amount of clarity. Now
when I add a negative amount of clarity
| | 00:49 | watch what happens. The image looks
much softer. It's almost as if it's
| | 00:53 | softened out these ridges here.
| | 00:54 | So if I were pressing my finger across
this, there will be less resistance in
| | 00:59 | this area, right. It's much smoother,
much more glowy. Now in Contrast, let's
| | 01:03 | take a look at increasing the clarity.
Again, if I were to push my finger
| | 01:06 | across this, there will be these
little ridges or little bumps that are
| | 01:09 | actually more pronounced.
| | 01:10 | Let's look at our before and after.
Here is our before and then here is our
| | 01:14 | after. I'm going to zoom in even
further. Here is our before and then after,
| | 01:18 | interesting. Zoom in even further to
those small little fine details before and
| | 01:23 | after. So it's almost as if, it's
adding a little bit of midtone contrast.
| | 01:28 | Now here is I would like to think
about clarity. Contrast here, this is like
| | 01:32 | the sledgehammer, you increase this
right and you have your whites and your
| | 01:35 | blacks are much more pronounced. So
again, we have less contrast or more, it's
| | 01:40 | a big heavy hitter and it's an effective
tool and sometimes you have to use that tool.
| | 01:44 | On the other hand, the Clarity
slider. Well that's much more like that
| | 01:47 | finishing hammer. It's just a small
hammer and when you use that hammer you
| | 01:51 | don't leave any marks on your handy
work, right. So that Clarity slider's one
| | 01:55 | of those controls that people who don't
understand photography or aren't really
| | 01:59 | in photography field, they will never
know there is a difference, yet they will
| | 02:02 | probably experience the difference.
And it adds this midtone snap or midtone
| | 02:07 | pop or adds a little bit more dimension
to your image or on the other hand with
| | 02:11 | this negative amount, it takes away that
dimension or it takes away that texture.
| | 02:15 | You could like in Clarity to add in a
little bit of texture and it does just
| | 02:19 | that. Now if you want to get to know
how this works even more, you may want to
| | 02:23 | modify your controls. I'm going to
modify my Contrast, increase my Blacks,
| | 02:27 | make this a little bit more pronounced
and then move my Clarity slider one way
| | 02:31 | or the other.
| | 02:32 | So you can do is again modify those
controls to begin to see how all these work
| | 02:37 | together. Without any contrast the
Clarity slider is actually pretty
| | 02:40 | interesting. We can see that with no
contrast we have a lot of dimension here
| | 02:44 | and then without it the
dimension is completely gone.
| | 02:47 | So what that's telling me is that
Contrast and Clarity and sharpness for that
| | 02:52 | matter, which we haven't gone to yet
are all interrelated. That makes sense,
| | 02:56 | doesn't it? Because if you have an
image with that a lot of contrast it doesn't
| | 02:59 | look very sharp. It looks really flat,
but if you have a high contrast image,
| | 03:03 | it appears to be sharper
than a low contrast image.
| | 03:06 | So as we get into using Clarity and
Contrast and Sharpness just keep that in
| | 03:11 | mind that there is an
interrelationship between contrast, clarity and our
| | 03:15 | overall image sharpness.
| | Collapse this transcript |
| Increasing clarity| 00:00 | Now that we know a little bit about
how the Clarity slider works, let's apply
| | 00:03 | what we know to an image. We are
working on the file corwig_thoughts.jpg. Go
| | 00:08 | ahead and select that and press
Command+R on the Mac, Ctrl+R on a PC. Next
| | 00:12 | let's zoom in into 100%. Let's do
that by double clicking the Zoom tool.
| | 00:16 | All right, well now that we are zoomed
in on this image, I want to look at how
| | 00:19 | my different clarity amounts will
affect this image. If I decrease the clarity,
| | 00:23 | well that's really interesting isn't
it. Because this is a small JPEG, the
| | 00:27 | effect is really pronounced and here
I can see it's softening everything.
| | 00:30 | Now why do I keep about lowering the
Clarity slider? Well there are times where
| | 00:33 | you may have too much detail and you
want to decrease some of that detail, or
| | 00:37 | later when we get to using the
Adjustment brush. We may want to paint negative
| | 00:41 | clarity into specific areas of our image. So
we need to know how that works a little bit.
| | 00:45 | Well, here it doesn't look very good,
but it's interesting to see how it
| | 00:47 | softening out those midtone range,
it's softening out the texture. Now when I
| | 00:51 | increase my clarity and contrast, I see
that the image looks much more gritty.
| | 00:55 | Here is my before and after. I'm going
to zoom in even further so we can look
| | 00:58 | at these books. Here is my before and after.
It's like there is more texture there, right?
| | 01:02 | It also looks like there is more
dimension. It gives a little bit more shape to
| | 01:06 | our objects here and again, here is
our before and after. We see that little
| | 01:10 | bit of an extra added dimension. We
especially see that or experienced that
| | 01:14 | right here on this book. That
transition that gradation where the light falls
| | 01:18 | off, it's just looks like
that's a little bit more round.
| | 01:21 | Now that's a little bit too high of an
amount of clarity, so I'll go ahead and
| | 01:23 | decrease that, but I do want to
increase my contrast. Keep in mind contrast and
| | 01:27 | clarity work hand in hand. I want to
add a little bit of a warp to this image.
| | 01:32 | Increase my Blacks as well, a little
bit of Fill Light and overall Exposure.
| | 01:37 | Let's zoom out just a little bit.
Command+Minus on the Mac, Ctrl+Minus on the
| | 01:40 | PC. Press the P key to look at my
before and after and then zoom in so you guys
| | 01:45 | can see the detail. Here is our before
and after. We have some nice edge detail.
| | 01:50 | We didn't go too far with our clarity.
You want to be careful of that and also
| | 01:54 | keep in mind that the lower the
resolution of the file, the lower the number
| | 01:57 | you can use. Now here, because I have
an image where I'm trying to illustrate
| | 02:01 | clarity, I went pretty high. Typically
you actually won't go the high with your
| | 02:05 | clarity amount, because it will start
to look unnatural. Yet when you have a
| | 02:08 | high res file, you may find
yourself cranking that way up.
| | 02:11 | Well let's zoom out just a little bit
and look at overall before and after and
| | 02:15 | then with that clarity, here is my
before and then adding that little bit of an
| | 02:19 | extra dimension there. I almost like to
think of clarity is just that finishing touch,
| | 02:23 | that little subtle finishing touch that
makes that image come to life that much more.
| | Collapse this transcript |
| Understanding the Vibrance and Saturation sliders| 00:00 | In this movie, I want to deconstruct. I
want to demystify how the Vibrance and
| | 00:04 | how the Saturation controls actually
work. Now we have handful of different
| | 00:08 | files that I'm going to open up in
order to help us understand how this works.
| | 00:12 | Let's first open up grayscale and color.
jpg. Go ahead and select both of those
| | 00:16 | and then press Command+R on the Mac,
Ctrl+R on a PC. Now you are going to find
| | 00:21 | your Vibrance and Saturation sliders
down at the base of the Basic panel, and
| | 00:25 | here they are. Now, how do these actually work?
| | 00:27 | Well the Saturation slider, we know
about how that works, right? When we
| | 00:29 | increase the saturation, we are
increasing the color intensity and then we
| | 00:34 | decrease, we are removing the
color completely. Okay, so far so good.
| | 00:37 | Well, what about Vibrance? When I
increase that at first glance it's kind of
| | 00:40 | hard to tell what's actually happening
and when I decrease this amount, I'll go
| | 00:44 | ahead and take this down, I still
have a little of color left and I have a
| | 00:48 | little bit of color left in here.
| | 00:49 | So what's actually happening? You can
think of the Vibrance adjustment as a
| | 00:53 | nonlinear adjustment and what that
means is, it says, you know what these are
| | 00:56 | the colors that are weaker here.
These are the weakest link. This color is
| | 00:59 | pretty deep, it's pretty saturated. That's fine.
| | 01:01 | When I increase that you will notice
that it's mostly affecting this area of
| | 01:05 | the image. Of course, it is affecting
this as well but mostly it's affecting
| | 01:09 | these colors and so what we can do is
use this Vibrance adjustment in order to
| | 01:13 | add color variety and also in order
to bring out some of the lesser colors.
| | 01:18 | Now this is really helpful in order to
enhance images. It's also helpful when
| | 01:22 | we want to add a little bit of a
color boost to our images without over
| | 01:25 | saturating skin tones etcetera. Well,
let's look at our next slide here. Here
| | 01:28 | again we have some muted tones over
on this side. Some brighter tones here.
| | 01:32 | When I increase my Vibrance amount you
can see that it's really affecting this
| | 01:35 | side. I'm going to brighten this up
a little bit so you can see that even
| | 01:38 | more. So here is no Vibrance and then
here is bringing that up. You can see we
| | 01:42 | have a lot more color over here.
| | 01:43 | Now let's compare that to saturation.
Now when I increase the saturation. If we
| | 01:47 | look at this color right here it's
really not changing that much. Again, so
| | 01:50 | when we look at our overall saturation,
so we don't have that much color here.
| | 01:54 | If I were to add Vibrance to the mix,
okay, now I'm seeing it brought up those
| | 01:58 | weaker colors and at this point it's
almost like they are equal colors. Here is
| | 02:02 | my overall before and after. Again, I
brightened it, but you can see that it
| | 02:06 | brought more of those weaker colors up.
| | 02:08 | Well, let's a look at one more image.
Now this is an image that I haven't
| | 02:12 | included in the folder yet. It's just
a demo file and I want to show you this
| | 02:15 | demo file, because again, I think this
will help you demystify how this control
| | 02:19 | actually works.
| | 02:20 | Now here with this particular image, I
have this flower that was photographed
| | 02:24 | in Hawaii and I have these nice bright
yellows here and then I have some kind
| | 02:28 | of faded pinks on the edge. So if I
increase the overall color saturation
| | 02:31 | what's that affecting? What's
affecting all the colors? But it's just saying,
| | 02:35 | hey, if this color is at a level five,
make that one a level six, seven or
| | 02:39 | eight and if there is a color
that's at level one, make that at a two.
| | 02:42 | So they all just kind of move up, it
doesn't matter how saturated color is,
| | 02:45 | there is no logic built-in. it just
says take all colors and make more or less.
| | 02:50 | It doesn't mean it's a bad
adjustment, but that's what happening.
| | 02:53 | On the other hand, the Vibrance slider
says, hey, I want to try to find this
| | 02:56 | guy that need some help. When I
increase this what you are going to see is the
| | 03:00 | majority of the effect here, here is my
before and after is on the outer edge,
| | 03:04 | it's with those weaker colors right.
| | 03:06 | One of the things that I'm noticing
while this won't print well, let's look at
| | 03:09 | our before and after. Is it's bringing
out colors I didn't even realize were
| | 03:12 | there. So it's adding color variety.
So you may be thinking, do you want to
| | 03:16 | increase your Vibrance to 100? No, you
are going to have some problems, yet you
| | 03:20 | can increase your Vibrance slider,
especially when you have photographs of
| | 03:23 | fall, leaves or different situations
and we will add more color variety which
| | 03:26 | will enhance the overall color
palette or the photograph without over
| | 03:30 | saturating some of the
other colors in the image.
| | 03:32 | In this case, even at that high setting,
here is our before and after. We are
| | 03:36 | seeing that this image is looking a
little bit better. Of course, that's too
| | 03:39 | high and we need to back that off a bit,
but you can see here that I can get a
| | 03:43 | little bit more color out of this and
if I combine that with that Saturation
| | 03:46 | slider and now here is my overall
before and then after. It's subtle, but yet
| | 03:51 | that flower looks much better. It's
much closer to the way I experienced the
| | 03:55 | color with that particular image.
| | 03:56 | Well, now that we know a little bit
about these Vibrance and Saturation
| | 03:59 | sliders, let's go ahead and
apply what we know to a few images.
| | Collapse this transcript |
| Improving color with Vibrance| 00:00 | All right, well now that we know a
little bit about Vibrance and Saturation
| | 00:03 | let's go ahead and apply what we know.
We are going to work on this file
| | 00:05 | corwig_saturation_01. Double-click it
that will open it up inside of Camera
| | 00:10 | Raw. We can do that because this is a
DNG file. Now I love this portrait.
| | 00:15 | This guy is a really fun kid and you can
just see that, his expression and I love it.
| | 00:19 | Also because it's almost like the
sunshine just coming up over that wall with
| | 00:22 | his shirt and everything and what I
want to do is I want to enhance this image
| | 00:26 | just a bit. So I'm going to go ahead
and increase the Color Temperature, just
| | 00:29 | a little bit warm it up, I'll go
ahead add a little bit more Exposure here,
| | 00:32 | some Brightness, Recovery, bringing
down some of those highlights, little bit
| | 00:37 | of Fill Light, little bit Blacks, just
some small subtle adjustments. Okay, so
| | 00:41 | far here is our before and after.
| | 00:43 | All I'm doing is adding a little bit
of warm tones as far. Well, next let's
| | 00:47 | jump down in the Vibrance and
Saturation slider. This is really interesting. If
| | 00:51 | I increase my saturation all the way,
one of the things I'm going to notice is
| | 00:55 | that the shirt looks pretty
interesting but the face and the hands just look
| | 00:59 | horrible, right. It just absolutely
killed that area of the image, so let's
| | 01:02 | double-click that slider to take it back to 0.
| | 01:05 | What if I increase the Vibrance slider
that high, all the way up to 100? That's
| | 01:09 | a pretty high amount, yeah the shirt
looks good, zoom in just a little bit. The
| | 01:13 | face doesn't look that bad, right, it
doesn't look great, but it doesn't look
| | 01:16 | that bad. So one of the things we can
see here is we can use this Vibrance
| | 01:19 | slider and we can use this in order to
enhance the overall colors and so I'll
| | 01:23 | bring this up and I'm going to bring
it up pretty high, let's say right about
| | 01:27 | there and look at my before and
after. Here is my before and after.
| | 01:31 | Now because that is a little bit
distracting with some of the other
| | 01:33 | adjustments, I'm going to press the
Option key on a Mac, Alt key on a PC to
| | 01:37 | reset that, bring this back to normal
and then simply bring up my Vibrance
| | 01:41 | slider again so we can really focus
in on the Vibrance amount. Look at my
| | 01:44 | before and then after, we see some
nice tones in the shirt, we see some nice
| | 01:48 | greens in the background, it really
brought those out. We see a little bit more
| | 01:52 | hue in the face but not a ton. And
this slider works really well with people
| | 01:56 | because what it does is it adds a
little bit of color variety, it helps some of
| | 01:59 | the weaker colors out, trying to
protect some of the more saturated tones.
| | 02:03 | Now in this case, this guy has pretty
fair skin, so there is no lot of color
| | 02:07 | there and this works pretty well. And
in most cases this slider works pretty
| | 02:10 | well. Sometimes you are going to need
to de-saturate a little bit or use some
| | 02:13 | saturation to add to it as well. So
keep in mind Vibrance isn't the saved
| | 02:18 | slider, yet it's a slider you use
in combination with other sliders.
| | 02:21 | Now that I have done this I'll go ahead
and add a little bit of that warms back
| | 02:24 | to the image, just a touch of Contrast,
some Brightness, little bit of Fill
| | 02:28 | Light, and maybe a little bit Recovery
as well. I'll zoom out, so we can look
| | 02:32 | at our overall before and after, here
is our overall before and after. Adding a
| | 02:37 | little bit more of a visual
interest using those different controls in
| | 02:40 | particular, taking advantage of what we
know about Vibrance in order to enhance
| | 02:44 | some of the overall colors in the image
without overdoing the colors on the skin tone.
| | Collapse this transcript |
| Muting colors with Vibrance| 00:00 | In this movie we will be working on
the file corwig_saturation_02.dng.
| | 00:05 | Double-click that one to open it up
inside of Camera Raw. Here we have a
| | 00:09 | portrait of one of my colleagues, an
all-time favorite photographer is Nick
| | 00:12 | Decker. Nick is a phenomenal guy, an
amazing black and white photographer and
| | 00:16 | an amazing black and white traditional printer.
| | 00:18 | And we have this portrait, what I want
to do is I want to enhance this a little
| | 00:21 | bit, so I'm going to zoom in
just a touch on this image.
| | 00:24 | Now that we are zoomed in we are
really focused in on the face. One of the
| | 00:27 | things that we can do is increase the
Saturation. Now when I do that, the image
| | 00:30 | doesn't look very good. We see a lot of
red in the image, so let's reduce that.
| | 00:34 | Let's then increase the Vibrance. Now
when I increase the Vibrance, the image
| | 00:37 | looks okay, we have more color variety,
but you know what, in this case what
| | 00:41 | its doing is its distracting or it's
adding too much color variety in the skin.
| | 00:45 | Now it's less than the Saturation of
course, so keep in mind that typically
| | 00:49 | what you are going to do is increase
the Vibrance if you want more color.
| | 00:52 | I want to get you to begin to think
about how you can use this tool in other
| | 00:55 | ways as well. What I can do here is I
can actually reduce the color variety by
| | 00:59 | decreasing the Vibrance amount. Now
when I do that, here is my overall before
| | 01:04 | and after, we are seeing that there are
less reds in this particular image. Now
| | 01:08 | the skin looks a little bit too muted.
Yet knowing what I want to do with this
| | 01:11 | image, I'm okay with that because I
reduced the color, and then on top of that
| | 01:15 | color I'm getting a little creative
here, of course, I'm going to add a
| | 01:18 | little bit of yellow, so now I have
some nice yellow tones. We will zoom out so
| | 01:22 | we can see how this looks. Here is
my overall before and then after.
| | 01:25 | And in order to make that even a little
bit more prominent so you can actually
| | 01:29 | see what's happening, I'm going to go
ahead and increase this, increase the
| | 01:32 | contrast, just to touch here and now
I'll look at my before and after, and
| | 01:36 | probably zoom in because this is so
subtle, but here is my before and after. So
| | 01:41 | I have this nice subtle warm glow, I
have much less red or some of those deeper
| | 01:45 | reds in the image, so even out the
overall skin tone, and then enhance the
| | 01:49 | image in a pretty interesting way.
| | 01:51 | Now sometimes what you need to do is to
reduce the color with Vibrance and then
| | 01:55 | increase the overall Saturation with
the Saturation slider, if you want to
| | 01:59 | bring back a little bit more of a
natural look, now here is my before and after.
| | 02:02 | And again what I'm trying to do is
to get you to realize that you can use
| | 02:05 | these controls in a way that isn't
'typical'. You can think outside of the box
| | 02:09 | a little bit. That's why I wanted to
de-construct how these tools actually
| | 02:12 | work. Because a lot of times people
think, you know what, Vibrance and
| | 02:15 | Saturation always bring it up. Well,
that's not always the case. There are
| | 02:19 | times and places like I would say with
this image, again our before and after,
| | 02:23 | I think that looks really nice, where
we want to perhaps do something that's a
| | 02:26 | little bit different.
| | 02:27 | Most important, you have to really
know how the tool works and know what it's
| | 02:30 | doing in order to be able to come up
with these creative solutions on your
| | 02:34 | images. Also keep in mind that every
image is going to vary. So you are going
| | 02:38 | to really need to know what the tool is
doing rather than knowing how to apply
| | 02:42 | it to one image, know what it's doing,
so you can apply what you know to a wide
| | 02:46 | range of photographs.
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|
|
9. Tone CurveUnderstanding the Tone Curve panel| 00:00 | In this movie we are going to begin
to learn how to use the Tone Curve
| | 00:02 | adjustments. Now in order to demystify,
to de-construct how these adjustments
| | 00:07 | actually work we are going to start off
by working on this file grayscale.jpeg.
| | 00:11 | Go ahead and select that and then press
Command+R on a Mac, Ctrl+R on a PC, and
| | 00:15 | then let's click on the icon
to open up the Tone Curve panel.
| | 00:19 | Now there are two different types of
tone curves. There is a Parametric Curve
| | 00:22 | and there is a Point Curve. Now both
work pretty similar to each other, so
| | 00:26 | let's go ahead and start
off with the Parametric Curve.
| | 00:28 | All right, well here we have the
Parametric Curve. We can see the histogram in
| | 00:31 | the background, right? This histogram
here mirrors the histogram that we are
| | 00:34 | seeing up here.
| | 00:35 | Here we can see our grayscale values
from our blacks over here to our whites or
| | 00:38 | highlights. Down below you can see
we have Highlights, Lights, Darks and
| | 00:43 | Shadows. Now I can either hover the
name as you can see and click-and-drag to
| | 00:46 | the left or the right, or I can click-
and-drag the slider or I can enter a
| | 00:50 | number in here.
| | 00:51 | Let's see how this works. If I want to
focus in on the Highlights, let's say I
| | 00:54 | want to darken those highlights, I'm
going to go ahead and drag this to the
| | 00:57 | left and there you can see that it's
primarily affecting this portion of the image.
| | 01:01 | Now can I actually change what area of
the image has been affected? Oh, yes,
| | 01:05 | I can use these triangles here to
control how far of a reach this particular
| | 01:09 | adjustment has and then click-and-drag
it all the way over to the left and here
| | 01:13 | you can see that my curve line is
now been dragged down so it means it's
| | 01:16 | darkening that area. So now when I
drag my Highlight slider, it's affecting
| | 01:20 | this portion of the image and again,
you can see it's affecting everything from
| | 01:24 | my highlights all the way over down into my
mid-tones and then my quarter tones down here.
| | 01:28 | So I'm going to go ahead and bring
that back and I'm going to brighten this
| | 01:31 | up and then as we drag this over, you
can again see now what I'm doing is I'm
| | 01:35 | limiting this adjustment and I'll
limit it even further. That one doesn't
| | 01:39 | affect it, so I'll just move these two
and it's just affecting this top portion
| | 01:43 | of the image here and you can see
that again in the histogram how I'm
| | 01:46 | brightening or darkening
that top portion of the image.
| | 01:49 | Okay, well so far so good, everything
has gotten a little bit out of control. So
| | 01:52 | what I'm going to go ahead and do is
double-click these triangles to reset
| | 01:55 | them and take them back
to their default settings.
| | 01:58 | All right, well, let's move down to the
Lights. So what's the lights going to affect?
| | 02:00 | Well, we can see that it's
affecting the tones right underneath those
| | 02:03 | highlights. Well, how about if I want
to brighten up the lights there, but I
| | 02:07 | don't want it to affect the highlights
as much. So I'm going to go ahead and
| | 02:09 | bring that Highlight slider down. And
then in addition I'm able to move the
| | 02:14 | control here so I can determine how
far this affects or what area it affects.
| | 02:19 | So I'm going to say, you know what?
I don't want it to affect too far into
| | 02:21 | those highlights so I can control that.
| | 02:23 | Now one of the things that you may
start to discover as you are using the
| | 02:26 | Parametric Curve is that you can't
really mess up your image that bad. It has
| | 02:30 | this built-in safety net. So you can
see here that I can't create a curve
| | 02:34 | that's that dramatic. It can kind of
dip but I can't swing it very far.
| | 02:39 | If you're used to using Curves in
Photoshop, you will probably be a little bit
| | 02:42 | more comfortable with the Point Curve
and we will talk about that in a second,
| | 02:45 | but what I do want to point out here
is that, this one has a built-in safety
| | 02:49 | net, meaning that it protects tones
for you, it tries to create smoother
| | 02:52 | transitions. And as we begin to work on
images, one of the things you'll see is
| | 02:56 | when you swing your sliders really
hard one way or another, or when you swing
| | 02:59 | the curve one way or another your
image can kind of get flattened out. It can
| | 03:03 | start to look a little strange. Well, the
Parametric Curve can help you out with that.
| | 03:07 | Okay, well, let's go ahead and reset
everything by double-clicking all of our
| | 03:09 | icons and then just go through a
couple more sliders here. Darks, you can see
| | 03:12 | which area of the image that's going
to work on, and then our Shadows. That's
| | 03:15 | way down there at the bottom.
| | 03:16 | Now of course, in order to create a
smooth transition, it's going to have
| | 03:20 | reach into the other areas and I can
limit that reach by moving these sliders.
| | 03:24 | Okay, well so far so good. We are
kind of getting that handle on how the
| | 03:27 | Parametric Curve works, so at least
we know how the controls work. It will
| | 03:31 | really become loosened when
we start to work on images.
| | 03:34 | Okay, well let's go ahead and
navigate over to our Point Curve. We have a
| | 03:36 | couple of different options: Linear,
Medium Contrast, Strong and then Custom.
| | 03:40 | If I go to Medium Contrast what I'm
going to see is something similar to that
| | 03:43 | S-curve we see in Photoshop, right.
Or a strong contrast, a littlebit more of
| | 03:47 | a pronounced S-curve. Now let's go
ahead and just go back to Linear and here we
| | 03:51 | can begin to add our own points.
| | 03:53 | So when I hover over the image, right
now I have the Zoom tool, I'm going to
| | 03:57 | press the Command key on a Mac,
Control key on a PC, and then that's going to
| | 04:00 | get me access to this tool where it's
showing me the different values. And here
| | 04:03 | I can see the different aspects of my image.
| | 04:06 | Now let's say that what I want to do
again is work on the highlight. So I hover
| | 04:09 | over this area, holding on the Command
key on a Mac, Control key on a PC, and
| | 04:12 | then I click and when I click I
actually set a point in that area of the curve.
| | 04:17 | Now to brighten this I'll click-and-
drag out just like in Curves to darken out
| | 04:21 | click-and-drag down. Now currently
it's affecting the entirety of the curve,
| | 04:25 | right, because it's swinging the rest
of the curve one way or the other. Well,
| | 04:29 | if I want to lock down the rest of the
curve, I'll go ahead and set a point in
| | 04:32 | the middle here and maybe set a point
down here as well and again, you can set
| | 04:35 | those points anywhere you want.
Just to illustrate I'll set some more.
| | 04:38 | You don't need to set that many,
but again just to illustrate that.
| | 04:41 | And now when I click on this top point
I can swing and drag this one way or the
| | 04:44 | other and it is much more extreme,
meaning I can do a little bit more damage or
| | 04:49 | on the other hand I can do some more
good, but you can see that what I'm doing
| | 04:52 | is really focusing the adjustment on that area.
| | 04:54 | Let's say that I want to brighten up
this area in my image, but I wish there wass
| | 04:58 | a little bit more of a reach and I
want to remove this point. Well click and
| | 05:01 | drag it off and that's now removed,
click and drag off, and again here we can
| | 05:05 | see that I'm now affecting a larger
area of my image. Just do keep in mind
| | 05:09 | that when you swing your curve really
hard, I'm going to go ahead and make a
| | 05:13 | real hard adjustment there, we are
going to start to have a strange look in our
| | 05:17 | image. Now that doesn't mean that we
can't correct our images in unique ways
| | 05:20 | with these curves and place the curve
pretty far, but you just want to keep
| | 05:24 | that in mind.
| | 05:25 | Okay, I'm going to go back to Linear.
I also want to point out something else.
| | 05:28 | If we click-and-drag this point down
and click-and-drag this point up, we have
| | 05:33 | a curve which is much less steep. So
how does our Contrast look? Well we have
| | 05:37 | much less Contrast. On the other hand
if we bring this point in and then this
| | 05:42 | one in here, looking at my before and
after. Here is my before and then after.
| | 05:46 | The steeper the curve, the higher the
contrast. So how then will that relate to
| | 05:51 | us as we begin to work on our images?
| | 05:53 | Well, what we can do and what you
begin to see was that I bring up my whites
| | 05:56 | and then bring down my blacks, I have
increased the contrast before and after.
| | 06:00 | If I make that even steeper, higher
whites, lower blacks, before and after,
| | 06:05 | I now have even more contrast.
| | 06:07 | So just keep that in mind and also
keep in mind that if you know a little bit
| | 06:10 | about curves in Photoshop you
are already way ahead of the game.
| | 06:13 | All right, well now that we know a
little bit about how these different tone
| | 06:17 | curves actually work, let's go ahead
and apply what we know to a handful of
| | 06:21 | different images.
| | Collapse this transcript |
| Using the Parametric Curve adjustment| 00:00 | In this movie we will be working on the
file annika_1.dng. Go ahead and select
| | 00:04 | that file and then press Command+R on a
Mac, Ctrl+R on a PC to open this one up
| | 00:08 | inside of Adobe Camera Raw. Next,
click on the tab for the Tone Curve panel.
| | 00:14 | All right, well now that we have the
Tone Curve panel open, we are going to
| | 00:16 | start out by working on the parametric
curve. One of the things though that I
| | 00:20 | want to say before we get going is
typically when you are working with a Tone
| | 00:23 | Curve, you are not just going to use a
Tone Curve; rather you are going to use
| | 00:26 | the Tone Curve in addition to the
basic adjustments and maybe some other
| | 00:29 | adjustments as well. So let's
go ahead and start off here.
| | 00:32 | Well, I have this photograph of my
daughter Annika walking into our bedroom
| | 00:35 | right through those French doors. I
like her expression, I like this image, I
| | 00:39 | like that she has braids. As a matter
of fact that was the first time that my
| | 00:43 | wife braided her hair. It's just
absolutely adorable to me. But the image
| | 00:47 | doesn't look too good, because of the
lighting. So I want to correct that. So
| | 00:49 | what do I need to do?
| | 00:50 | One of the things I know I need to do
is, I need to work on these highlights.
| | 00:53 | These are a way too bright. So we are
going to go ahead and checkout if I can
| | 00:56 | access those with this highlight slider.
So I'm swinging that one way or the
| | 00:59 | other saying, yeah, you know what, I
can really target those tones. All I want
| | 01:02 | to do is darken them up. So I'm
going to click and drag that to the left.
| | 01:05 | Next, I need to work on this area of
the image. I want to bring that out a
| | 01:08 | little bit. So I'm going to increase
my lights and then I'm also going to
| | 01:10 | increase my darks a bit and my shadows
even as well. I'm going to go ahead and
| | 01:14 | bring in some more light to these
areas and I'm going to slowly bring those
| | 01:17 | up, bring my highlights down just a bit.
| | 01:19 | So far so good. Press the P key, here
is our before and then after. We are
| | 01:24 | going in a pretty good direction. The
next thing that we want to do is navigate
| | 01:28 | back to the Basic panel. Now in the
Basic panel I'm going to add even a little
| | 01:31 | bit more light in with the Fill Light.
I want to recover my highlights even
| | 01:35 | more with the Recovery slider. So I'm
going to go ahead and increase that,
| | 01:38 | bringing in some more highlight
detail up there and that looks pretty good.
| | 01:42 | Press the P key, before and after.
Those are the adjustments I have just made
| | 01:46 | in the Basic panel. When you press
the P key, you are just looking at the
| | 01:49 | before and after of the panel that
you are in. All right, well, we need a
| | 01:52 | little bit of contrast. I also want to
color correct this image. Here is a nice
| | 01:57 | shortcut I haven't shared with you yet.
If you are in Camera Raw press the
| | 02:00 | Shift key, it gives you access to the
White Balance tool and then click away
| | 02:04 | and you can set your white balance
point. That will warm the image up quite a
| | 02:08 | bit. That looks really nice.
| | 02:09 | I want to bring in just a little bit
more Fill Light here, perhaps a touch more
| | 02:13 | of contrast. I'm liking that. Press
the P key, before and after for our Basic
| | 02:18 | panel. I'll go to the Tone Curve
before and after for the adjustments we made
| | 02:21 | there. Then finally go over to the
presets tab, the Presets panel. Now when we
| | 02:26 | press the P key, it will show us the
overall before and then finally the after.
| | 02:32 | So one of the things that this
particular image teaches me is that when I see
| | 02:35 | an image and I think, hey! That's a
nice image, I see the expression. I then
| | 02:38 | have to look beyond that and say okay,
beyond the expression, beyond the
| | 02:41 | composition, what are the some of the
problems which has to do with the light
| | 02:44 | and tone, but I can correct those
problems and I can correct them actually
| | 02:48 | pretty well as I begin to use some of
these different controls that we have
| | 02:52 | access to inside of Camera Raw.
| | Collapse this transcript |
| Using the Point Curve adjustment| 00:00 | In this movie we are going to get into
how we can use the Point Curve in order
| | 00:03 | to correct this image, and in addition,
we are going to talk a little bit about
| | 00:06 | workflow. So let's go ahead and open
this file and the file is titled nick.dng.
| | 00:10 | You can press Command+R on a Mac or
Ctrl+R on a PC. Or you could double-click
| | 00:15 | to open it or Command+O on a Mac, Ctrl
+O on a PC. Any of those options will
| | 00:20 | open up the image inside of Adobe Camera Raw.
| | 00:23 | Well, let's go ahead and navigate over
to the Tone Curve panel. We will click
| | 00:26 | on the Tone Curve icon there and then
we are going to go to Point Curve and we
| | 00:29 | are starting off with this Linear Curve.
When I look at this photograph I say
| | 00:33 | it's a great portrait and I like the
overall composition, the expression, I
| | 00:36 | like the depth of field. That's all working
for me. I think the image is pretty good to go.
| | 00:40 | Yet, if we want to get good at
photography, right. We have to have vision
| | 00:44 | beyond that and so one of the things
that we may want to do is, just begin to
| | 00:47 | think about brightness. Okay,
composition is fine, but what about the
| | 00:50 | brightness value. I would love to have
a little bit more on Nick and a little
| | 00:54 | bit less on these windows
here. So how can I do that?
| | 00:57 | Well, pretty easy. I'm going to go
ahead and click and drag my curve point
| | 01:01 | down here. So my background is a
little bit darker there. Well, that darkened
| | 01:05 | up the foreground here, no problem.
I'll go ahead and brighten that up by
| | 01:08 | bringing this curve up here and what
I'm looking to do is to try to just bring
| | 01:12 | a little bit more tone
into this area of the image.
| | 01:15 | Let's look at our before and after.
Okay, so we are beginning to shift the
| | 01:18 | focus a little bit and so far so good
except we went a little too far, didn't
| | 01:21 | we? We brought a little bit too
far away our color difference or tone
| | 01:25 | difference, I should say. So I'm going
to go ahead and bring that back just a
| | 01:28 | bit here. I'm going to lock in a few
points as well, just looking to bring in
| | 01:35 | a little bit of brightness to that area.
| | 01:36 | Now if I bring this up too far,
remember I said things start to look strange or
| | 01:40 | kind of flattened out. And that's
definitely what I'm seeing there. So I'm
| | 01:42 | just swinging it one way or the other
and trying to find the sweet spot where I
| | 01:45 | can bring a little bit of light up in there,
but I'm not flattening that out too much.
| | 01:50 | Also keep in mind that I'm going to
go other places, right. This isn't the
| | 01:53 | only place that I'm going and in
addition I'm going to be converting this
| | 01:57 | image to black and white and I know
that, so I'm thinking about that regards
| | 02:01 | to modifying the overall tone. Press
the P key, here is our before and after.
| | 02:06 | So far so good. The next place that
I'm going to go is I'm going navigate
| | 02:09 | over to the Lens Corrections tab and
I'm going add a little bit of vignette. I
| | 02:13 | want to darken up the corners here
again just adding to this overall effect of
| | 02:17 | making the image a little bit
more about the subject here.
| | 02:20 | All right, next we are going to go to
the Basic panel. You may be thinking at
| | 02:23 | this point, Chris, the image doesn't
look better. Well, stick with me. So we
| | 02:27 | will add a little bit of Fill Light,
bring just a little bit of snap in.
| | 02:30 | Contrast is going to go up quite a bit.
Okay, now that kind of brought the
| | 02:33 | tonal structure back to normal. All
right, it made things look a little bit
| | 02:37 | better. I needed to do this because I
flattened it out just a little bit when I
| | 02:41 | made those initial adjustments.
| | 02:43 | Okay, so far so good. Except I'm
noticing a couple of problems. One is the
| | 02:48 | color temperature isn't very good and
two, I'm seeing there is green coming
| | 02:50 | through the window in the background
here and some blue or magenta. I'm going
| | 02:54 | to fix that. We are going to do a
little bit of workflow, not too much. We are
| | 02:57 | going to go over to our HSL/
Grayscale panel, go to Saturation.
| | 03:02 | Now the only thing that's really green
in this image is this fringing around
| | 03:05 | this window edge. I'm going to
remove my greens. I'm going to fix that. I
| | 03:09 | also have some colors in here. I'm
going to go ahead and remove those. A
| | 03:12 | little bit of purple and a little bit
of blues. I just remove some of those
| | 03:16 | colors. Here is my before and then
after and I'm going to zoom in, so
| | 03:20 | hopefully you can see that before, we
can see that green color on the edge and
| | 03:24 | then after. That looks a little bit better.
| | 03:27 | Okay we are just fixing that image
up a little bit looking for different
| | 03:30 | problems. Back to the Basic panel. Now
on the Basic panel, I could do a white
| | 03:35 | balance here, but I'm just going to
customize it and I want to warm this image
| | 03:37 | up a bit. I do want to see how this
image will look in color. Well, so far so
| | 03:42 | good. Let's take a look at our overall
before and after. To do that we go to
| | 03:46 | our Presets panel, we press the P key,
here is before and then here is after.
| | 03:50 | Again just making the image a little
bit more about the subject. Bringing these
| | 03:54 | tones down a bit. My vignettes are a
touched too strong. So I'm going to back
| | 03:58 | there, pull that out a bit, I didn't
like how strong that was. Now I go back to
| | 04:02 | presets before and after. Again we
are just bringing some light in here.
| | 04:06 | Finally, I'm going to go to the Basic
panel and here I'm going to desaturate.
| | 04:10 | Now there are many ways to convert to
black and white. We will be talking about
| | 04:13 | those later. Now when I do that I
realize a couple of things. One is when I
| | 04:18 | brighten this image up a little bit; I
need a little bit more brightness here.
| | 04:22 | Need to increase my Contrast as well.
Do some recovery to darken some of those
| | 04:26 | tones in the background. A little bit
of Fill Lights, a little bit of Blacks
| | 04:30 | there, a little bit more Contrast.
Again I'm just customizing this to get it
| | 04:34 | right in the sweet spot. I go to the
Presets panel, overall before and after.
| | 04:40 | Let's go to that Tone Curve panel. Here
is our Tone Curve before and after, and
| | 04:44 | see what adjustments that made for it.
And you know what it did there; it just
| | 04:47 | flattened these tones out there. It
made the light a little bit more smooth
| | 04:51 | across the face, a little bit more on
the subject matter, darkened the tones in
| | 04:54 | the background and I use that
adjustment in combination with my other
| | 04:59 | adjustments.
| | 04:59 | We will go to the Basic panel, press
the P key before and after. Okay we did
| | 05:02 | quite a bit there and then finally
one last look on the presets before and
| | 05:07 | after. All right, well, in summarizing,
my hope here was to begin to get you to
| | 05:11 | think about how you can use the
Point Curve. Now which curve is actually
| | 05:15 | better, the point or the parametric?
Well, it doesn't really matter. They are
| | 05:18 | both actually pretty good. You can do
very similar things. You can actually do
| | 05:22 | a little bit more at the Point Curve.
Although you can also cause a little bit
| | 05:25 | more problems with the Point Curve.
| | 05:27 | Now I know a lot of people who are just
more comfortable with the Point Curve,
| | 05:30 | because they use that type of a curve
inside the Photoshop. And if that's your
| | 05:34 | case, go ahead and use that one,
although there may be times when you want to
| | 05:37 | use that parametric curve, even in
addition to other curve, because here you
| | 05:40 | can see that I can really target those
tones in the back, I could also work on
| | 05:44 | my shadows if I wanted to do some
work on those and then my dark tones, I
| | 05:48 | wanted to build up the contrast.
| | 05:50 | So just doing that little bit of
adjustment I can take this even further and
| | 05:54 | make even more adjustments. You have
got to keep in mind when you do that you
| | 05:57 | want to go to your other sliders as
well and modify those, because really it's
| | 06:01 | a combination of all these sliders
together that helps you come up with the
| | 06:05 | best results.
| | 06:06 | When you do those types of things
you want to then go back to your other
| | 06:09 | adjustments and just say, did I go too
far with that? Perhaps, I did a little
| | 06:13 | bit. Let's swing these down. We don't
have the same flexibility that we have
| | 06:17 | with layers. With layers in Photoshop
we can lower the Opacity. We make an
| | 06:21 | adjustment and then we swing it back.
Because typically what happens in
| | 06:24 | Photoshop as you go too far and then
you need to reel in or just bring back
| | 06:28 | your adjustment. So don't lose
sight of that aspect of your workflow.
| | 06:32 | Well, this is the true closing of this
movie, finally. My hope with this movie
| | 06:36 | again is to show you about how you
can use with these different tools in
| | 06:39 | combination with the rest of your workflow
in order to create images that are more compelling.
| | Collapse this transcript |
| Adding tone curves into a photographic workflow| 00:00 | In this movie, we are going to be
talking about tone curve and photographic
| | 00:03 | workflow with Camera Raw. Let's open up
the file, annika_2.dng, double-click it
| | 00:08 | to open it in Camera Raw. Now I like
this particular photograph, I like the red
| | 00:13 | in the background, the yellow hat, red
and yellow is kind of interesting except
| | 00:17 | that I want to crop it. So I'm going
to go ahead and navigate up to my Crop
| | 00:19 | tool, choose a 2:3 ratio.
| | 00:21 | Now if I click-and-drag to the
right, I have a horizontal crop. If I
| | 00:24 | click-and-drag down, in this case I
have this nice vertical crop and that's
| | 00:28 | what I'm looking for here. I'm just
going to create a little crop on this
| | 00:31 | image and then press Enter or Return.
Next thing that I'm going to do is press
| | 00:35 | the S key to grab my color sampler and
I'm going to set a point on the cheek
| | 00:38 | and when I do that I notice
that these values are pretty high.
| | 00:41 | So I'm going to go over here to the
Tone Curve and I'm going to go to the
| | 00:43 | Point Curve and change this to Linear.
Now here is a trick that we use in
| | 00:47 | Photoshop all the time with curves.
What we do is we click-and-drag our top
| | 00:51 | point down and what that does is it
brings the exposure or the brightness value
| | 00:56 | of the highest points, they are down
and we can see that if we look at our
| | 00:59 | after and look at those numbers that
brought those points down. Next I'm going
| | 01:03 | to bring this brightness value of
those brighter tones down as well and then
| | 01:06 | I'm going to bring the rest of
the image back to where it was.
| | 01:10 | Now in this case, we will look at our
before and after. The image is looking a
| | 01:13 | little bit more even except the tone
looks a little strange. So I need to bring
| | 01:17 | in some black, so to bring a little bit
of a contrast back to this image. Next,
| | 01:21 | I'm going to navigate to the Basic
panel. Now here in the Basic panel, I want
| | 01:24 | to warm this image up just a bit. I'll
make this nice and more tones there, I'm
| | 01:29 | going to add a little bit of Fill
Light to even the tone out even more.
| | 01:32 | Now keep in mind, when you make an
adjustment like the Fill Light, you think
| | 01:35 | okay that doesn't look good, but it
will look good once I add some contrast in
| | 01:39 | addition to that particular adjustment,
recover a little bit more of those
| | 01:42 | brights, and a little bit of the
blacks. Now my warmth is a little bit too
| | 01:46 | strong, so I'm going to back that off
and it became too strong once I added
| | 01:50 | those blacks in my contrast.
| | 01:52 | Let's take a look at our before and
after. Press the P key, here is before and
| | 01:55 | after for the Basic panel. Go to the
Tone Curve Adjustment, before and after,
| | 02:00 | okay nice, brought those tones down.
Let's clear those sample points that's now
| | 02:03 | looking good and then finally go to the
presets in our overall before, here is
| | 02:07 | the original image and then after.
| | 02:10 | So it's not a real drastic change, right.
All we did was we brought some of the
| | 02:13 | tones down. We brought some other tones
up, we warmed the image up a little bit
| | 02:17 | and of course we did this crop.
But again our final before and after.
| | 02:21 | So in conclusion, I'm aware that I was
going a little bit quick in this movie,
| | 02:25 | yet my hope here was to begin to get
you to think about how you can integrate
| | 02:30 | those tone curve adjustments into your
photographic workflow. Now you can begin
| | 02:35 | to go there and realize that I'll go
there pretty quickly, do a few little
| | 02:38 | adjustments, go a few other places and
then it's the combination of using those
| | 02:43 | different adjustments that we will many times
as I have said before lead to the best results.
| | Collapse this transcript |
|
|
10. Retouching BlemishesSpot removal overview| 00:00 | In this movie, we will be working on
this file beau.tiff. Go ahead and select
| | 00:03 | that file and then press Command+R
on a Mac, Ctrl+R on a PC to open it up
| | 00:07 | inside of Camera Raw. All right, what
I want to do in this movie is we are
| | 00:11 | going to talk about how we can use our
spot removal tools. You can access those
| | 00:15 | tools by pressing the B key on your
keyboard or you can of course click on the
| | 00:19 | icon up at the top.
| | 00:21 | Well, what I want to do at this
particular image is I want to reduce and
| | 00:24 | simplify it just a little bit.
I like this portrait of this particular
| | 00:27 | photographer and yet I want to take
this even a little bit further. I want to
| | 00:31 | reduce and simplify it even more. I
want to get rid of a few of the little
| | 00:34 | blemishes that I'm seeing here. So
I'll ahead and double-click the Zoom tool
| | 00:37 | to take this to 100%, press the
Spacebar key, which will give me access to the
| | 00:41 | Hand tool. Then I'll click-and-drag, so
I can focus in on one of the areas that
| | 00:45 | I want to modify.
| | 00:46 | Well, let's now press the B key to go
back to the Spot Removal tool. Now, once
| | 00:51 | we do that, we will notice over on the
right-hand side that we have a number of
| | 00:53 | different options or actually just a
couple of options. We have Healing and
| | 00:56 | Cloning, we have Radius and Opacity and
then we also have the Show Overlay down below.
| | 01:01 | Now one of the shortcuts you are going
to need to know how to use when using
| | 01:05 | the spot healing tools is the V key.
This is a phenomenal shortcut; let me show
| | 01:09 | you how it works. Well, in order to
remove this particular spot, what I can do
| | 01:13 | is I can click and then drag and I'm
clicking in the middle of the blemish and
| | 01:17 | dragging out. The red and white-checkered circle
is showing me the area that I'm going to correct.
| | 01:22 | Now the green and white circle, that
checkered outline of that circle will show
| | 01:25 | me the area that it's sampling. In
this case it's healing that. Now if I want
| | 01:29 | to change the overall radius here, I
can lower the radius with the Radius
| | 01:32 | slider or I can hover over one of
those circles, either one and click-and-drag
| | 01:36 | in or out in order to get the correct size.
| | 01:39 | Now the Opacity slider gives you the
ability to just blend things together a
| | 01:42 | little bit. Sometimes you don't want to
remove it completely, but just diminish it.
| | 01:45 | You can use that slider. Now
what about that shortcut key that I
| | 01:49 | mentioned befor, the V key? Well the V
key toggles on and off your overlay. You
| | 01:53 | can see that it's being
turned on and off down here.
| | 01:56 | Now that's really helpful, because it
begins to show me if I'm doing something
| | 02:00 | that's actually good or not. Well, now
that I have toggled off the circles,
| | 02:03 | I can't really remember what it looked
like before. So now I press the P key to
| | 02:08 | look at my before and after.
| | 02:10 | Now because this is a textured wall,
I can get away with a lot with this
| | 02:13 | removal. Although I do have a little
bit of a repeating pattern. I have this
| | 02:17 | little bit of a line here
that we can see down here.
| | 02:21 | Well, let's say I want to do something
a little different. I press the V key to
| | 02:24 | bring that back. This time what I'm
going to do is click-and-drag and move
| | 02:27 | this over to the right-hand side and
I'm going to expand these circles so that
| | 02:30 | they are covering this line here. I
want to do that in order to illustrate
| | 02:34 | something that's kind of helpful when
you are ever cloning or healing and you
| | 02:37 | are near an edge or you are near
something that you need to really line up.
| | 02:40 | Well, here you can see that the
alignment isn't very good, because the line
| | 02:45 | down here doesn't line up here. And if
I'm going to press the V key we can see
| | 02:49 | that looks really unnatural. The
repeating pattern isn't as noticeable.
| | 02:53 | I can't see those two lines right there
that repeat over there, but for the most
| | 02:56 | part that's okay. So let's
press the V key to bring that back.
| | 03:00 | What I can do here is either click
and drag my circle, which is the green
| | 03:03 | circle, to align those or bring that
down so it's off again or click and drag
| | 03:07 | this red circle until I align that
with the same height as the other circle.
| | 03:12 | Now as I do this it's really tricky to
see if I'm exactly on that particular
| | 03:17 | line. So what I'm going to need to do
is click and move it, press the V key,
| | 03:20 | okay, I'm not quite on, click and move
it again just a little bit, press the V key,
| | 03:24 | okay that's pretty good.
| | 03:26 | Then the other thing that I want to
try is to try cloning. So when I go to my
| | 03:29 | Clone option in this case, it looks
pretty similar actually, except there is a
| | 03:33 | little bit more of a fading happening
and then I'm going to lower the Opacity
| | 03:37 | and when I lower the Opacity, again
I'll see a little bit of that blemish come
| | 03:40 | through. I can bring that all the way
back or I can find the sweet spot where
| | 03:43 | it's just taking that down
without overdoing the repeating pattern.
| | 03:47 | In this case, because that blemish is
pretty strong, I need to have a pretty
| | 03:50 | high Opacity and typically and in all
reality when you are doing spot removal,
| | 03:54 | you need a really high Opacity, right.
| | 03:56 | Well, so far so good. I remove that
first blemish. I then want to remove this
| | 04:00 | blemish here, this bolt in the wall.
Now, in order to remove that bolt, I'm
| | 04:04 | going to go ahead and press a Spacebar
to reposition the image and just kind of
| | 04:08 | get a feel for what's happening with
this area of the image. One of the things
| | 04:11 | I'm noticing is it's pretty close to
the subject, I like this little tile on
| | 04:15 | the wall, I think that's
interesting, but the bolt, that's got to go.
| | 04:18 | So I want to create a new spot where
I'm retouching. In this case I'll go back
| | 04:22 | to healing. So I like the way that works.
High Opacity. Now for my brush size,
| | 04:26 | I could use a Radius slider, I can
click and drag or I can press the right or
| | 04:30 | left bracket key. In this case, I'm
pressing the left bracket key to make this smaller.
| | 04:34 | Now you can just click and what will
happen is when you do that it will sample
| | 04:38 | an area for you and let's say I don't
like what's happened here at all. So I'll
| | 04:42 | go ahead and press the Delete key.
It just deletes that one spot removal.
| | 04:45 | My other spot removal, that's still intact
up there so I'm going to go ahead and
| | 04:49 | go back down to this one.
| | 04:51 | This time rather than just clicking,
I'm going to click-and-drag to make sure
| | 04:54 | I have that nice size that's just
perfect around that particular shape and then
| | 04:58 | I'll reposition this to another area
of the image so I can sample some tones.
| | 05:02 | Again here, I want to somewhat line up
the blemishes there. I press the V key
| | 05:06 | to look at my before and after, then
overall before and after. And I'm going
| | 05:10 | to say, hey that works pretty well. All
right, well in summarizing this movie,
| | 05:13 | we have learned a little bit about how
we can work with our Healing Brush as
| | 05:17 | well as our Clone Stamp tool.
| | 05:19 | We have learned how we can modify
those settings and we have learned a few
| | 05:21 | important shortcut keys, the V key to
toggle the view on and off and then of
| | 05:26 | course the P key is our preview toggle
button so we can turn the preview on and
| | 05:30 | off so that we can determine if this
retouching is actually looking any good.
| | Collapse this transcript |
| Cloning away background distractions| 00:00 | In this movie we are going to look at
how we can use the Spot Removal tool in
| | 00:03 | order to remove an item in the
background that's a little bit distracting.
| | 00:07 | We are going to be working on the file
family_beach.jpg. Press Command+R on a Mac,
| | 00:12 | Ctrl+R on a PC to open up this family portrait.
| | 00:15 | Now I like this family portrait, I
like the square format, yet there are a
| | 00:19 | couple of people on the beach in the
background. I want to remove those people.
| | 00:22 | So let's go and zoom in on that area.
We'll grab the Zoom tool and then we'll
| | 00:26 | click-and-drag over those people so
that we can really zoom in on them.
| | 00:29 | Now that might be a little bit too far
to zoom in, so I'll press Command+Minus
| | 00:32 | on a Mac, Ctrl+Minus on a PC, and
perhaps right about there it looks good.
| | 00:37 | Click-and-drag while you are pressing
down the Spacebar tool to move the
| | 00:41 | image around. All right, well now that
we are zoomed in on the area, I want to
| | 00:44 | go ahead and press the B key
to select the Spot Healing tool.
| | 00:47 | Now there are a couple of different
options here. I can either heal or clone,
| | 00:51 | because I have these different areas
of contrast and brightness. I'm going to
| | 00:55 | go for Clone. Clone will actually work
a little bit better with this particular
| | 00:59 | spot removal task, and I'm then
going to go ahead and click about in the
| | 01:03 | middle of the area I want to remove
and click-and-drag to hover over that.
| | 01:06 | Now, I can't remove them all at once.
So I'm going to go ahead and try to find
| | 01:10 | a nice spot to remove that. And I'll
click and reposition these other spot
| | 01:14 | removal portion here, and I'm going to
make that even a little bit bigger. We
| | 01:19 | can see that the edges are nice and
faded and defused, which will really help
| | 01:23 | me out as I begin to remove this object.
And I'm just looking to align those
| | 01:28 | two circles up. So I have a nice clean
line in the background. Press the V key
| | 01:32 | to hide those circles then press the P
key to see our before and after. Okay,
| | 01:36 | so far so good we have about half of
the people gone. Now I'll press the V key
| | 01:41 | to reactivate those overlays.
| | 01:44 | Next thing that I need to do is work
on the bottom portion of the image. So
| | 01:47 | here I can actually create another
adjustment. I can overlap my spot removals,
| | 01:52 | and this is going to be really handy
to us. So now that I have these two
| | 01:55 | circles overlapping, I'll go ahead and
click and then it's going to sample an
| | 01:58 | area. It sampled an area I didn't quite
like. So I'm going to move this over here
| | 02:02 | to the other side.
| | 02:02 | Now, in this case I'm going to look to
reposition this. And one of the things
| | 02:06 | that I'm noticing is I'm getting a
little bit of a repeating pattern. I can
| | 02:09 | see these dark spot in two places. Now,
I could remove that by doing another
| | 02:15 | bit of healing on top of this.
Although, in my case this is out of focus, I
| | 02:19 | don't think it's going too distracting.
Press the V key to hide all of the
| | 02:22 | overlays, press the P key to look at
our before and after. And then finally,
| | 02:26 | double-click that Zoom tool. This is
a smaller image. And let's look our
| | 02:30 | overall before and after.
| | 02:31 | So press the V key to activate the Spot
Removal tool, then press the P key, and
| | 02:36 | when we do that we'll see the before
and after. And you know what? Now that I'm
| | 02:39 | looking at that, I think hey, that
looks fine. I could of course go and do
| | 02:43 | another overlay for that little circle,
and then retouch some sand over there.
| | 02:47 | But in my opinion I think that's fine.
It just removed some of those background
| | 02:50 | elements. At least the prominent
background elements that were distracting,
| | 02:54 | which in the end makes a little bit
more of a compelling family portrait.
| | Collapse this transcript |
| Cleaning up a studio background| 00:00 | Well, so far we've talked about how
we can use the Spot Removal tools with
| | 00:04 | photographs that were captured outdoors.
But what about studio photography? Can
| | 00:07 | it benefit from these tools? Well
definitely. And that's we are going to talk
| | 00:10 | about in this movie.
| | 00:12 | We'll be working with this photo kee_
photography.jpg and jenny_kim.jpg. Go
| | 00:15 | ahead and select both of those and
press Command+R on the Mac, Ctrl+R in a PC.
| | 00:20 | This first photograph was captured by a
couple of good friends of mine. You can
| | 00:23 | check out their work at Kee Photography.
They are great photographers. And in
| | 00:27 | this particular image we notice
that there are some blemishes in the
| | 00:29 | background. We want to clean those up.
So, I'll grab the Zoom tool, already
| | 00:32 | have it there. I'll click-and-drag
over that background. I see one of those
| | 00:35 | blemishes I want to remove, press the
B key to select this particular tool.
| | 00:39 | Click-and-drag from the middle out, in
this case I'm healing. That's going to
| | 00:42 | remove those spots pretty well,
Command+Minus on a Mac, Ctrl+Minus on a PC.
| | 00:47 | Press the Spacebar, reposition the image,
we are just going to move around this
| | 00:50 | image and click-and-drag to create a
nice little brush size, or just looking to
| | 00:54 | sample some areas and clean them up.
| | 00:57 | Now, you get to an area on the edge of
the image, what you typically want to do
| | 01:00 | is click-and-drag to expand it and
then make sure that your other sample area
| | 01:04 | is along the edges well, same tonality
there. And that will work very nicely.
| | 01:08 | Okay, I'll go ahead and again just
remove some of these small spots.
| | 01:12 | What about when we get to areas that
are little bit bigger like the backdrop
| | 01:15 | that we see and the crease in the
backdrop? Well for these area it actually
| | 01:19 | would be better to go to Photoshop,
because these are so dominant and, because
| | 01:22 | this background isn't quiet perfect,
we'd really need to clean up some of those
| | 01:26 | larger areas inside of Photoshop. All
right, well let's double-click the Hand
| | 01:29 | tool so that we can fit this in view.
And our retouching is looking good so
| | 01:34 | far. All right, well let's move to
this next image that was captured by
| | 01:37 | photographer Jenny Kim.
| | 01:38 | I'm going to zoom out by pressing
Command+Minus on a Mac, Ctrl+Minus on a PC.
| | 01:43 | Now, when zoom out I notice a couple
of things. One I need to White Balance
| | 01:46 | this image, so I'll press the Shift key
and click on that white background just
| | 01:49 | to do that quickly there. All right,
and then what I need to do is remove the
| | 01:53 | chair in the backdrop. Now this isn't
that dominant so I can fix this up. I'll
| | 01:57 | press the B key to access this tool.
And with this chair down here I'm going
| | 02:01 | to click-and-drag to cover over that
chair and then reposition it so I have the
| | 02:05 | entirety of the chair covered and
then I just need to go to a nice little
| | 02:07 | sample area and so I'm going to have
to bring that up pretty high. All right,
| | 02:11 | then I'll go the small little blemish
here, click-and-drag and I have a nice
| | 02:14 | sample area for that one. And
then I'll go and move my way up.
| | 02:19 | One of the things that you can do
actually is you can simply just keep clicking
| | 02:22 | and moving your way through this and
I'll go ahead and just keep doing that.
| | 02:26 | And I could make my brush a little bit
bigger here if I wanted to, so I'll do
| | 02:29 | that to remove it a little bit more
quickly and I'll just click and remove
| | 02:32 | that. And yes, I do have a quite a bit
of overlap here but that's fine. We'll
| | 02:36 | press the V key to hide the overlay
and then press the P key to look at our
| | 02:40 | before and after.
| | 02:41 | For the most part at least this view
it's looking pretty good to me. Press the
| | 02:45 | V key to bring those back if there is
area that you really need to bring back,
| | 02:49 | clean up even more you can go back
in and modify any of those points by
| | 02:53 | clicking on them. You can see I can
activate my different overlay circles, and
| | 02:57 | I can continually modify those.
| | 02:59 | I can modify them in regards to
either being cloning or healing that I can
| | 03:02 | change that on the fly. Now, when I go
to Clone, I actually have a little bit
| | 03:05 | more of a fade in there. So we can
see that we are in a little bit of
| | 03:09 | transition when I go to Heal, it blends
that back much more nicely. So in this
| | 03:13 | case the Healing Brush works better.
Yet, most importantly I wanted to
| | 03:17 | illustrate that you can't overlap
your Healing or your Spot Removal. And in
| | 03:22 | addition you can changed what type of
removal you are doing on the fly. And one
| | 03:27 | of the nice things about using
Camera Raw on images like this in studio
| | 03:31 | photography when you are cleaning up
your background is you can do this really
| | 03:34 | quickly and it doesn't increase
your file size, right? This is all
| | 03:37 | non-destructive. So I can do this at any time.
| | 03:40 | So sometimes I'll plot my images in
some pretty simple ways inside of a Camera
| | 03:44 | Raw, and then for the heavy duty stuff,
for the fine detail stuff I'll jump on
| | 03:48 | over to Photoshop. As a quick side
note these two images come from a training
| | 03:52 | title that I did on Photoshop Retouching.
| | 03:54 | So if you are interested in that
subject; if you are interested in digging
| | 03:57 | deeper into making your people
photographs really come to life, you may want to
| | 04:01 | check out those titles. All right,
well that wraps up this movie.
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| Removing blemishes on a face| 00:00 | So far we have talked about how we can
use the Spot Removal tools in order to
| | 00:03 | clean up background elements but what
about those smaller details like details
| | 00:08 | on a face, how can we clean those up?
That's what we are going to talk about in
| | 00:11 | this movie and we will be working
with the file corwig_dylan. Go and select
| | 00:16 | that, press Command+R on a Mac/Ctrl+R
on a PC. Next, double click the Zoom tool
| | 00:20 | that will take it to 100% or you can
press Command+Option+0 on a Mac/Ctrl+Alt+0
| | 00:26 | on a PC; both of those
techniques do the same exact thing.
| | 00:30 | All right, well here I have this
portrait of one of my all time best friend,
| | 00:33 | his son Dylan and Dylan was playing
in our friend's backyard and he has all
| | 00:38 | this dirt on his face. So we want to
clean that up a little bit. We will press
| | 00:41 | the B key to navigate to the Spot
Removal panel and we are going to go ahead
| | 00:45 | and heal away some of these blemishes.
Again, all that we are going to do is
| | 00:48 | click and drag to have a nice little
spot there and we are just going to go
| | 00:51 | through the image and now that we have
a brush size, it's appropriate, we will
| | 00:54 | click and move our way around the image.
| | 00:56 | Now the trick with this is just trying
to get your brush size to be as small as
| | 00:59 | possible. So if you have blemishes
that don't need a brush size as quite as
| | 01:03 | big, you want to go ahead and take
that down? The other thing that's really
| | 01:06 | important is when you are doing Spot
Removal like this, so just make sure it's
| | 01:10 | sampling tones that are pretty
similar to the areas that you have and of
| | 01:14 | course, to use your shortcuts because a
lot of times what will happen is, is as
| | 01:18 | you will do some spot removal like this,
and you say, "hey! You know what? It
| | 01:20 | looks good." but then you won't notice a
problem because you have the overlay circles.
| | 01:26 | So lets press the V key to turn off all
those circles and then press the P key
| | 01:30 | to look at our before and after. So
far so good, most of those blemishes look
| | 01:34 | pretty good, except for that one
around the eye. I'll zoom in on the eye and
| | 01:37 | now here is my before and after, and
we see that one doesn't quite look very
| | 01:41 | good. There is also one of over here
that is a little bit too bright. So that
| | 01:44 | one doesn't look very good. Press the V
key to turn that overlay back on. With
| | 01:48 | this one, we are going to have to
delete it. We will go ahead and click this
| | 01:51 | one here, delete that one as well.
| | 01:53 | Now if I want to remove those
blemishes, what I'm going to need to do is
| | 01:57 | decrease my brush size quite a bit
or just click and drag to create a new
| | 02:00 | little tiny, tiny brush size there.
Then make sure I sample an area that looks
| | 02:04 | good. Over here, again I'm going to
need to click and just make sure I'm
| | 02:07 | sampling a tone that is similar to the
area that I'm working on. Now that we
| | 02:11 | are zoomed in, here we are going to
start to able to do a lot of the nice
| | 02:14 | little detail work. Again, all this
is just going to be about getting into
| | 02:17 | these little details, and slowly
working our way around this image, and slowly
| | 02:21 | removing all of these little tiny blemishes.
| | 02:23 | A lot of times what happens when you
do blemish removal like this is you will
| | 02:24 | make little mistakes. So well, you
won't notice things or perhaps, you won't
| | 02:26 | even feel like you are making much of a
difference at all because you are like,
| | 02:27 | "hey! Does this really matter? I have
all these little circles on th image."
| | 02:28 | Again, press that V key and then the P
key to look at your before and after. Of
| | 02:54 | course, zoomed in this close you can
see all the small details but sometimes
| | 02:55 | what you need to do is double click
the Hand tool or Zoom tool, either one
| | 02:57 | which will allow you to zoom out 100%
as nice, double clicking the Zoom tool.
| | 02:58 | Double clicking the Hand tool fit view
as nice as. We are just a kind of step
| | 03:00 | back and then press the B key and
then turn your preview on and off.
| | 03:01 | You got to step back every once in a
while when retouching because retouching
| | 03:05 | isn't always about the little tiny
details rather, it's about the whole
| | 03:08 | picture, making the whole picture better.
Well, it's so far so good, looking at
| | 03:13 | it's before and after. Here is our
before. I'll zoom in so you can actually see
| | 03:16 | that, right about there. Here is our
before. Here is our after. Few other
| | 03:20 | blemishes I would like to remove up
here on the eyebrow, then down here
| | 03:23 | underneath on the chin. Yet for the
most part, we are on our way to making a
| | 03:27 | much better portrait.
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| Removing dust on a lens or camera sensor| 00:00 | In this movie, we are going to talk
about how to correct something that will
| | 00:03 | happen to almost every photographer at
some point or another. That is, when you
| | 00:08 | look at your images or you open up
your photographs and you discover that you
| | 00:11 | have dust that was either on your
sensor or on the lens. So in every frame the
| | 00:16 | dust is in exact same location.
| | 00:19 | Well, if that's your case, you can
actually use Camera Raw to speed up the
| | 00:21 | process of fixing or removing these
little spots that happen or occur as a
| | 00:26 | result of having dust on your lens
or on your camera sensor. Let's go and
| | 00:30 | select the first file here, corwig_
bip1 and then go down to corwig_bip3. So I
| | 00:33 | go to the Shift key and select all of
those. Then I'll press Command+R on a
| | 00:37 | Mac/Ctrl+R on a PC. All right, well,
when we scroll through these images one of
| | 00:41 | the things we will notice is that the
subject moves but the piece of dust, it
| | 00:44 | doesn't. It is in the same exact spot.
It's telling me that's either on my lens
| | 00:48 | or on my sensor.
| | 00:50 | So what I'm going to do here is
press the B key to grab one of my healing
| | 00:53 | tools. Now I'm going to go ahead and
click and drag out to expand that across
| | 00:56 | that area. Now what I'm interested in
doing is making sure that I'm removing
| | 00:59 | that. So I'll press the V key to hide
the overlay and then the P key to look at
| | 01:02 | my before and after. Okay, that looks good.
| | 01:05 | The next thing that I'm going to do is
hold down the Shift key and select all
| | 01:08 | of my images or I can click on Select
All, and then I'll choose Synchronize.
| | 01:12 | Now what do I want to synchronize? Well,
I'm going to go ahead and choose Spot
| | 01:16 | Removal. That's the only thing I want
to synchronize. Click OK, and then we
| | 01:20 | will look at the other images, and we
will go down to this file here, and we
| | 01:23 | can see that that spot has been
removed here. I'll go down to this one. That
| | 01:27 | spot has been removed as well. If we
look at our before and after, it did a
| | 01:30 | pretty good job at removing those spots.
| | 01:32 | Now there are other times when you
may start to think about, "Okay, I can
| | 01:36 | automate my workflow, and have this
portrait, and there is a little bit of a
| | 01:39 | blemish on the person that I want to
remove." So I'll double click the Zoom
| | 01:42 | tool to zoom in a little bit on this one.
I see that little blemish right there
| | 01:45 | on the forehead. So I'll press the B
key and I'll go ahead and click and drag
| | 01:48 | to create a little Spot Removal there.
Press the V key to turn back on my
| | 01:52 | overlay so I can see what I'm sampling.
Now when I do that I say, "That's a
| | 01:56 | pretty good Spot Removal for the most
part." I'll press the V key to hide that
| | 02:00 | overlay, the P key to
look at my before and after.
| | 02:02 | Okay, so far so good. Yet when I go
through the other images, the position of
| | 02:07 | the person has changed slightly.
Yet I can use this, click Select All,
| | 02:11 | Synchronize, just a Spot Removal. I
can use this to speed up my workflow.
| | 02:16 | So let's go to the second image here.
Double click the Zoom tool to zoom in on
| | 02:19 | it and then press the B key and then
the V key to turn on our overlays. Now
| | 02:23 | when I activate this particular spot
and really zoom in on it, I can see that
| | 02:27 | it didn't actually retouch the correct
area and it brought in a little piece of
| | 02:30 | hair. So I'm going to go ahead and
move those off to the side. There we can
| | 02:33 | see that our blemish is indeed right
there. So it was actually pretty good on
| | 02:36 | the area, it just brought in that
little bit of hair so I needed to reposition
| | 02:40 | that. Yet the nice thing is I
didn't need to set that point at all.
| | 02:43 | I'll go to the next image. Same thing,
I'm going to double click to zoom in on
| | 02:46 | this one, maybe even zoom in further.
Select that Spot Removal tool and then go
| | 02:50 | ahead and target to activate that.
Now I want to move the red down to the
| | 02:54 | blemish and then I can move the green
down to a good patch of skin. So the move
| | 02:58 | that I made with those circles was very
similar to the move that I made on the
| | 03:02 | other image. Now why would I want to do
that and is it really worth it? In this
| | 03:06 | particular case, was it actually worth
it? Not necessarily, I might have been
| | 03:10 | faster just to create my own sample
points because there was quite a bit of
| | 03:14 | movement between the different frames
as we go through here. We can see that
| | 03:18 | there is quite a bit of different
movement. We will fit these and view perhaps,
| | 03:21 | so that we can see how the subject moves.
| | 03:24 | Yet there are other times, when your
subject may be a little bit more still or
| | 03:28 | for that matter, when it's a still life
object and that object isn't moving at
| | 03:32 | all, well, you can really take
advantage of spot healing multiple images at one
| | 03:37 | time in order to remove small blemishes.
| | 03:39 | So in sum, I just want you to begin
to think about, how you can use this
| | 03:43 | technique to remove a blemish that's
consistent throughout multiple frames? Now
| | 03:47 | typically that's a result of having
dust on your lens or sensor. Yet there are
| | 03:51 | other situations where you can apply
the Spot Removal to multiple images in
| | 03:56 | order to speed up your overall workflow.
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| Removing red-eye| 00:00 | In this movie we are going to talk
about how you can remove red eye using Adobe
| | 00:04 | Camera Raw. We are working on this
file of my sister and my daughter Annika,
| | 00:09 | its called Amanda and Annika. You
can find it in the chapter ten folders,
| | 00:13 | select it, press Command+R on the Mac,
Ctrl+R on the PC to open it up inside of
| | 00:17 | Camera Raw. Double-click the Zoom tool.
See here we have this photograph of my
| | 00:22 | Sister; she is known as Aunt Amanda, my
daughter Annika and her favorite stuffed animal.
| | 00:27 | Let's select the Red Eye Reduction tool.
Press the E key that will open up the
| | 00:30 | Red Eye Removal panel. Now what we are
going to do with this is we are going to
| | 00:33 | go ahead and click and drag over the
entirety of the eye. Yes the entirety of
| | 00:38 | the eye. That will then select our
target, the pupil, and what we are doing is
| | 00:42 | going over the entirety of eye so that
we can get all of the pupil. Now if you
| | 00:45 | don't select enough of it, you are
going see it's not going to really get it or
| | 00:48 | if you make a little tiny
selection, hey! It can't even find it.
| | 00:51 | In this case I'm trying to make a
bad selection. I'm not having any luck
| | 00:54 | here. That one was still good but the
whole point being in is that you want to
| | 00:58 | select a large area it will then
determine the pupil size. Now in order to
| | 01:03 | evaluate, if this looks any good, you
just have to get rid of that box around
| | 01:07 | the pupil, right. Press the V key that
will hide that overlay, press the P key
| | 01:11 | that will show you your
overall before and after.
| | 01:15 | And just as a side note, we all know
that that red eye is a result of using a
| | 01:19 | small point in shoot camera because the
flash is so small. It's really close to
| | 01:23 | the lens and so a lot of times that
happens especially if you forgot to turn on
| | 01:28 | the Red Eye Reduction setting on the
camera. And so happened here, but hey! We
| | 01:32 | fixed it really quickly no problem
and that makes for a better image.
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|
11. The Adjustment BrushDemystifying the Adjustment brush| 00:00 | It is widely agreed that the most
exiting new feature inside of Camera Raw is
| | 00:05 | the ability to make localized
corrections. What you can do is you use the
| | 00:09 | Adjustment Brush to actually paint in
adjustments of specific areas of your
| | 00:14 | images. Now in this chapter, we are
going to look at a wide range of uses for
| | 00:17 | the Adjustment Brush. Yet before we
get to those different ways we can use the
| | 00:21 | brush, let's start up by demystifying by
deconstructing how this tool actually works.
| | 00:26 | Go ahead and select the file adjustment
_brush.jpg, Command+R on a Mac, Ctrl+R
| | 00:32 | on a PC. All right, well the first
thing that you notice here on this file is
| | 00:35 | that we have a picture of the
Adjustment Brush. We can go ahead and select the
| | 00:38 | Adjustment Brush by pressing the K key
or on the other hand, you can click on
| | 00:43 | the icon inside of the toolbox there.
| | 00:45 | Let me go ahead and decrease my
Adjustment Brush size so that it matches or at
| | 00:48 | least it's close to that little icon
that I have there. One of the things you
| | 00:52 | will notice is that you have two
concentric circles. You have the inner circle,
| | 00:55 | then you have this outer black and
white checkered circle. Well, that inner
| | 00:59 | circle has to do with your overall
brush size. The outer circle has to do with
| | 01:02 | the feather or the transition. The
inner circle is painted at full intensity;
| | 01:07 | the outer circle, it fades or
dissolves off to that edge. Now you can change
| | 01:12 | your brush size in a number of different ways.
| | 01:14 | You can change it by pressing the
bracket keys, which makes your brush bigger
| | 01:17 | or smaller. Then if you want to change
that Feather, press the Shift+Bracket
| | 01:21 | key and there you can see I have much
less or much more feathering. All right,
| | 01:25 | well now that we know a little bit
about those shortcuts, let's go ahead and
| | 01:29 | double-click the Zoom tool. That will
take this image to 100% and then press the
| | 01:32 | spacebar to reposition it, so we can
move that shortcuts a little bit out of
| | 01:36 | the way. So we have a nice clean empty
gray background to begin to work on.
| | 01:40 | Okay, press the K key to select the
Adjustment Brush. Let's go ahead and look
| | 01:45 | at the Adjustment Brush panel. One of
the things that you will notice over here
| | 01:48 | in the Adjustment Brush panel is we
can make a wide range of adjustments,
| | 01:52 | Exposure, Brightness, Contrast,
Saturation, Clarity, interesting. Sharpness and
| | 01:57 | Color. Down below we have some different
controls that modify the way our brush works.
| | 02:03 | All right, well for starters,
we can modify one of these adjustments by
| | 02:06 | dragging the slider or by clicking the
plus or minus sign. We can go ahead and
| | 02:10 | click the plus sign. So I'm
increasing the exposure by two stops and I'm
| | 02:14 | going to do this so that we can begin
to learn how this brush actually works.
| | 02:18 | Next, I'm going to turn off Auto Mask.
We will talk about Auto Mask later.
| | 02:23 | I have my Brush Size. We have already
talked about how we can change that, so I'm
| | 02:26 | going to go ahead and make that
smaller. We have the Feather. I'm going to
| | 02:29 | decrease that. Of course if we forget
our shortcuts, just use the sliders,
| | 02:32 | right? I'm going to make a pretty nice
and small little brush here. Okay, great.
| | 02:37 | Now what's the deal of Flow and
Density? Well, let's first talk about Flow,
| | 02:41 | it's kind of interesting. If I have a
high flow, let's say a flow of 100 and I
| | 02:46 | make a brush stroke, you can see that
I'm increasing the exposure there. And
| | 02:50 | it's increasing it in a pretty uniform
way. If I paint again and then again and
| | 02:54 | then again and then again, it's not
changing the overall exposure. Though my
| | 02:58 | brush stroke maybe is getting a little
wider, it is not changing the value there.
| | 03:02 | On the other hand, if I have a low flow.
Let's got to something really low like
| | 03:06 | let's say 15 and then I paint once,
I see a small percentage of that increase
| | 03:12 | in exposure and then I paint again, I
see more of it and then again I see more
| | 03:16 | of it and then again I see a more of it
then slowly it builds up to the full intensity.
| | 03:20 | If I decrease this even farther, so you
can really see what's happening. Again,
| | 03:23 | multiple brush strokes back and forth
slowly, slowly building up the overall
| | 03:28 | intensity there. Okay, a couple of
more things to point out. You will notice
| | 03:32 | that we have this little pen or this
node. That's showing me where I initially
| | 03:36 | started my adjustment. Now I can click
on that and then press the Delete key to
| | 03:40 | delete that.
| | 03:41 | Okay well now that that's gone, let's
talk a little about Density. We know how
| | 03:46 | flow works, right, and let's say we
have a low flow. Let's take it down to
| | 03:49 | about 10, how about that? And I make a
brush stroke and then I can paint back
| | 03:52 | and forth and slowly build
that up more and more and more.
| | 03:55 | Well the Density, I like to think of
as the overall intensity. If I take this
| | 03:59 | down let's say to about 50 or
something, sub 50 and I paint back and forth,
| | 04:04 | back and forth. Well I can never go
higher than that overall density amount.
| | 04:08 | Now if I increase my flow to 100, well
I'm just going to get that amount right
| | 04:12 | away. So the Density is like the
overall intensity of the effect. It's telling
| | 04:18 | you how far do I actually
want to apply this effect.
| | 04:20 | Now the nice thing about using
the Adjustment Brush is this.
| | 04:24 | It's non-destructive and you can
continually modify this, check it out. Let's say
| | 04:28 | the Exposure is too high for me. Well,
I'm just going to go ahead and lower it
| | 04:30 | and you can see I have diminished it
and I have backed it off. Or on the other
| | 04:33 | hand, let's say I want to erase it.
I'll click on the Erase option. Now I have
| | 04:37 | options for my brushes here. I can erase
some particular Size, Feather and Flow.
| | 04:42 | I'll increase the Flow quite a bit, so
we can see what's happening and then I'm
| | 04:45 | going to go ahead and just erase that.
Or let's say I want a little bit of a
| | 04:47 | less of an erasing effect, so I'll go
ahead and decrease the flow and slowly
| | 04:51 | diminish that. So as you can imagine,
you can do some really just phenomenal
| | 04:57 | things with this brush. Burning and
Dodging, Teeth Whitening and Sharpening,
| | 05:00 | I mean you name it.
| | 05:01 | There is lot of hype and there is a
lot of excitement about this tool and
| | 05:04 | rightly so. It's a pretty amazing tool
as I think you will soon discover. There
| | 05:09 | are few other things that we need to
learn about this tool but yet we know
| | 05:12 | enough to begin the work on some
images. So let our adventure with the
| | 05:15 | Adjustment Brush begin.
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| Correcting exposure by brightening shadows| 00:00 | In the next couple of movies, we are
going to look at how we can use the
| | 00:02 | Adjustment Brush in order to brighten
shadows. We are going to start up with
| | 00:05 | this file corwig_shaun_tomson_01. Go
and select it, press Command+R on a Mac,
| | 00:09 | Ctrl+R on a PC.
| | 00:11 | Next thing I want you to do is to double
-click the Zoom tool to zoom in on this
| | 00:14 | image. Press the Spacebar to reposition
the image. Now we have this particular
| | 00:18 | photograph that was captured on an
overcast day. So, it's really nice and soft
| | 00:22 | like, except we have some shadows in
the eyes. What would I want to do is I
| | 00:25 | want to brighten up those shadows.
| | 00:26 | So let's go ahead and apply what we
know about using the Adjustment Brush in
| | 00:30 | order to improve this portrait. We
are going to press the K key in order to
| | 00:35 | select the Adjustment Brush.
| | 00:36 | Now, the next thing that we need to do
is to determine what type of setting we
| | 00:39 | are going to apply here. I'm going
to increase the Exposure. And a lot of
| | 00:43 | times, when I'm doing my
retouching or adjusting my images, I like to
| | 00:46 | exaggerate what I'm doing, so I can see
all my edges or potential problems and
| | 00:50 | then, lower that later. So that's
kind of high but I'm okay with it.
| | 00:54 | Next I need the brush size. Well, I
want a size of brush that's really small so
| | 00:57 | I can get right in there. Now I can't
get in close enough because this brush is
| | 01:00 | too big. What I can do? Well, I can zoom in.
| | 01:03 | Now when I zoom in, that same brush
is always set in just about the perfect
| | 01:06 | size, I'll go ahead and decrease it a
little bit more. So keep that in mind, if
| | 01:10 | your brush size isn't good enough,
just change your zoom rate and all of a
| | 01:13 | sudden your brush will fit
or not fit for that matter.
| | 01:16 | Okay, now feathering, we want a good
amount of feathering here. So, we will go
| | 01:19 | ahead and just increase that. Now, we
can't see the feathering because our
| | 01:23 | brush has gotten so small but that's
okay, actually maybe, I should increase
| | 01:26 | that just so you can see what I'm doing
and my brush size is just a touch there.
| | 01:30 | Okay great, because the feather in
the under and outline brush are now so
| | 01:34 | small, the circles are unable to be
shown but that's about the size of the
| | 01:38 | reach of the feather, perfect.
| | 01:40 | Now for the flow amount I want to
bring this way down. I want to slowly build
| | 01:43 | the sub density. I want to be able to
build this up to a pretty high amount. So
| | 01:47 | I'm going to increase that and then
control the way I'm using this with a low
| | 01:50 | flow amount.
| | 01:51 | All right, well, next all that I'm
going to do is just start to paint around
| | 01:54 | this areas where I have some shadows.
Then I'm going to make pretty fluid
| | 01:58 | brush strokes, I'm going to also
try to paint in to the areas where the
| | 02:01 | shadows are little bit more pronounced.
Take my brush even smaller, I know you
| | 02:06 | can't see it now, but this will
help us see what we are doing here.
| | 02:10 | And I'm going to go ahead and slowly
build that up, a little bit larger brush
| | 02:15 | there, that shadow up there, the other
eye as well. So I'm going to bring in
| | 02:20 | little bit of light here with a
smaller brush, and I'm changing my brush size
| | 02:23 | by pressing the bracket key. I want to
get into those little wrinkles there a
| | 02:26 | little bit, a little bit of larger
brush to do, some more global work and I'm
| | 02:31 | just looking to brighten up the eyes a bit.
| | 02:33 | Now you may be thinking okay, Chris
this is really nice, but your image doesn't
| | 02:38 | look very good at this juncture. Well,
I know that. Remember, keep in mind that
| | 02:41 | I applied a little bit too much. Let's
lower the flow even more and work just a
| | 02:46 | touch on the eyelid there. A little bit
of a smaller brush by pressing the left
| | 02:50 | bracket key, and just make our way
through this file. Little by little, we are
| | 02:53 | just going to slowly build this up
changing our brush size with those
| | 02:56 | shortcuts, we learned in the previous
movie. And then, try to make this connect
| | 03:01 | into the rest of the tone of the image.
So I'm going to go ahead and brighten
| | 03:03 | a few other areas.
| | 03:05 | Now I'm going to make a couple of
mistakes here. I'm going to make a couple
| | 03:08 | of mistakes; one just because I'm
zoomed in and two because it will help you
| | 03:13 | see how you can correct those mistakes.
Okay, well it doesn't look better,
| | 03:17 | right? It definitely doesn't look
better than it looked originally. Let's look
| | 03:21 | at our before and after. We can press
the P key or you can click on the Preview
| | 03:25 | before and after.
| | 03:27 | Well, it looks a little bit too kind of
raccoon eyes for me. Well, no problem,
| | 03:31 | all I need to do is erase some of
these. So I'll click on the Erase option.
| | 03:35 | Here I have a high feather, pretty
large brush, too large, so I'll press the
| | 03:38 | left bracket key to decrease the size
there. My flow amount, I want that really
| | 03:43 | low. So I'm just going to go ahead
and kind of approach the edges there a
| | 03:46 | little bit, slowly removing some of
these from the transition points, little
| | 03:51 | bit on the upper part of the eye there as well.
| | 03:54 | All right, I'm just kind of doing a
little bit of give and take here. Okay, so
| | 03:57 | far so good, I'll go back to the Add
button. Now I want to evaluate this before
| | 04:01 | and after. Press the P key. Here is my
before, here is my after. That's looking
| | 04:05 | nice but now what I need to do is
lower my Exposure. Now I can lower this so
| | 04:09 | that it looks negative, right? There
is where it was. That doesn't look good.
| | 04:12 | But I want to take it back to
zero, then slowly bring this up.
| | 04:15 | I'm just looking to add a little bit
of white. Here's my before and after
| | 04:19 | trying to find that sweet spot, let's
zoom out. Double-click the hand tool, so
| | 04:23 | it's Fit In View. Press the K key to
reactivate that tool and then press the P
| | 04:27 | key, so I can see my before and after.
Zoom in a touch here, Command+Plus on a
| | 04:31 | Mac, Ctrl+Plus on a PC. And look at my
before and after, and I say, you know
| | 04:36 | what, I think that looks pretty good.
That's about the sweet spot. At least
| | 04:40 | that's what I'm seeing on my screen.
| | 04:41 | I'm going to increase it, just a
little bit more than I'm comfortable with
| | 04:45 | and I'm going to do that so you see
the difference. Here is the before and
| | 04:48 | after. Now I'll zoom in even further, my P
key shows me the before and then the after.
| | 04:53 | It's a pretty soft, a pretty subtle
adjustment but it definitely improves the
| | 04:57 | overall light in the image and
keep in mind that it's completely
| | 05:01 | nondestructive. All right, well, we
have more to learn in regards to Adjustment
| | 05:05 | Brush, and we will do
that in the next few movies.
| | Collapse this transcript |
| Increasing visual interest by brightening shadows| 00:00 | In this movie, we will continue our
progress with brightening shadows, and we
| | 00:04 | are going to work on this corwig_balie.
We are going to be doing some similar
| | 00:07 | things, but we may pick up a thing or two
in addition to what we have learned already.
| | 00:12 | Let's select this file corwig_balie.
Press Command+R on a Mac, Ctrl+R on a PC
| | 00:16 | to open it up inside of Photoshop.
Here we have this fun photograph of one of
| | 00:21 | our good friend's daughter. This is
Balie. And what I want to do is increase
| | 00:24 | the warmth of this image. So I'm going
to go ahead and brighten that up just a
| | 00:27 | bit. I'll go ahead and
increase the Exposure a touch.
| | 00:30 | Now when I do that I say, you know, the
photos are looking better. Press the P
| | 00:33 | key; here is my before and then after,
yet, again I notice there is a little
| | 00:37 | bit of those dark circles around the
eye. Now this time it's not happening
| | 00:40 | because it was shot in an overcast day.
It's just happening the way that the
| | 00:43 | light was falling and what not. I just
want to improve the portrait a little
| | 00:46 | bit by brightening it up this area of the eye.
| | 00:48 | So I'll double-click the Zoom tool to
zoom in. Press the K key to select the
| | 00:51 | Adjustment Brush. Now we are going to
increase our Exposure a little bit here.
| | 00:55 | We want a real nice small brush, a
good amount of feathering. Flow, we want a
| | 00:59 | real low flow, and density,
I'm going to bring down as well.
| | 01:02 | Then I'm going to go ahead and make
my brush even smaller. We are going to
| | 01:05 | lose sight of it here in a second, but
we will see those cross here, as we see
| | 01:09 | that it's a nice small size too. I'm
just going to look to begin to paint
| | 01:13 | through this area of the image, slowly
brightening those shadows up, make the
| | 01:17 | brush a little bit bigger there, a kind
of equalize the brightening effect. We
| | 01:22 | are going to this side of the face as
well. All right, so far so good. Press
| | 01:27 | the P key; here is our before and then
after. It's a pretty subtle improvement.
| | 01:32 | I just want to illustrate that
sometimes your improvements will be quite
| | 01:35 | subtle. All right, well so far, we
haven't talk about how do we actually see
| | 01:39 | what we have modified, and what happens
if we want to create another adjustment?
| | 01:43 | Well, if you hover over the pane, you
will see that you have this highlight.
| | 01:46 | Here I can see that my brightening
spilled over into the eye a little bit. I
| | 01:51 | can't actually see that because the
whites are little difficult to see.
| | 01:53 | So I'm going to go ahead and click on
Show Mask, and I'm going to change my
| | 01:57 | mask color. In this case, I'm going
the change the color to something that
| | 02:00 | perhaps I can see a little bit better
like green. Okay, well now that I see
| | 02:04 | that, I can turn that off or just hover
over it to see it, or turn it on, and I
| | 02:08 | can edit with that on.
| | 02:10 | So let's zoom in, Command+Plus on a Mac,
Ctrl+Plus on a PC. Now we talked about
| | 02:14 | erasing by clicking on the Erase
option or we can also erase by holding down
| | 02:19 | the Option key on a Mac, Alt key on a PC,
and then, simply click and begin to pane away.
| | 02:24 | Now in this case, because my flow is
pretty low, I'm not seeing much of an
| | 02:27 | erasing effect, although it's slowly
pulling that out. If I want more of an
| | 02:31 | erasing effect, increase the flow
there, and then, here we can see that I'm
| | 02:35 | erasing much more of that around that
inner portion of the eye, and then on
| | 02:39 | this eye as well.
| | 02:40 | Okay just a nice way to sweeten that
up. Now to turn that mask off, I'll go
| | 02:44 | ahead and click Show Mask so that
that's off. Here is my before and then, here
| | 02:48 | is my after. Okay, great. Now the
next thing that I want to do is zoom out.
| | 02:52 | Command+Minus on a Mac, Ctrl+Minus on a PC.
| | 02:54 | Now I want to create another adjustment.
So I'll click on the New option, so
| | 02:59 | now I have the ability to add a new
adjustment. In this case, all that I'm
| | 03:02 | interested in doing is brightening up
the hair a little bit. So I'll change the
| | 03:05 | brush size by pressing the right
bracket key, increase my flow amount a little
| | 03:08 | bit, and I'm just going to go ahead and
paint over the blonde hair. That was a
| | 03:12 | mistake right there. Press Command+G
on a Mac, Ctrl+G on a PC, and that will
| | 03:16 | undo what you have done.
| | 03:18 | Again, I'm just looking to brighten
up the hair a little bit. I want to add
| | 03:21 | just a touch of visual interest to the
image here, and just make my way through
| | 03:26 | the hair here. And then, well, I'm
doing that I might as well do that to the
| | 03:29 | leaves as well. So I'm going to have
little bit of fun here, brightening up
| | 03:33 | some of the colors and the tones
right around the face, a little bit bigger
| | 03:36 | brush there at some of
those leaves, and that's done.
| | 03:40 | Take a look at our overall before and
after on this particular adjustment. Here
| | 03:44 | is my before and then here is my
after, and we are seeing that with that
| | 03:48 | adjustment in addition to
the eyes adjustment as well.
| | 03:52 | Let's zoom out so we can really see
what's happening. Here is our overall
| | 03:55 | before and after with that added
adjustment and then with the adjustment that
| | 03:59 | we made. So one of the things that you
can see is, you can begin to do a number
| | 04:02 | of different things on one image.
| | 04:04 | If you ever want to go back to an
adjustment that you have already made, all
| | 04:07 | you need to do click on that pane to
activate it. You will now see that it has
| | 04:11 | a circle on it showing me that pane is active.
| | 04:14 | A lot of times, when you are
working on your images, those panes are
| | 04:17 | distracting; you remember the shortcut
for that one, right. You press the V key
| | 04:21 | to toggle the visibility of those panes.
That turns that visibility on and off.
| | 04:26 | All right, let's zoom in for our final
before and after. We press the V key to
| | 04:30 | hide the panes because we have to do
that, for we are going to evaluate the
| | 04:33 | image. And then, here is
our before and then our after.
| | Collapse this transcript |
| Whitening teeth| 00:00 | In this movie we are going to learn
some more things about the Adjustment Brush
| | 00:03 | of course, in an addition we are going
to learn how we can whiten teeth with
| | 00:07 | this amazing tool. We are working in
this file michael_costa_photography.jpg.
| | 00:11 | Michael is a good friend of mine and
amazing wedding photographer. Thanks a ton
| | 00:15 | Michael for the use of this image.
| | 00:17 | Let's press Command+R on the Mac, Ctrl+
R on a PC to open this one up inside of
| | 00:22 | Camera Raw. Let's press the K key to
select the Adjustment Brush and what I'm
| | 00:26 | going to do here is I first want to
illustrate how one of our tools actually
| | 00:29 | works. You noticed that we have this
interesting color garment here, this teal
| | 00:33 | color and what I want to do
is I want to brighten that.
| | 00:36 | So I'm going to go ahead and increase
the Exposure drastically. Now I'm doing
| | 00:40 | this to illustrate how the tool works.
Now when I have that real high Exposure
| | 00:44 | amount I'll make my brush size a
little bit bigger there as well and maybe
| | 00:48 | something like that and I go ahead and
paint across that. It's almost like it
| | 00:52 | just painting based on the brush size,
right and the adjustment is everywhere.
| | 00:56 | So let's undo that, delete that and
then turn on Auto Mask. Now what's Auto
| | 01:00 | Mask about. I'm going to make the
same adjustment and I'm making sure that
| | 01:04 | those crosshairs just covers that
garment and this time it's limiting the
| | 01:08 | adjustment to that area. So in this
case I could darken and I could change its
| | 01:11 | color, its contrast and sharpness, etcetera.
| | 01:14 | So Auto Mask limits our adjustment to a
specific area. Really interesting. All
| | 01:19 | right, well what we want to do is
turn Auto Mask on. Now there are two
| | 01:23 | shortcuts that I need to teach you.
As we start to use Auto Mask and as we
| | 01:27 | start to need to see our mask. The M
key will toggle the Auto Mask on and off.
| | 01:33 | The Y key will toggle the Show Mask on and off.
| | 01:37 | So let's go ahead and turn on our Mask,
turn on Auto Mask so we have both of
| | 01:41 | those on. Let's zoom in on the teeth
just a little bit here and now that we are
| | 01:45 | zoomed in, let's make our brush smaller.
So we will make the brush smaller by
| | 01:49 | pressing the Left Bracket key. Again,
those shortcuts to turn Auto Mask on.
| | 01:53 | That's M for Auto Mask, Y to show the mask.
| | 01:56 | All right, well now that we have this
increased Exposure, what we want to do is
| | 02:00 | begin to brighten or whiten the teeth.
Keep in mind that what I'm going to do
| | 02:03 | here is to illustrate how the tool
works and then later make this look good.
| | 02:06 | So I have a nice high Exposure
amount and then go ahead and make sure the
| | 02:09 | crosshair stay over those teeth. Now
in this case my teeth are turning green.
| | 02:15 | Why are they turning green? Well, they
are turning green because I have that
| | 02:18 | Show Mask color on. Now if that's a
little distracting for you how do you turn
| | 02:22 | that off. Well you remember that,
right it's the Y key. So I can go ahead and
| | 02:25 | turn that off with the Y key.
| | 02:27 | In this case, now I'm just seeing the
brightening affect. Now this brightening
| | 02:30 | effect is too strong. I'm aware of that.
It's a way too strong, yet I want to
| | 02:35 | at least begin to show you how that
works and I want to have that high amount.
| | 02:40 | So we can see our edges, we can
determine if we are going in a good direction
| | 02:43 | and I'm just slowly making my way
around here, being really careful that those
| | 02:47 | crosshairs are just covering the teeth.
Press the Y again and you will see that
| | 02:51 | color overlay.
| | 02:52 | Now if that color overlay doesn't work
for you. You know that you can choose a
| | 02:55 | different color overlay. So I can
choose wide range of colors, but in my
| | 02:59 | opinion neon green for some reason or
real bright blue, sometimes helps me see
| | 03:03 | those edges pretty well. I'm going to
go back to that green because I think,
| | 03:07 | especially on those teeth, that looks
good. Okay I'll press the Y key to undo
| | 03:10 | that. Then we are going go ahead and
lower our Exposure because we don't want
| | 03:14 | just brighten the teeth with
increasing the exposure, but we do want to do is
| | 03:18 | change their color.
| | 03:19 | So in order to change their color we
are going to do a couple of things here.
| | 03:22 | We are going to desaturate just a
little bit and we are also going to put some
| | 03:27 | color on top of them. So we will
click on this color swatch here and choose
| | 03:30 | white and then go ahead and click OK.
Maybe I'm going to choose white right
| | 03:36 | underneath this yellow and just bring
in a little tiny bit of hue there. Okay,
| | 03:40 | so far so good. Then I'm going to
brighten the teeth just a touch here.
| | 03:44 | Now keep in mind that my intent isn't
to have the teeth go completely white,
| | 03:48 | I'm just looking for a sweet spot to
try to bring these teeth to. Now let's
| | 03:53 | look at our before and after. Press
the P key. Here is my before, here is my
| | 03:57 | after and let's zoom out a little bit.
Command+Minus on the Mac, Ctrl+Minus on
| | 04:01 | a PC. Do you remember the shortcut
to hide that pin, that pin that's
| | 04:05 | distracting me? Well, it's the V key
so that pin is now gone. The V key is
| | 04:10 | toggles or hides your pins.
| | 04:11 | All right, now here is my before and
there is my after. All right, well so far
| | 04:16 | so good. Those teeth I think are
looking really nice. I want to add a little
| | 04:19 | bit of shape to these teeth. So
I'm going to add a touch of Contrast
| | 04:22 | especially because I brighten them and
a little bit of clarity, so I have some
| | 04:26 | texture there and then maybe just
lower the overall Exposure a bit there. I'm
| | 04:30 | just going to see if I could find a nice spot.
I don't want the teeth to look unnatural.
| | 04:34 | So I'm trying to be careful to not
have them look unnatural. Again, my before
| | 04:39 | and then after and I can modify this
continually. This is nondestructive and
| | 04:44 | right now I'm obviously just trying to
find that sweet spot where those teeth
| | 04:47 | look pretty nice and I think that's the spot.
| | 04:49 | We will zoom in on those teeth so you
can actually see what I'm doing. Here is
| | 04:52 | my before and then there is my after.
We are able to quickly correct an area of
| | 04:58 | our image locally because now we know
how to use that Auto Mask and we are
| | 05:03 | really are starting to learn how to
use this tool, the Adjustment Brush.
| | Collapse this transcript |
| Enhancing makeup by adding color| 00:00 | In the previous movie, we looked at how
we could whiten teeth. Essentially what
| | 00:03 | we were doing was removing color. What
about adding color in order to enhance
| | 00:07 | something like makeup? Well that's
what we are going to do in this movie.
| | 00:10 | We will be working on the file kevin_
thomas_photography. This was provided to
| | 00:14 | us by Kevin Thomas, a great
photographer. Kevin thanks a ton for the use of
| | 00:18 | this file. We will go ahead and select
it and you can find it in the Chapter 11
| | 00:22 | folder and then press Command
+R on a Mac, Ctrl+R on a PC.
| | 00:26 | All right, well here we have this
beautiful photograph and what I want to do is
| | 00:30 | make this perhaps, even just a little
bit more interesting. I'm going to do
| | 00:34 | that with the Adjustment Brush. So
I'll press the K key to select the
| | 00:37 | Adjustment Brush. Now the particular
settings that I have on the Adjustment
| | 00:40 | Brush are kind of all over the map
right. So I want to reset this. I want to
| | 00:44 | bring this back to normal.
| | 00:45 | So I'm going to do that by double
clicking on the triangles here. That's one
| | 00:49 | way that we can use in order to take
all of our settings back to normal. My
| | 00:52 | Feather I'm going to bring down, Flow,
I'm going to bring down because I know
| | 00:55 | a lot less of that. Density I can leave up
pretty high. All right, well so far so good.
| | 01:01 | Now, what I want to do here is I want
to extenuate the color little bit on the
| | 01:04 | cheeks. I'm going to add some hue to
the lips. Also I want to work on the
| | 01:07 | color right here above the eyebrows. So,
I'm going to go ahead and navigate to
| | 01:11 | my Color Picker and in my Color Picker
what I'm interested in doing is finding
| | 01:15 | that color that's pretty similar to
some of the colors I'm seeing in the
| | 01:18 | image. So I'm going to choose well
nice a bright pink there. I think that
| | 01:22 | looks pretty good, click OK.
| | 01:24 | Now if this color doesn't work and it
doesn't look good I can always change it
| | 01:27 | later. Now I have my brush here. I'll
go ahead and increase the size a little
| | 01:31 | bit. I want to have pretty big brush.
My Feather amounts, I'm going to
| | 01:34 | actually increase that Feather
amounts significantly. I want a pretty
| | 01:37 | significant Feather amount here
with this brush. Okay that looks nice.
| | 01:41 | Now the Flow, I need to take down even
further. So I'm going to lower my Flow
| | 01:44 | quite a bit. You can go ahead and
just paint across the cheek here and I'm
| | 01:48 | just looking to kind of build up a
little bit of this makeup color or add a
| | 01:52 | little bit of makeup color here. And
I'll go ahead and paint across that side
| | 01:55 | and then over here on this side as well.
Again, just some back and forth brush
| | 01:58 | strokes and then if we want to
increase that even more, perhaps increase our
| | 02:02 | Flow a little bit there and just looking to
add a little bit of hue on to those cheeks.
| | 02:07 | Now the nice things about this is it
is nondestructive. Let's look at our
| | 02:10 | before and after. Here is before and
after and zoom in, so we can see that
| | 02:13 | before and after. A lot of times when
you add something like this, you may want
| | 02:18 | to change it and maybe it's a little
bit too intense or perhaps you want make
| | 02:21 | it more intense, or you want to
change its color. Well you can click on the
| | 02:25 | Colors Picker and this will then open
up the color swatch here and I can choose
| | 02:28 | a new color.
| | 02:29 | So I'll go ahead and choose a new color,
maybe a deeper red, or I can go to a
| | 02:32 | different Hue for that matter. And in
this case with this particular image,
| | 02:36 | that's not going to look good at all,
right? So I want to have a nice bright
| | 02:38 | color there and I'll go with the
color like we have before or if I want a
| | 02:42 | little bit more subtle color, just
some subtle hue there, have a color with a
| | 02:46 | little bit less Saturation. Again my
before and after. Here is before and
| | 02:51 | then after.
| | 02:52 | Let's then work on the lips. So we
want to create a new adjustment. We will
| | 02:55 | click New and we are going to choose a
new color and here I'm going to choose
| | 02:58 | a nice bright red, a big bold red. I'm
going to turn Auto Mask on. Make sure I
| | 03:03 | have that on, because I'm just going
to work on the lips here and here what
| | 03:06 | I'm going to do is paint across the
lips but a pretty low flow, so I can
| | 03:10 | slowly build this up. And I'm just
looking to see if this hue change will be
| | 03:16 | good for these lips.
| | 03:17 | Now a lot of times when you use a low
Flow you are not going to actually really
| | 03:21 | think hey, am I making an adjustment or
you are not going to notice it per say.
| | 03:25 | It's pretty subtle. Let's look at
before and after on the lips. So here is my
| | 03:28 | before and after, pretty subtle. Now
because this movie is small, I'm going to
| | 03:32 | go ahead and increase my Flow quite a
bit there and then go ahead and paint
| | 03:35 | across those lips. I'm going to crank
this up, so we can actually see what's
| | 03:39 | happening. I'll make my brush even
smaller here, so I can really get into this
| | 03:43 | portion of the image.
| | 03:45 | Now I'm not really sure if my mask is
any good. So we need to revisit that
| | 03:50 | masking shortcut that we have used
before and that shortcut is what. What's
| | 03:55 | that one it's the Y key. That Y key
will show us how we are doing. Now in my
| | 03:59 | case it's showing me that I'm spilling over
underneath the lips. I was afraid of that.
| | 04:03 | So I'll hold down the Option key on
a Mac, Alt key on a PC. With that key
| | 04:07 | pressed down I'm going to go ahead and
decrease my brush size there a little
| | 04:11 | bit and then I'm just looking to
remove the color shift underneath the lips
| | 04:16 | there. I'm going to little bit too
far in that one. No big deal. Let go of
| | 04:19 | that key and then I'll bring some of
that color back on to those lips there.
| | 04:23 | Okay good. Press the Y key to turn that
off and then look at our overall before
| | 04:27 | and after.
| | 04:29 | Now another thing that we can do to
the lips here is we can actually decrease
| | 04:32 | the overall Exposure to darken those
lips up a little bit and we want to little
| | 04:36 | bit of more of red there. Increase the
Contrast. I had noticed my Brightness
| | 04:40 | was high, so I can lower that as well.
I'm really ratcheting the effect up
| | 04:44 | Now again that may be too intense for
you but at least I'm trying to create a
| | 04:47 | visual so you can see what I'm doing.
At this juncture, if I want to change
| | 04:51 | the color, go back to that Color Picker
and I can decrease the Saturation. So I
| | 04:55 | have much less of an effect or I can
change the overall Hue there. Choose a
| | 04:59 | little bit of softer color.
| | 05:01 | Now of course, the Exposure will
effect how that color blends into those lips
| | 05:06 | and the overall Brightness will as well.
One of things that you may notice is
| | 05:10 | that there are a few little gaps here
and if you find some gaps you may want to
| | 05:13 | turn off Auto Mask. Press the M key to
turn that off and then just get in there
| | 05:17 | and get to those little gaps that you
weren't able to pick up because Auto Mask
| | 05:21 | was limiting your adjustment to those areas.
| | 05:24 | In my case, it was the corners of the
lips and then I just want to go around
| | 05:27 | the edges a little bit as well because
lips edges aren't that defined and Auto
| | 05:33 | Mask is making them a little bit too
defined for me. So in this case I can
| | 05:36 | soften that up a little bit and I can
look at my overall before and after.
| | 05:40 | Again, a little bit too intense for me,
so I'm going to go ahead and decrease
| | 05:44 | some of these amounts. I'll take the
sliders back to their normal settings and
| | 05:48 | then here is my before and after that's
much more interesting. It's pretty subtle.
| | 05:51 | I'll zoom in so you can see it
because it is subtle and hopefully you are
| | 05:54 | seeing a small shift there. If you are
not, well you are just going to have to
| | 05:57 | trust me or for that matter I can
darken enough for you by changing the
| | 06:01 | Exposure and there we can see it's
really dramatic and everything but I'm not
| | 06:05 | interested in drama. I'm
interested in something that's subtle, yet
| | 06:08 | significant.
| | 06:09 | Okay, let's click on the new icon.
Command+Plus on the Mac, Ctrl+Plus on a PC
| | 06:14 | to zoom in. Now we are going to choose
another color. We will choose a purple
| | 06:17 | here and now I want to add some color
to this area above the eyes. I want to
| | 06:20 | extend that makeup a little bit. I
have the Adjustment Brush selected. I want
| | 06:25 | to turn Auto Mask off in this case and
I'm going to go ahead and paint with a
| | 06:28 | low Flow amount, low there and make my brush a
little bit bigger. So I can see what I'm doing.
| | 06:34 | I'm Just going to go ahead and paint
across this area of the eye and what I'm
| | 06:38 | doing here is just bringing in a
little bit more hue to this makeup, making
| | 06:43 | this a little bit more visually
interesting and I'm going to paint that even
| | 06:49 | on to this new area of skin up here or
to broaden the reach of that makeup and
| | 06:55 | so what I'm doing in this image is
kind of interesting. Not only am I adding
| | 06:58 | color but I'm trying to work with
the colors that I have there. I can of
| | 07:02 | course change color. We will be talking
about that later but I want to kind of
| | 07:06 | work with the colors that I have.
Increase my Flow amount a little bit and go
| | 07:10 | ahead and choose color purple. That's a
little bit darker perhaps in this case,
| | 07:15 | so I can get up into that area and now
let's look at the overall before and after.
| | 07:19 | We can see we have change on the
cheek and the lips and the eyes. Again our
| | 07:22 | before and after. Double click the
Hand tool, so we can zoom out fit in view
| | 07:27 | and here is our overall before.
Actually we can't see the before, can we?
| | 07:30 | Because I exit it out of the Adjustment
Brush. So press the K key to go back to
| | 07:34 | the Adjustment Brush. Now we can see
our overall before and then our after. Now
| | 07:39 | with this particular image I feel like
I push the color a little bit far but I
| | 07:44 | did that because I know these movies
get small and it's kind of tricky to see
| | 07:47 | what I'm actually doing.
| | 07:49 | If I were actually going to be
finalizing this image I would bring back all the
| | 07:54 | colors, especially the eye makeup. I
don't think I need to bring in that much
| | 07:57 | color, I think that's a little bit
too exaggerated. So in that case what I
| | 08:01 | might do is go back up there to that
adjustment and then just desaturate that a
| | 08:05 | little bit to remove some of the
color that was underneath that and then go
| | 08:08 | back to that color swatch have a
little bit more of a muted colors so it's a
| | 08:12 | little bit pull back.
| | 08:13 | I'm going to go down to lips and on
the lips I'm going to again pull a color
| | 08:16 | down a little bit, little bit less hue
in there click OK and then on the cheeks
| | 08:21 | as well. I'll do the same thing.
I'll target that and I'll bring that
| | 08:24 | Saturation down so there is a little
bit less hue and now I have my before and
| | 08:28 | after. Yet I'm guessing that's kind of
tricky to see. Here is our before, hide
| | 08:32 | those pins by pressing the V key and
then finally here is our after. Subtle yet
| | 08:36 | significant color enhancements to this image.
| | 08:39 | One final note here is that you may be
thinking okay Chris that's nice, but I
| | 08:43 | don't work with the fashion models. I'm
not going to work with makeup. Keep in
| | 08:46 | mind that this technique transcends
makeup. What we were looking at here how we
| | 08:51 | can add or enhance color. You can apply
this technique to a wide range of your photographs.
| | Collapse this transcript |
| Changing color and darkening the sky| 00:00 | Now that we know a little bit about
how to add color to an image, what about
| | 00:03 | changing color? We're going to talk
about that; in addition, we're going to
| | 00:07 | talk about how to darken the sky
with this particular file. It's titled
| | 00:10 | corwig_boat. Go ahead and double-click
it to open it up inside of Camera Raw.
| | 00:15 | All right. Well, here we have this
interesting boat with these nice, vivid
| | 00:19 | colors. One of the things that I want
to do here is, I want to change the color
| | 00:22 | of the boat. I want to change that
orange to another color. Let's say I want to
| | 00:26 | make it red. I'll go ahead and grab the
Adjustment Brush by pressing the K key.
| | 00:30 | Now that I have this tool, I'm going
to go ahead and zero out my Brightness
| | 00:33 | value here. I'm going to take my color,
I'm going to choose a nice, bright and
| | 00:37 | deep red, click OK, let's go ahead and
turn Auto Mask on. Let's do that by way
| | 00:42 | of shortcut. Press the M
key to turn Auto Mask on.
| | 00:46 | Now, we can have a pretty high Flow
amount, because we want to make pretty
| | 00:49 | strong adjustment. Now our Feathering,
we're going to have that relatively low
| | 00:52 | and our brush Size, we're going to
need to have a brush that's a little bit
| | 00:55 | bigger. All right. Well, that looks
pretty good. Let's go ahead and position
| | 00:58 | our cursor over this boat and then
begin to click-and-drag to add this color to
| | 01:03 | the boat. So I'm going to go ahead and
click-and-drag around the entirety of
| | 01:07 | this particular boat here.
| | 01:10 | As I do that, I can see that I'm
making some good progress. I'm seeing a new
| | 01:14 | color in this area. We'll talk about a
couple of other tricks. So just keep in
| | 01:19 | mind that we have more to do than
just paint around the image. But, this is
| | 01:23 | getting us pretty good place, so I'll
go ahead and move to the back there and I
| | 01:29 | want to turn on my Mask to see
if I'm going in a good direction.
| | 01:32 | I can turn on that Mask by pressing
the Y key. Now that Y key, which shows me
| | 01:37 | this green overlay mask, shows me I
have a few areas that are problematic. I
| | 01:41 | need to turn off Auto Mask. So I'll
either click on that checkbox or press the
| | 01:45 | M key. Make my brush much smaller and
zoom into the boat for a second and here
| | 01:50 | we can see that there are these small
patches, these areas that I didn't quite get.
| | 01:53 | Well, with Auto Mask off, I can
definitely get those and there is no need or no
| | 01:58 | worry that I'm going to get something
else, because by brush is a little bigger
| | 02:01 | so you can see it. Because there
aren't any edges that I'm approaching. So in
| | 02:05 | this case, I'm just looking to get the
little, small details that I missed. Now
| | 02:08 | we'll talk about some of our edge
details in a second, but I just want to go
| | 02:12 | ahead and seal the deal, so to
speak, with these little spots.
| | 02:17 | Now down here you notice that I have
a little bit of an edge area that I
| | 02:20 | missed. So I'm going to go ahead and
just begin to approach that edge. Now as I
| | 02:24 | do that, I notice I painted a little
too far. I'll go ahead and add some down
| | 02:28 | there. So hold down the Option key on a
Mac, Alt key on a PC and I'm just going
| | 02:32 | to slowly erase that, so I'm going to
look to go back and forth to find a sweet
| | 02:37 | spot where I have some nice edge detail,
erase some of that and then go back
| | 02:42 | and bring some of it back in.
| | 02:44 | It's going to be quite a bit of a
give and take game going back and forth,
| | 02:49 | maybe reduce my Feather in here,
because I want a little bit of a harder edge.
| | 02:52 | Hold down the Option key and reduce
the Feathering. That's what I want to do.
| | 02:57 | Let's go ahead and move over
here to this portion of the boat.
| | 02:59 | Now these edges need a little bit more
color in them. So approach those edges
| | 03:04 | with a smaller brush, zoom in on them.
Here we can see we have some color that
| | 03:08 | we need to bring in. I want some
Feathering on this one so that it slowly
| | 03:14 | transitions out to those edges. I'm
just going to go ahead and spill a little
| | 03:19 | bit of color over into that edge.
| | 03:21 | Now this case, it's going to be better
to have a little bit more color rather
| | 03:24 | than a little bit less, so I could go
around and do some edge work. Now is this
| | 03:28 | edge work actually essential, well not
necessarily, it may not show up. But if
| | 03:34 | you really want to change the color of
something and you really want to make it
| | 03:36 | good, you're going to probably have to
zoom in and work on these edges as I'm
| | 03:40 | doing here. Go back and forth and
when you make a mistake, just erase what
| | 03:44 | you've done and slowly build up that
edge. There is no way to refine this edge
| | 03:48 | as there is inside of Photoshop, yet
for now you can kind of see how I would
| | 03:53 | tackle that.
| | 03:54 | Now I would increase the Feathering
even more for images or for edges where I
| | 03:58 | want a little bit more transition, I
just want to create just to subtle soft,
| | 04:02 | little edge on that one. Okay, well,
here we can see I have decent edges, now
| | 04:06 | let's turn that mask off. We can do
that by pressing the Y key. So now we can
| | 04:10 | just see the color change and then
let's double-click the Hand tool so we can
| | 04:13 | zoom out and see how we're doing.
| | 04:15 | We'll select the Adjustment Brush by
pressing the K key and then look at our
| | 04:18 | before and after. Okay, great! That
color looks pretty good! Let's go ahead and
| | 04:23 | click on our color swatch and I'm
going to choose a different color. In this
| | 04:26 | case, I'm going to choose, how
about green. I'll go ahead and click OK.
| | 04:30 | When I chose that green color, actually
didn't have my pin active. So I need to
| | 04:33 | activate my pin and then choose a
green color and then click OK. All right,
| | 04:37 | well, now that I'm adding green on top
of this particular color, we can see our
| | 04:42 | before and after. It's not really
changing, it's changing the type of orange we
| | 04:47 | have, but it's not adding green
into this image. Now why is that?
| | 04:51 | Well, because that green is blending in
with the underlying color. Now the red
| | 04:55 | worked well, because of blending of
those two colors looked kind of nice. So
| | 04:59 | what you want to do when you need
to change colors, actually lower your
| | 05:02 | Saturation. So if I remove all the
saturation and so now the Saturation is gone
| | 05:07 | on those areas and then add a color on
top of it, I can really bring that color in.
| | 05:12 | Now I can of course, bring in other
colors like a red. Now in this case, my red
| | 05:16 | when we see that it looks a little
bit peachy, it looks a little bit pink,
| | 05:19 | right, it doesn't look very good. Well,
if I need a stronger color, I can go
| | 05:23 | ahead and increase the Contrast and
modifying my Exposure and I can get a
| | 05:28 | little bit deeper color
and I can go even further.
| | 05:30 | Now as I do that, I'm going to start to
notice some edges where I need a little
| | 05:34 | bit of work, like down here I need a
little bit of work around this edge. But
| | 05:37 | those edges that I did work on upfront,
they do look pretty good. Again, I can
| | 05:41 | keep modifying this and that will
change the overall intensity of that
| | 05:45 | particular color because we know
that contrast and color go hand in hand.
| | 05:49 | Well, let's bring back some of the
Saturation because we do want a nice, deep
| | 05:53 | red. Now with a little bit of
Saturation, in addition to some Exposure
| | 05:58 | modification and a little bit of
Contrast modification, we now have a pretty
| | 06:02 | interesting color here. Here is our
before and then after. One of the things
| | 06:06 | that we did with this particular file
is we realize that you know what the
| | 06:09 | orange was a little bit
overexposed to as too bright.
| | 06:13 | Okay, well that's kind of interesting
and I can then use that to my advantage.
| | 06:16 | Let's say we take all of our sliders
back to the default settings and we take
| | 06:20 | this color off, by clicking on this
color swatch and choosing white. That means
| | 06:24 | no color adjustment. Maybe what I
actually need to do to this is just lower the
| | 06:28 | Exposure a bit, increase a bit of the
Contrast, little bit of the Brightness,
| | 06:33 | just add a little bit more of a snap to
that area. Here's my before and here's
| | 06:37 | my after, a little bit more of a definition.
| | 06:40 | Now that I've added that definition, I
can then decide okay, what do I want to
| | 06:44 | do with this color? I want to change
the color, I realize there are certain
| | 06:47 | limitations with changing color, in
this case, I'm going to go to that red, as
| | 06:51 | we've already seen how that looks.
That looks pretty good! I'll go ahead and
| | 06:54 | add some of that red on top of that.
Then I'm going to desaturate the
| | 06:57 | underlying color so that I can find a
nice mix of those two colors. I'm just
| | 07:02 | looking to find a spot that I think looks
pretty good and looks kind of realistic.
| | 07:07 | Of course, keep in mind that we can
continually modify this mask and we can
| | 07:11 | make all sorts of different types of
adjustments to this area that we've
| | 07:15 | selected. Now we've been able to
select this because of Auto Mask.
| | 07:19 | All right. Well, there is one more
thing that I want to do with this particular
| | 07:22 | image. I'm going to go ahead and click
New here. I'm going to grab by brush,
| | 07:25 | press the right bracket key, I
want a really big brush here. What I'm
| | 07:29 | interested in doing is darkening the
sky a little bit. So I'll go ahead and
| | 07:32 | reset my sliders by double-clicking
the triangles to take them back to their
| | 07:36 | default settings. I have a big brush,
quite a bit of Feather, my Flow amount is high.
| | 07:40 | Now for the color, I actually want to
add a little bit of blue to this. So I'm
| | 07:44 | going to add a little bit of a blue hue
to the sky here, trying to find a blue
| | 07:47 | that looks interesting. Then lower the
Saturation just a touch and click OK.
| | 07:53 | Now turn Auto Mask on by pressing the
M key and I'll click and paint and drag
| | 07:57 | across the sky here. I can't really see
my effect just yet. So then I'll lower
| | 08:02 | the Exposure and as I lower the Exposure,
we're going to start to see that I'm
| | 08:06 | able to darken the sky.
| | 08:07 | Now the nice thing about darkening
the sky is that it is just affecting the
| | 08:11 | sky. Yet I do have a few problem areas.
So let's turn the Show Mask option on.
| | 08:16 | So we'll press the Y key. Now when I
do that, I notice that it didn't select
| | 08:20 | these white areas in the cloud. I
could paint over those, make sure the cross
| | 08:24 | here is crosshair covers them. But it
may be a little tricky to get them. So
| | 08:26 | turn off Auto Mask, press the M key,
make your brush a little bit smaller and
| | 08:31 | that way you can just fix those small areas.
| | 08:33 | Now if I do want to select any part of
the peer, I could of course paint over
| | 08:37 | that as well. What I may want to do is,
lower the Flow way down and with Auto
| | 08:42 | Mask turned off in this case, I'm just
going to go ahead and paint over these
| | 08:45 | areas so that I'm slowly, subtly
building up a little bit of a color shift and
| | 08:50 | I want it to be too strong but I do want
to add a little bit of a color shift there.
| | 08:54 | Press the Y key to turn that Show
Mask option off and now let's look at our
| | 08:59 | before and after. Here is our before
and then our after. And again, once again,
| | 09:04 | that before and after. The darkening
of the sky definitely makes for a little
| | 09:08 | bit more of a dramatic image. I'll
click on the pin to show the red there and
| | 09:12 | you know what, I just want to deepen
that tone just a little bit more so I'm
| | 09:15 | going to go ahead and make a few more
modifications there. I want a nice deep
| | 09:19 | red so I'm going to move my sliders till I
get a red that I think looks pretty good.
| | 09:23 | I need to modify my mask just a touch,
I'll turn on Auto Mask and then I'm
| | 09:28 | going to add a little bit up here,
because that orange area was bothering me
| | 09:34 | and I'm just going to fix that up
before I exit this movie. All right, that
| | 09:38 | looks nice art overall, before and
then after, the sky darkening is a little
| | 09:42 | bit too intense. I'll click on that
option, go ahead target that pin, I'll
| | 09:46 | click on that and then I'll bring my
Exposure back up just a bit and all I'm
| | 09:51 | interested in doing is just subtly
darken that sky to create a little bit of
| | 09:55 | visual interest so I'll try to find a
spot that looks good. You know what, I
| | 09:59 | think that looks pretty good!
Press the P key before and after, more
| | 10:03 | importantly than making this image look good.
| | 10:05 | We've learned a little bit about how
to work with color. We have learned more
| | 10:08 | about how to work with Auto Mask.
By seeing a couple of these different
| | 10:12 | examples, hopefully, it's beginning to
expand our vision for what's possible
| | 10:16 | with the Adjustment Brush.
| | Collapse this transcript |
| Correcting color | 00:00 | So far we have talked about how we can
remove color, how we can add color, how
| | 00:03 | we can change color. Yet how about
if we have a color problem, how can we
| | 00:08 | correct color? Well, that's what we
are going to talk about in this movie.
| | 00:11 | We will be working on a file greg_lawler_
niece. This photograph comes to us from a
| | 00:16 | good friend of mine, in fact, one of my
best friends, Greg Lawler. This guy is
| | 00:18 | an amazing photographer, really a cool
guy. Thanks a ton, Greg, for this image.
| | 00:22 | Let's press Command+R to open
this one up in a Camera Raw.
| | 00:25 | Well, now that this image is open we
see that it's a wonderful portrait of
| | 00:29 | Greg's niece. Yet one of the things
that I'm noticing is we have a little bit
| | 00:32 | of our reflected color because this
was shot at a swimming pool we can see we
| | 00:36 | have some blue reflected from something
in the environment on to the hair. Now
| | 00:40 | we want to reduce or remove that
blue color and keep in mind that this
| | 00:44 | technique can be applied to photographs
in all different types of situations.
| | 00:48 | A lot of times we have different types
of light sources, so we have different
| | 00:51 | color temperatures, we have some
strange reflected color, and we need to remove that.
| | 00:55 | Well, how can we do that?
| | 00:56 | We will press the K key to select the
Adjustment Brush and now what we are
| | 00:59 | going to do is we are going to go
ahead and de-saturate here. So we are going
| | 01:03 | to reduce our Saturation amount. We
are going to add a little bit of color on
| | 01:06 | top of this area. So we will click on
our color swatch and what we are going to
| | 01:09 | do is try to add a little bit of brown.
Now how much brown do we actually want
| | 01:13 | to add to this? Well, it's going to
really depend. So I'm just going to look
| | 01:16 | to try to find a brown that's pretty
subtle; it doesn't need to be too bright.
| | 01:19 | I also don't want it to have too much hue
in it and I can always modify this later.
| | 01:25 | So I'll go ahead and try to find
something I think will work. I'll click OK.
| | 01:28 | Now I'm going to lower my brush size
here a bit. My Feather, a relatively low.
| | 01:33 | My Flow amount, I can keep that up
pretty high because I'm going to be
| | 01:37 | painting over this area. And I'm going
to bring it in pretty quickly because
| | 01:40 | it's just a desaturation, a little bit
of a color add. So I'll go ahead and
| | 01:44 | paint across this area. Now as I paint
across that area one of the things I'm
| | 01:47 | noticing is my color that I'm adding
to this area is not looking very good at all.
| | 01:51 | Right? I didn't pick a good color
but that's no problem. I'll just paint
| | 01:55 | across the area that I need to change.
| | 01:57 | Next, I'll go to my Color Picker and I
try to lowering the overall intensity of
| | 02:00 | this or the Saturation of that color.
That might work pretty well for me. Just
| | 02:04 | add little bit of hue. I don't want
it to go completely colorless and I'll
| | 02:08 | click OK and I think that looks good.
All right, well, let's take a look at
| | 02:11 | our before and after. Press the V key
to hide the pen and then press the P key,
| | 02:15 | here is our before and then after. Now
I'll zoom in on that area of the image,
| | 02:19 | Command+Plus a few times on a Mac,
Ctrl+Plus on a PC. Here is the before and
| | 02:24 | then the after and you can see that
blue color, that reflected color, has now
| | 02:28 | been removed. Double click the Hand tool
so we can see the entirety of the image.
| | 02:32 | So next, let's go back to the
Adjustment Brush, press the K key. Now because we
| | 02:36 | have started to work with color or at
least talk about working with color,
| | 02:39 | there is one more thing that I want to
show you here. Let's open up our Color
| | 02:42 | Picker. How then do you change these
little color swatches? Let's say that you
| | 02:46 | need to work on hair and you need a
few different color browns to work with.
| | 02:49 | Well, you can select a color and then
when you hover over a color swatch, what
| | 02:54 | you are going to do is press down your
Option key on a Mac/Alt key on a PC and
| | 02:58 | then click to fill that swatch with that color.
| | 03:01 | Let's say I know I have another
color here, I need to correct that color
| | 03:04 | there and I'll go ahead and select
few different colors here; I'm just going
| | 03:09 | to choose a few. I'm going to leave my
white swatch there just for the heck of it
| | 03:12 | and there we can see I have customized that.
| | 03:15 | All right, so now when I need to
choose a new color, all I need to do is to
| | 03:18 | click on that little swatch. It will
then change the color in my Color Picker
| | 03:21 | and I can use that color when I need
to correct another area of the image. So
| | 03:26 | just keep in mind that you can, of
course, customize that color swatch based on
| | 03:30 | the task at hand.
| | Collapse this transcript |
| Reducing color for emphasis| 00:00 | So far in our conversation about color
and using the Adjustment Brush inside of
| | 00:04 | Camera Raw has been about how can we
correct or enhance or fix our image. Yet,
| | 00:09 | what if we want to just do something
that's purely creative. Well that's what
| | 00:11 | we are going to do in this movie. We
are going to talk about how we can reduce
| | 00:14 | color in order to create visual impact.
We are going to do that just for the
| | 00:18 | fun of it. Just to expand how we begin
to think about, how we can potentially
| | 00:22 | use this tool.
| | 00:23 | Well, we are working on the file corwig_
california. Double-click it open it up
| | 00:28 | in Camera Raw. Next press the K key to
select the Adjustment Brush. Now what we
| | 00:32 | are going to do here is we are going
to desaturate all the way and make our
| | 00:37 | brush nice and big. We want a real big
brush here that will look good. Zoom out
| | 00:41 | Command+Minus on a Mac, Ctrl+Minus on
a PC. I think that looks pretty nice.
| | 00:45 | Little bit smaller brush there, okay.
| | 00:47 | Next, Density is all the way up, Flow,
pretty high flow amount. We want this to
| | 00:51 | happen pretty quickly. We are
desaturating. No color, Auto Mask is on and I'm
| | 00:57 | going to go ahead and paint across the
background. Well kind of interesting,
| | 01:00 | right. I'm just removing the color
from the sky and now I have removed a
| | 01:04 | little bit of the color from that
flower in the foreground, but for the most
| | 01:07 | part, I just got the sky.
That's kind of interesting.
| | 01:09 | Well why not work on the rest of the
image. So I'll go ahead and click down
| | 01:12 | here. Then I click down here I can
get a lot of that green color out. Now I
| | 01:15 | just have some color left in some of
those flowers. I want to get rid of all
| | 01:18 | those so I'll press the M key, make my
brush a little bit smaller. I'll press
| | 01:22 | the M key to turn Auto Mask off and
now I have all those flowers gone.
| | 01:27 | All right, so now I have mostly just
that one poppy. Let's zoom in to that.
| | 01:33 | Double-click the Zoom tool. That will
then take this image to 100%. Press the
| | 01:37 | Spacebar to reposition the image. Now
when I look at this flower, I think hey,
| | 01:41 | that looks pretty good. It's all in color.
| | 01:43 | Do I have any problems here though?
Well, probably let's press the K key. Now
| | 01:47 | with the K key selected we need to
find our pin, click on that pin and then
| | 01:52 | let's turn on showing Auto Mask by
pressing the Y key. Oh gosh, when I see that
| | 01:58 | I realize you know what, because I
was moving pretty quickly, I desaturated
| | 02:02 | some of the flower.
| | 02:03 | So how can I undo that? We will
press the Option key and with the Option
| | 02:07 | selected we can go ahead and paint
across this flower. We want to be careful
| | 02:12 | with this. What we could do is click
Erase and to make sure Auto Mask is turned
| | 02:16 | on, we can change our brush size here
and then we erase, it's going to limit
| | 02:20 | the erasing to the flower itself which
is kind of nice. That will just help us
| | 02:25 | out that much more.
| | 02:26 | Now I'll go ahead and paint around
this image and just looking to remove the
| | 02:32 | green mask overlay. That showing me
where I have desaturated this image I want
| | 02:37 | to remove it from here as well. I'll
tell you why I want to remove it from
| | 02:43 | here. I'll go ahead and paint over
there and bring back some of the stem of the
| | 02:49 | flower and I could go all the way down
the stem, but I'm just going to do that
| | 02:52 | top part of the stem.
| | 02:53 | I'll go back to Add and now for this
Add I'll make my brush smaller and what
| | 02:58 | I'm going to do is bring back some of
that desaturation just to this lower
| | 03:01 | portion here. So now I have that top
part that is desaturated. Hold down the
| | 03:05 | Option key on the Mac, Alt key on
a PC, pin a little bit of that way.
| | 03:09 | All right, that's look pretty good.
Press the Y key to hide that and now we
| | 03:12 | have a flower or just basically the
flower that has color. Double-click the
| | 03:17 | Hand tool so we can zoom out. Now
let's press the K key to retarget the
| | 03:21 | Adjustment tool.
| | 03:22 | Now for our final before and after.
Here is before and here is after. Now of
| | 03:26 | course, I could get even more creative.
I can paint in the stem. I could paint
| | 03:31 | it so just that flower had color in it.
All right, well what's the point in
| | 03:34 | this? Well, it's kind of
interesting to look at this.
| | 03:37 | And in addition, what I'm hoping is
that this movie will help you begin to
| | 03:41 | think of this tool not only as technical,
not only as something you can use to
| | 03:45 | correct your images, not only as a
tool that you can use to enhance your
| | 03:48 | images, but also a creative tool.
Really the sky is the limit with this tool.
| | 03:53 | There is so much that we can do.
| | 03:54 | Now could I have done this in Photoshop?
Oh yeah, of course. I could have done
| | 03:57 | this in Photoshop, yet it's kind of
nice doing in Camera Raw, right. I didn't
| | 04:01 | need to create new layers. This is
completely nondestructive. I could undo it
| | 04:05 | at any time or for that matter I
could just lessen the effect. I could say,
| | 04:09 | well what if I bring in a little
bit of saturation in the background.
| | 04:12 | First click on the pin and then bring
it a little bit of saturation in the
| | 04:15 | background. I can stylize this effect
in perhaps another way. So there is a lot
| | 04:20 | of flexibility here and when it comes
to being creative that extra little bit
| | 04:24 | of flexibility can really help out
and ultimately perhaps this flexibility
| | 04:28 | could lead you to results that you may
have not been able to arrive at had you
| | 04:32 | used a different technique.
| | 04:33 | All right, we are enclosing. I hope
that you have enjoyed this fun movie.
| | Collapse this transcript |
| Selective sharpening| 00:00 | In this movie, we are going to talk
about how we can use the Adjustment Brush
| | 00:03 | in order to selectively sharpen our
photographs. Now this is important because
| | 00:07 | when you are looking at a photograph
your eye typically goes to the objects
| | 00:10 | that are in focus or that are sharp. In
addition, you go to the items that are
| | 00:14 | bright. So what we can do is
selectively sharpen an aspect of an image. For
| | 00:18 | example, let's just take a look at a
couple of these images. We can sharpen the
| | 00:21 | eyes on this photograph, or the eyes in
this photograph, or the eyes here, and
| | 00:24 | a little bit on the face, or a
portion of the board and not the background.
| | 00:28 | What we are going to do with this
particular image is we are going to sharpen
| | 00:31 | the flower in order to increase its
visual interest. We don't want to sharpen
| | 00:35 | the entire of the image. I don't want
to sharpen the out of focus background,
| | 00:38 | just the part of the flower
that I want the person to look at.
| | 00:41 | So let's go ahead and double click
corwig_flower to open it up inside of Camera
| | 00:46 | Raw. Next, press the K key to select
your Adjustment Brush. Now we want an
| | 00:51 | Adjustment Brush that's pretty big,
not quite that big. So I'll go ahead and
| | 00:54 | decrease my brush Size by pressing
the Left Bracket. Then I'll press
| | 00:57 | Shift+Right Bracket to increase the
overall Feather. Okay, great. Now my Flow
| | 01:02 | amount for this one, I want this to be
really high. I'm going to sharpen this
| | 01:05 | quite a bit. I'm going to add a little
bit of Clarity, quite a bit of Contrast
| | 01:09 | here. Clarity, Contrast, and
Sharpness, those really go hand in hand.
| | 01:14 | Next, I have Auto Mask turned on; I'm
going to turn that off because I want to
| | 01:18 | apply a little bit more of a global
sharpening effect to this image. Now I'm
| | 01:21 | going to paint around this file here.
Now if I press the Y key, we can see,
| | 01:26 | what areas of the image I'm affecting?
So in this case, the middle portion of
| | 01:29 | the image. Press the Left Bracket key
to decrease that a bit. All right. Now
| | 01:34 | let's press the Y key again to hide
that and let's zoom in a little bit so we
| | 01:37 | can see how we are doing here. All
right. Well, here is our before and after.
| | 01:41 | Before and then after. Again, just
adding a little bit of visual interest.
| | 01:45 | Let's create another adjustment. Click
on the New icon. Now here again, quite a
| | 01:49 | bit of Sharpness, lots of Clarity,
some Contrast there. Now my Flow amount, I
| | 01:53 | don't want as high for this one
because what I'm going to be doing here is
| | 01:56 | painting on the petals. I want a nice
large brush size, less of a Feather.
| | 02:01 | Shift+Left Bracket to decrease that
Feather and then Left Bracket key to
| | 02:05 | decrease the brush size. What I'm
interested in doing here is just bringing a
| | 02:08 | little bit of visual snap to this
portion of the image. Again, just looking to
| | 02:13 | sharpen the areas that are interesting
to me. Now let's look at our before and
| | 02:17 | after. Here is before and after,
again, affecting the overall image. It's
| | 02:21 | pretty subtle, yet we are able to
selectively focus in on what we think is
| | 02:26 | interesting. Now let's zoom out a
little bit and look at our overall before and
| | 02:29 | after. Press the P key, there
is before and there is after.
| | 02:33 | Now we really made that center portion
of the flower snap. We made it come to
| | 02:36 | life in a pretty interesting and
unique way. So one of the things that I have
| | 02:40 | to say here is, while we have applied
this technique to a flower, keep in mind,
| | 02:44 | you can apply selective sharpening to
almost every image that you have and by
| | 02:49 | applying selective sharpening, by
painting in to the particular areas of your
| | 02:53 | images, you can really make them come to life.
| | Collapse this transcript |
| Workflow for sharpening eyes and smoothing skin| 00:00 | In this movie, we are going to learn
a little bit more about how to use the
| | 00:03 | Adjustment Brush and we are going to
learn about how to use this in the context
| | 00:06 | of a photographic workflow.
| | 00:07 | We'll be working on the file workflow_
skin.CR2. Go ahead and select that file
| | 00:12 | and then go ahead and open it up
inside of Camera Raw by double-clicking it.
| | 00:16 | Well, now that this image is opened
inside a Camera Raw, one of the things that
| | 00:19 | we want to do is double-click the
Zoom tool. When we double-click the Zoom
| | 00:22 | tool. It takes this image to 100%.
This was shot at F1.8. So we can see that
| | 00:27 | the eyes in focus and the eyebrows out
of focus. So there is this really narrow
| | 00:31 | depth of field. So I'm thinking okay,
great, I'm at least excited that I got
| | 00:36 | this near eye in focus and in
addition, I think the image looks really
| | 00:39 | interesting. I like that real shallow
depth of field. So I'm going to keep
| | 00:42 | that in the back of my mind as
I begin to work on this image.
| | 00:46 | Well, the first thing that we need to
do here is White balance this photograph.
| | 00:48 | So I'll press the Shift key, which
will give us access to the White Balance
| | 00:52 | tool. Now, I'll click on the
background because I now that background was
| | 00:55 | pretty close to neutral. That warms the
image up really nicely a little bit too
| | 00:59 | far, so I'm going to decrease that just
a bit. Now, here is our overall before
| | 01:03 | and then after. Before and then
after. Subtle, yet pretty significant
| | 01:07 | improvement.
| | 01:08 | Okay. Well let's then begin to work on
the image. We'll double-click the Zoom
| | 01:11 | tool to take it back to 100%. Press
the Spacebar to reposition the image. The
| | 01:16 | eyes and the skin and the face are
going to become really important with this
| | 01:19 | particular image. We are going to be
looking at how to use the Adjustment Brush
| | 01:23 | in a second, but before we get there,
I notice just a couple of small little
| | 01:26 | blemishes I want to work on. And I'm
going to go ahead and diminish those and
| | 01:29 | we'll do that by using the
good old Spot Removal tool.
| | 01:32 | Go ahead and select that and then
click in the middle of the blemish and drag
| | 01:35 | out that. We'll then try to select an
area in order to sample to correct that
| | 01:39 | and then again click and drag out just
an area that's a little bit dark. And I
| | 01:43 | want to brighten that up a touch. I
want to have some good skin to bring into
| | 01:46 | that. Remember the shortcut is the V
key to hide those circles. And then press
| | 01:49 | the P key to look at your before and after.
| | 01:52 | Go ahead and select the Adjustment
Brush and do that by selecting the K key.
| | 01:55 | Well, now that we have the Adjustment
Brush, there are a couple of things that
| | 01:59 | I want do here, one is work on the
eyes and two is work on the skin. We've
| | 02:03 | already talked a little bit about
sharpening. We've talked about selective
| | 02:07 | sharpening and what I want to do is
selectively sharpen this eye here.
| | 02:10 | So I'm going to go ahead and increase
the Sharpness, increase the Clarity.
| | 02:13 | That will be a little bit texture
and mid tone contrast. A little bit of
| | 02:17 | contrast. I want to increase the
Exposure and Brightness as well.
| | 02:20 | Now, I'm going to zoom in even
further onto the eye here. I'm going to make
| | 02:24 | my brush pretty small. Here we have a
brush size; it's pretty small, it fits
| | 02:28 | inside of this area of the eye, perfect.
Feathering, low amount of feathering
| | 02:32 | here, increase that a little bit. And
then my Flow, I'm going to bring that
| | 02:36 | down. I want a lower Flow, high Density amount.
| | 02:39 | Auto Mask is turned off and I'm just
going to go ahead and click and paint
| | 02:42 | around this area of the eye. Now, I
know that I'm changing the overall color
| | 02:47 | and tone of the eye, but I'm
interested in doing that. I want to bring a
| | 02:50 | little bit more visual interest to
this portion of the image and to make sure
| | 02:53 | to do that to the other eye as well,
so go ahead and paint over that.
| | 02:58 | Now, keep in mind because I have a low
flow, I can paint multiple times across
| | 03:02 | this area to add more of this effect
to this portion of the image. Now, let's
| | 03:07 | double-click to Hand tool to take it
back to our Fit and View mode and look at
| | 03:10 | the before and after. Press the V key
to hide the pin, and then P, before and
| | 03:15 | then after.
| | 03:16 | Okay. We really need to zoom in, don't
we? Double-click the Zoom tool to zoom
| | 03:19 | in. We need to see if we are going in
a good direction. Press the K key to
| | 03:23 | access the Adjustment Brush. Now,
press the P key to see our before and after
| | 03:27 | with the eyes. So we add a little bit
of sharpness to those eyes, a little bit
| | 03:31 | of brightness, a little bit of visual
interest there, just making them come
| | 03:35 | alive a little bit.
| | 03:36 | Now, of course we can back that off. We
can lower the overall amounts here. In
| | 03:40 | order to do that, we'd need to find
the pin. So let's press the V key to turn
| | 03:44 | on the Pin, target that pin. Now that
that's targeted, I could then change the
| | 03:49 | Exposure and just to make this real
dramatic, we can see that I can darken that
| | 03:52 | or brighten it. I'm going to
go ahead and brighten it a bit.
| | 03:55 | What about changing the eye color? Well,
we can do that as well, right? I'll go
| | 03:59 | ahead and click on the color swatch. Now,
what color would work well with this
| | 04:02 | image? Well, probably green or yellow.
We want to stay with some of the colors
| | 04:06 | that we are seeing in the eye. So I
could make it a little bit more of a hazel
| | 04:09 | color, or I could make it
a little bit more green.
| | 04:12 | Now, when I go to that green color,
one of the things I'm noticing is that I
| | 04:14 | have some problems in my edges.
That's fine, I can fix that. I'll lower the
| | 04:18 | opacity of that green because that's
too strong, right? It's too much green in
| | 04:22 | there. So I'm just looking to add a
little bit of a green shift into it, click
| | 04:25 | OK. Okay, just some subtle
green there and then zoom in.
| | 04:29 | Now that I have zoomed in, I need to
increase my Feather quite a bit. Make my
| | 04:33 | brush nice and small. I have a nice
high amount of feathering and I'm going to
| | 04:37 | go ahead and decrease my Flow here.
What I'm looking to do is to just clean up
| | 04:42 | those edges. We notice
previously that my edges weren't so good.
| | 04:46 | So I want to feather out those edges,
so they are a little bit softer. What
| | 04:50 | that will do is it will hide my edit
that much more. Again, I'm just trying to
| | 04:55 | sweeten this one up a little bit here.
I think that's looking good. Let's look
| | 04:59 | at our before and after, here is before
and then after. All right, we'll zoom out.
| | 05:04 | Now, another thing that we may need to
do when we get to this juncture is to
| | 05:07 | look away and then look back. When I
do that, one of the things that I decide
| | 05:11 | is you know what, this is just over the
top. It doesn't look good. It's drawing
| | 05:15 | too much attention to the eyes;
it just looks strange, right.
| | 05:18 | So at this juncture what can I do? Well,
I could go through and lower all my
| | 05:22 | sliders, I could take them to 0 for
that matter, double-click them and take
| | 05:25 | them to 0 Contrast, Clarity, Sharpness.
So okay, now I just have a little bit
| | 05:31 | of that color in the eyes.
| | 05:32 | What happens if now I go back to this
low amount and then just slowly increase
| | 05:37 | these? Contrast is going to be real
important, sharpness, yeah, I want quite a
| | 05:40 | bit of sharpness there. Clarity, I
can do a little bit more with that.
| | 05:44 | On the other hand, if you don't want
to lower your sliders, you can of course
| | 05:47 | go to your Eraser tool. Make a nice
big brush. That was too big here, doesn't
| | 05:51 | need to be that big I guess. Flow is
real low, I mean real low, and then you
| | 05:56 | can slowly just paint over the eyes,
the entirety of the eye to kind of pull
| | 06:00 | the effect back, and here I'm just
slowly pulling that effect back. So now
| | 06:04 | here is my before and then here is
my after. It's a pretty subtle effect.
| | 06:08 | I'll go back to the Add. Now, if I
want to increase that, I can always bring
| | 06:12 | that back. So I'm trying to illustrate
a couple of things here. One is we have
| | 06:16 | a lot of flexibility with this, and two,
we can continually modify this in any
| | 06:20 | way, shape or form. Let's say we
don't want to add any color. Click on the
| | 06:23 | color swatch, turn it to white. That
will then remove all of those color changes.
| | 06:28 | Okay. Well, so far, so good. We've done
a little bit to the eyes to add just a
| | 06:31 | little bit of visual interest there.
Now, let's work on the skin. So we are
| | 06:35 | going to click New to create a new
Adjustment Brush. We are going to zoom in on
| | 06:38 | the skin here by pressing Command+
Plus on a Mac, Ctrl+Plus on a PC.
| | 06:43 | Now, let's hide those Pins. I don't
want to see those Pins right now. I just
| | 06:45 | want to focus-in on the skin right here.
I'm going to make that brush actually
| | 06:49 | pretty small with high amount of
Feathering. All right, that looks good.
| | 06:54 | Next, we have a Clarity amount. Remember,
we are in a new brush here, so we are
| | 06:57 | going to take our Exposure back,
Contrast back, Clarity back, Sharpness back,
| | 07:02 | and we have the ability to add
negative clarity. So if positive clarity adds
| | 07:06 | texture or contrast to the mid tones,
negative clarity adds the opposite.
| | 07:11 | We can use negative clarity to
actually soften areas of our image. In this
| | 07:15 | case, I'm going to go ahead and with a
real low Flow amount, high Feather, I'm
| | 07:20 | going to go ahead and start to paint
across the skin here. What I'm looking
| | 07:23 | to do here is just bring this out of
focus a little bit more, minimizing some
| | 07:28 | of the variance in the skin. I'm going
to do this in a couple of areas, even
| | 07:32 | in the areas where the skin is out of focus,
because I know that will help out this image.
| | 07:37 | A lot of times when you are making
these types of adjustments, you want to
| | 07:41 | build them up little by little. I'll
go ahead and do that. It's going to also
| | 07:46 | help with the shine or the reflection
on the skin. It's just going to mute that
| | 07:50 | out a little bit, on the nose here.
Go ahead and get into that area, and my
| | 07:55 | Flow amount is really low which is nice
because it's allowing me to build this up.
| | 07:59 | Now, at this juncture, I have been
going for a little bit of time here, so I
| | 08:02 | should probably see my before and after.
So I'll press the P key. There is our
| | 08:06 | before and then our after. Okay, so far,
so good. You may not be able to see
| | 08:11 | this very well, so I'm going to crank
up my Flow amount. Typically, I wouldn't
| | 08:15 | go this high, but I'm going to go
ahead and do that here and just increase my
| | 08:19 | Flow amounts and paint across these
areas and just make my way through this
| | 08:28 | portion of the image. And then I'm
going to zoom in on the skin, so you can
| | 08:32 | actually see what's happening here to the skin.
| | 08:34 | So here we have our skin with this
negative clarity and I'm going to make this
| | 08:39 | negative clarity even stronger. Go
ahead and paint on this area to remove more
| | 08:45 | of this texture on the skin there. All
right, and then look at our before and
| | 08:50 | after. Here is before and then here
is after. So all that softness, I can
| | 08:54 | zoom-in even further. I want
you to be able to see this.
| | 08:57 | All that softness that we are seeing
right here, it was brought in with that
| | 08:59 | negative clarity. So that negative
clarity is just minimizing the skin
| | 09:03 | variation and it's softening out the
pores there. It's making that skin look
| | 09:08 | much more interesting.
| | 09:09 | We'll then double-click the Zoom tool.
That will take this image back to 100%,
| | 09:14 | and then we need to look for some
other areas that could use a benefit from
| | 09:17 | this adjustment. Press the K key. We
want to show those Pins, right? So turn on
| | 09:22 | the Pins, reactivate this softening Pin
here, and then go ahead and paint down
| | 09:26 | here in the lower portion of the face as
well just to soften the skin out there as well.
| | 09:30 | Now, the nice thing about retouching
with Camera Raw is it's completely non
| | 09:35 | destructive, it doesn't take up extra
file size and as you can see here, the
| | 09:39 | results are actually pretty good. I'm
going to zoom out a little bit, so we
| | 09:43 | can see how we are doing. Here
is our before and then our after.
| | 09:47 | Again, it just adds a little bit of
visual interest, softens the skin, adds a
| | 09:50 | little bit of a glow. Now, I have
tried to over exaggerate the skin smoothing
| | 09:54 | just a bit because I know it's kind of
tricky to see these when the movie gets
| | 09:58 | small. So zooming-in, so you can
see that here is our before and after.
| | 10:03 | My hope is that you can see the
difference, and also that you are keeping in
| | 10:07 | mind, you don't always want to smooth
skin out this far. You may want to smooth
| | 10:11 | it out a little bit less. In my opinion,
I would actually take this back just a
| | 10:15 | bit here. I want to smooth it out, but
I don't want it to be fake looking. So I
| | 10:19 | want to be real careful not to push it that far.
| | 10:22 | Now, some of you may be thinking, Oh!
My gosh, this is absolutely amazing. And
| | 10:27 | if you are thinking that, you are
right, because skin smoothing with the
| | 10:30 | Clarity slider is phenomenal.
| | 10:32 | Some others of you are thinking now,
what would happen if I retouched all the
| | 10:35 | little spots on the skin and then use
the Clarity slider. Well, that's what
| | 10:39 | you'd actually want to do, right.
First you'd want to get in or remove all
| | 10:41 | little spots. We did a little bit of
that. You want to do your cleanup work
| | 10:45 | first, and then progress to your
enhancement, and that negative clarity is
| | 10:50 | definitely an enhancement.
| | 10:52 | All right. Well, that wraps up our
work on this image and my hope is that by
| | 10:55 | showing you a little bit of a workflow
that involves the Adjustment Brush, you
| | 10:59 | can begin to see how you are going to use
this tool in some really phenomenal ways.
| | Collapse this transcript |
|
|
12. The Graduated Filter ToolUsing the graduated filter| 00:00 | In the next couple of movies we are
going to learn about a brand new tool
| | 00:03 | inside of Adobe Camera Raw. It's called
the Graduated Filter. Now what exactly
| | 00:08 | is the Graduated Filter? Well, to talk
about it I'm going to actually open up
| | 00:11 | an image in Photoshop and here you can
see I have a photograph of a traditional
| | 00:15 | photographic Graduated Filter.
| | 00:17 | It was something you put in front of
your camera. It was a piece of glass that
| | 00:20 | was tinted on the one side and not the
other. So in this case what you could do
| | 00:24 | is use this filter, this particular
filter, which was created by Sing-Ray
| | 00:28 | Filters. Those guys create some great filters.
| | 00:31 | You could go and you could shoot an
image like this one where the sky is really
| | 00:34 | bright and you could darken the sky
and then keep your foreground in its
| | 00:38 | correct exposure. You can think of a
Graduated Filter like a windshield on a car.
| | 00:43 | Typically, a windshield on a car
like this one has a little tinting at the
| | 00:47 | very top of it. Now why is that there?
That tinted top part of your windshield
| | 00:51 | is there so that the bright sky
doesn't overwhelm your eyes, so you can focus
| | 00:55 | on the 'the correct exposure' of
what you are seeing in the foreground.
| | 00:59 | Well, let's take a look at how we can
begin to use this tool and then let's
| | 01:02 | take a look how we can apply what we
know about this tool to a couple of
| | 01:05 | different scenarios. Let's select
the file elephant_seal_001 and press
| | 01:09 | Command+R on a Mac, Ctrl+R on a PC.
Here you have this portrait of nature
| | 01:13 | photographer Ralph Clevenger. Ralph is
an amazing photographer and here he is
| | 01:18 | at a location photographing elephant seals.
| | 01:21 | I want to darken the sky a bit. So I'm
going to press the G key to select the
| | 01:24 | Graduated Filter or click on the tool
in the toolbox. One of the things that
| | 01:28 | I'll notice here is that I have the
same set of controls that I have seen
| | 01:31 | before. So when I click on the
Adjustment Brush, interesting! It's almost
| | 01:36 | identical to the Adjustment Brush
except we don't have the brush size controls.
| | 01:40 | Fascinating. All right. Well, that
means we already know how to use this.
| | 01:44 | I'll go ahead and reset all my controls here.
Then I'm going to click and drag in
| | 01:47 | the sky. Now what are these graphics
or what are these overlays showing me?
| | 01:51 | Well, the green is showing me that's
where the beginning, the intensity, of
| | 01:56 | this particular adjustment actually
starts and then begins to trail off or fade
| | 02:00 | off all the way to this red circle
and this red and white-checkered line.
| | 02:04 | Well, I haven't made an adjustment yet.
So let's go ahead and apply adjustment
| | 02:08 | that will darken the sky. Now as I
darken the sky I can bring this green point
| | 02:12 | down and that's saying, well a 100%
of that effect is here. Its transition
| | 02:16 | point is at this location. Now if I
click and drag to expand that then I'm
| | 02:19 | saying that here is where the
transition is taking place. Also keep in mind I
| | 02:23 | can have this actually off the frame
or out of the frame, so the effect is
| | 02:27 | happening outside of the image there and
I can modify this one way or the other.
| | 02:32 | One of the things that I have
noticed is that the overlay is a little bit
| | 02:35 | distracting. Remember the shortcut to
hide that. It's the V key. It's the same
| | 02:39 | exact shortcut. I love it. Now what
about the before and after? Well press the
| | 02:43 | P key. There is the before, there is
the after. You know what? That looks
| | 02:46 | really nice. The only thing I may
want to do with this particular darkening
| | 02:50 | effect is add a little bit of Hue
up here, just a little bit too black.
| | 02:54 | So I'll click on my color swatch. I'm
going to try to sample a nice blue and
| | 02:59 | desaturate that a little bit. That was
a little too bright of a blue. Click OK
| | 03:03 | and now let's look at our before and
after by pressing the P key, before and
| | 03:08 | then there is our after.
| | 03:09 | That not only looks pretty nice, but
we also learned a little bit about how
| | 03:12 | this Graduated Filter actually works.
| | Collapse this transcript |
| Reducing exposure with the graduated filter| 00:00 | So far we've learned about how to use
a Graduated Filter and we've used the
| | 00:03 | filter in the way that it was intended
to be used, but let's think outside of
| | 00:07 | the box a little bit and let's apply
that filter to a couple of different
| | 00:11 | situations as we'll do in the next
few movies. In this movie, let's open up
| | 00:15 | this file corwig_sophia.dng. We can do that
by double-clicking it to open it up in Camera Raw.
| | 00:20 | All right, well here I have this
wonderful portrait of my daughter Sophia at a
| | 00:25 | friend's birthday party. And here she
was just learning how to stand up and she
| | 00:29 | is clinging onto that couch and just
looks adorable. I love the window light
| | 00:33 | except I think this window is just a
little bit too bright. So I want to darken
| | 00:37 | that and I'm going to do
that with the Graduated Filter.
| | 00:40 | Press the G key to select that tool,
next click on your color swatch. We don't
| | 00:43 | need any color in there just yet, so
we'll go ahead and turn that off and then
| | 00:48 | we're going to go ahead and click and
drag. We can click and drag outside of
| | 00:51 | this just a little bit. We're going to
drag in towards her right there. Nice
| | 00:55 | transition, we're going to
darken that up even more.
| | 00:58 | Now, when I darken that up, one of
the things I notice in this case is it's
| | 01:01 | becoming a little bit black and I don't
quite like that. I like that I do have
| | 01:05 | some detail there, so we can see that
we're bringing in a little bit of detail,
| | 01:08 | a little bit of texture, a little bit
of tone. We need to add some color on top
| | 01:12 | of that. Well what color do I need to add?
Well, something from the image, right?
| | 01:15 | So, I'm going to need to try to find a
color that I think works. In this case,
| | 01:18 | I'm just looking to try to sample a
yellow color there or yellow or brown or
| | 01:23 | something along those lines that, kind
of, matches with the image and I'll move
| | 01:26 | this around just to see what I can get
here to try to get it to match the rest
| | 01:30 | of the image; click OK to apply that,
then press the P key to see our before
| | 01:35 | and then after, all right, so far so good.
| | 01:38 | Next, let's navigate over to our basic
adjustment. We're going to do that by
| | 01:41 | pressing the Z key. That will give us
access to the Zoom tool, I.e., exit us
| | 01:45 | out of the Graduated Filter. You can
also press the G key that will get you out
| | 01:50 | of that filter as well. So either
select another tool or press the tool
| | 01:54 | shortcut a second time, in
this case to exit out of it.
| | 01:57 | All right, we are here in the basic
panel; all I'm interested in doing is just
| | 02:00 | increasing the color temperature, just
a touch that will help the color here
| | 02:04 | blend. A little tiny bit of Fill Light,
a lot of recovery there to bring back
| | 02:09 | some of the detail. When I do that
recovery, then it becomes a little bit too
| | 02:13 | flat, so I need some contrast, a little
bit of clarity into this image and then
| | 02:18 | a little bit of brightness as well just
to brighten that up. Here is our before
| | 02:22 | and after with those final
adjustments. Back to the Graduated Filter, our
| | 02:26 | before and after with that
tool. Really interesting.
| | 02:28 | So, obviously, one of the things that
I'm trying to show you here is that this
| | 02:31 | tool isn't limited to landscape
photographs. It's not limited to photographs of
| | 02:35 | the skies and the -- there are other
photos that will benefit from the use and
| | 02:38 | application of this brand new
tool inside of Photoshop CS4.
| | Collapse this transcript |
| Enhancing foregrounds and backgrounds with the Graduated filter| 00:00 | In the next couple of movies, we will
be working with this file corwig_baja.
| | 00:04 | Let's go ahead and open this one up
inside of Camera Raw. We'll do that by
| | 00:08 | pressing Command+R on a Mac, Ctrl+R on
a PC. Next, press the G key to access
| | 00:14 | the Graduated Filter.
| | 00:15 | One of the things that we haven't
talked about the Graduated Filter is what you
| | 00:18 | do when your horizon isn't straight.
In this case, you have a horizon that is
| | 00:22 | angled. Well, no problem. We're just
going to darken up the sky here, so I'll
| | 00:26 | go ahead and lower my exposure and I'll
click and drag outside of the frame and
| | 00:29 | then bring that darkening effect in
and here you can see that I can rotate
| | 00:33 | this. Now I imply that you could rotate
it before when I showed you that window
| | 00:36 | light but it's just worthwhile to say
that because we need to know that we can
| | 00:41 | do that, right, so there is my before and after.
| | 00:43 | I'm going to go ahead and darken that
sky a little bit more there. All right,
| | 00:46 | well I liked that but I need a little
bit of hue, click on the color swatch and
| | 00:49 | then we'll add a little bit of blue
into that sky and then desaturate that, and
| | 00:53 | a touch there. Again, that was a
little bit too strong of blue. Click OK.
| | 00:57 | That's looking pretty nice; before and
after, here is our before, here is our after.
| | 01:01 | A little bit too far of a stretch
there, so I'm going to pull that back a
| | 01:04 | little bit and then go ahead and
increase the contrast of the sky as well.
| | 01:09 | All right, well I'm going to click New
to add another adjustment. Yes, you can
| | 01:13 | have multiple adjustments. Here, I'm
going to go ahead and click and drag
| | 01:16 | across the foreground of this image
that looks pretty interesting. I'll remove
| | 01:19 | that blue hue. Click on the color
swatch and then choose White to remove that.
| | 01:23 | So now I just have this nice darkening
effect in the foreground, I'm going to
| | 01:26 | increase the contrast there as well.
| | 01:28 | I'm going to extend that up pretty
high here, so I have this nice darkening
| | 01:31 | effect. I'll then go back and
reactivate this other gradient here and modify
| | 01:36 | that one just a little bit as well.
All right, well now that I have both of
| | 01:39 | those, I'm ready to exit this
particular tool. Press the G key to exit it.
| | 01:43 | Now, where do I want to go next? I'm
going to the Lens Corrections. I'm going
| | 01:47 | to add a little bit of vignette. Now
why am I illustrating this here? Well, one
| | 01:50 | of the nice things about using the
Graduated Filter and a vignette is the
| | 01:54 | vignette darkened my corners, yet it
also darkened this portion of the image.
| | 01:57 | So it, kind of, connected the overall
vignette, made it kind of interesting.
| | 02:01 | Here is our before and after with the
vignette, but then we also already have
| | 02:04 | that darkening in other places.
| | 02:07 | Well, now that we have darkened the
image, we're going to go back to our basic
| | 02:10 | adjustments, warm this image up a bit,
lower the saturation a touch as well.
| | 02:14 | We're just going for an interesting
effect here; increase the recovery slider
| | 02:18 | to reduce some of those bright tones.
We have quite a bit of fill light
| | 02:22 | happening here that looks good; some
contrast on that one, some blacks as well,
| | 02:27 | increase the exposure a touch and,
again, I'm just going for kind of a
| | 02:30 | creative photographic look here. And
now that I see that, I decide you know
| | 02:34 | what? I'm going to lower my contrast
just a bit. It was a bit too strong for
| | 02:37 | me, go back to my vignette. That's a
bit too strong for me as well, reduce that
| | 02:41 | and there is the final image.
| | 02:43 | So, what I'm trying to illustrate here
is how you can use a Graduated Filter
| | 02:47 | in combination with the other tools
and I know I have said this before, but
| | 02:50 | I'll say it again. A lot of times, the
best results come from using tools in
| | 02:55 | combination with other tools and
also from using tools in ways that they
| | 02:59 | weren't perhaps intended to be used
because sometimes by doing that you can
| | 03:03 | create these effects and people don't
really know what you are doing and in
| | 03:06 | that case, they think more about
the image and less about the effect.
| | Collapse this transcript |
| Employing creative effects with the Graduated filter| 00:00 | In this movie we are going to get a
little bit fun with the Graduated filter.
| | 00:03 | Now if you are a little bit more of a
technical person, if you just want to
| | 00:06 | know how the tool works, you probably
want to skip this movie because in this
| | 00:09 | movie we are just going to get a
little creative and begin to think about how
| | 00:12 | we can use this tool in other ways
besides simply darkening or brightening
| | 00:16 | different areas of our images. We are
going to go ahead and work on the same
| | 00:19 | file we worked on in the last movie,
corwig_baja04.jpg, press Command+R to open
| | 00:23 | it up inside of Camera Raw and that's
Command+R on the Mac or Ctrl+R on a PC.
| | 00:29 | Next we are going to press the G
key to grab the Graduated filter.
| | 00:33 | What I'm interested in doing here is
creating kind of an interesting effect.
| | 00:36 | So I'll go ahead and increase my
contrast, lower my exposure and then I'm
| | 00:40 | going to add a color to this, I'm
going to add a nice bright green, yep,
| | 00:44 | little bright green, it's going to be
kind of crazy and I'm going to click and
| | 00:47 | drag to darken the edge of the image
and I'm going to continue to click and
| | 00:51 | drag around the image and I'm just
going to look to try to bring in a little
| | 00:55 | bit more of this darkening effect and
here you can see that I'm going and just
| | 00:59 | clicking and dragging around the
image and I'm going to create kind of a
| | 01:03 | almost a silhouette of these around the image.
I'm kind of stacking them up a little bit.
| | 01:09 | All right, well now that I have
stacked all of these effects up and I'll go
| | 01:12 | ahead and move some of them out here
and you can see that you could come up
| | 01:14 | with some pretty interesting shapes. I
actually saw someone who created a heart
| | 01:19 | around something that was kind of
interesting and it was a subtle little heart,
| | 01:22 | but a pretty, interesting creative
effect and what I'm interesting in doing is
| | 01:26 | to try to create this kind of
Holga film look with this image.
| | 01:30 | All right well now that I have all of
my Graduated filters there, I'm going to
| | 01:34 | press the G key to exit that tool and
next I'm going to go over to my Split
| | 01:38 | tone insiders and here I'm going to add
some different colors to the image, so
| | 01:41 | I'm going to go ahead and add some
yellow and I'll add a little bit of blue
| | 01:44 | and saturate that again just to try to
tweak out the tone a little bit there,
| | 01:48 | go back to the basic adjustments so
I'll add some overall yellow to that,
| | 01:52 | perhaps desaturate it a little bit,
add a lot of contrast, some recovery to
| | 01:57 | bring in those tones, lot of blacks
there, quite a bit of fill lights on the
| | 02:02 | car and then modify the overall
brightness and again, I'm just looking kind of
| | 02:06 | for the sweet spot.
| | 02:07 | Now as I do that I say I kind of like
this, it's really fun, I need to go into
| | 02:11 | Photoshop and add some film grain and
what not, except all of my Graduated
| | 02:15 | filters are stacking up a little bit
too strong. So I'll press the G key to go
| | 02:19 | back there and I'll click on one of
those and the nice thing about this is I
| | 02:22 | can change the over all exposure
setting simply by clicking on them. So again,
| | 02:26 | when you are getting creative you may
need to go back and forth and modify how
| | 02:30 | far you push something and so I'll go
ahead and click through these. I may also
| | 02:34 | want to change the overall color
effect here because we have quite a bit of
| | 02:38 | green coming into this image and just
pulling those back, just a touch there so
| | 02:42 | they are not quite so intense. I'll
bring down the exposure, a little bit. We
| | 02:46 | do want some of that nice dark tone in
that. All right and then I'm going to
| | 02:50 | go into my green there, lower the
saturation on that, go into the green on this
| | 02:54 | one, lower the saturation there. Again,
all I'm trying to illustrate here is
| | 02:58 | having some fun with it. You got to
have some fun with Photoshop every once in
| | 03:01 | a while, don't you? And sometimes that
fun leads to some interesting results.
| | 03:05 | Sometimes it doesn't lead anywhere,
but it teaches you how to use a tool. So
| | 03:10 | there are times when you want to
play a little bit because photography
| | 03:13 | essentially is a tool of experimentation.
| | 03:17 | All right, well now that I have tweaked
those out I'll go ahead and press the P
| | 03:20 | key, here is my before without those
and there is the P again, there is the
| | 03:24 | after. Now is this final image a keeper?
Is this amazing? Is this anything that
| | 03:29 | I would show anyone? Well, actually,
probably not. Yet it was kind of fun and
| | 03:34 | it did really help me begin to think
outside of the box and it did begin to
| | 03:38 | help me to think about how I could
possibly use this Graduated filter tool
| | 03:42 | perhaps as a starting point. Perhaps
I take that color out, and I take the
| | 03:46 | color out altogether, I just darken the
edges, I don't modify much of the color
| | 03:51 | in Camera Raw and then with all those
really interesting dark edges I then
| | 03:54 | bring that into Photoshop and then
that's where I do some work on my color.
| | 03:58 | Adding some film grain, maybe some
texture and I could create a pretty
| | 04:02 | interesting composite. But this little
creative exercise taught me about okay,
| | 04:07 | I can use a Graduated filter or many
Graduated filters perhaps to come up with
| | 04:11 | some somewhat interesting results.
| | Collapse this transcript |
|
|
13. DetailsReducing noise| 00:00 | In this movie we are going to start to
talk about how we can reduce Noise in
| | 00:03 | our photographs. We are going to use
this photograph. It's titled roger_01.
| | 00:08 | This was captured by a good friend of
mine Roger. Roger, thanks a ton for this
| | 00:11 | photo. I was tossing my daughter
Annika up in the air. He just captured this
| | 00:15 | image at the exact moment, right? That
is the moment. It's a beautiful shot and
| | 00:20 | I love how Annika is looking at the camera.
| | 00:22 | All right, well, let's go ahead and
open up this file. We will do that by
| | 00:25 | pressing Command+R on a Mac, Ctrl+R on
a PC, and then what I want to do is zoom
| | 00:29 | into this image. So grab the Zoom
tool by pressing the Z key and then
| | 00:32 | click-and-drag so we can zoom into the
image, and zoom into the image up around
| | 00:36 | near where Annika's face is.
| | 00:38 | Right now, I have zoomed in pretty
far. I want to go even farther, so I'm
| | 00:41 | going to keep clicking. Now when I
keep clicking and I zoom into this image,
| | 00:45 | one of the things I noticed is there is
quite a bit of noise in this file. Now
| | 00:48 | there is quite a bit of noise because
of the time of the day it was captured
| | 00:51 | and in addition we almost always have
noise in the sky. So if we zoom in on the
| | 00:55 | sky here, we can see that we have this
little bit of artifacting in the sky.
| | 00:59 | We can fix that by navigating to our
Detail panel. Now when we go to our Detail
| | 01:04 | panel, we have Sharpening controls as
well as Noise Reduction controls. We have
| | 01:08 | two different types of Noise Reduction,
Luminance and Color. Now Color works
| | 01:12 | really well where you see any kind of
color artifacting. In the sky here I see
| | 01:16 | a little bit of color artifacting, so
I'm going to go ahead and increase that.
| | 01:19 | Now if we look at our before and
after we are not going to see a huge
| | 01:22 | difference but we will see a little
bit of the color removed out with this
| | 01:25 | particular file.
| | 01:26 | But when I increase the Luminance
adjustment now here, I'm going to start to
| | 01:29 | see and I'll go ahead and crank this
way up so you can see what's happening.
| | 01:32 | We see a lot of that noise has been
fully reduced there. In order to see that
| | 01:35 | more clearly I'm going to make this
image even bigger so that now we can zoom
| | 01:40 | in on it. Press the P key, here is our
before and then after. You can see that
| | 01:44 | that pattern in the background has been removed.
| | 01:47 | Now we don't want to remove that much,
and here's why. Double-click the Zoom
| | 01:50 | tool, take the image to 100%, and here's
where we want to evaluate our Noise Reduction.
| | 01:55 | I want to evaluate it at 100%. So
here's our before and then after. I'm going
| | 02:00 | to crank that up a little bit more to
get rid of that noise. Press the Spacebar
| | 02:04 | to reposition the image. We want to
look at the sky as well as the subject in
| | 02:08 | this case, before and after. Well,
that looks a lot better and it actually
| | 02:12 | removed a good amount of the color
noise as well and I'm just going to pan
| | 02:16 | around the image. Okay, so far so good.
Double-click the Hand tool and I'm
| | 02:20 | going to move down to another portion
of the image down here. I'll grab the
| | 02:23 | Zoom tool, press the Z
key and then click and drag.
| | 02:26 | I'm going to look at the noise that we
are seeing back in here in the out of
| | 02:28 | focus areas, before and after. That
looks pretty nice. With this image because
| | 02:33 | the way it was captured in the ISO
setting and all of that, I'm going to have
| | 02:36 | to go with a pretty high amount of
Luminance and Color Noise Reduction. We will
| | 02:41 | look at our before and after.
That's looking pretty good.
| | 02:44 | One of the things that we want to keep
in mind whenever reducing noise is we
| | 02:47 | always want to go to that 100% view,
so I'll double-click the Zoom tool to
| | 02:50 | 100%. That's going to show me the
actual details there and as I'm looking at
| | 02:55 | those, I say okay, that's great. I
have the color noise removed, I have the
| | 02:58 | other noise removed and now I'm good
to go. Double-click the Hand tool and we
| | 03:02 | have now successfully
removed the noise in this image.
| | 03:06 | Now keep in mind that although I'm
showing you how to reduce noise in this
| | 03:09 | particular file, this noise reduction
technique is going to be applicable to
| | 03:13 | lots of your images. Now the overall
amounts aren't always going to be this
| | 03:16 | high, typically they are not even
close to that high. So the actual amount is
| | 03:20 | going to be contingent upon the
resolution, on the ISO of the camera, the lens
| | 03:24 | that was used, the camera sensor,
the light, all these different factors.
| | 03:28 | So in this case, because it was shot at
sunset in this particular ISO, etcetera,
| | 03:32 | we had to crank that up, but keep in mind
it's not always going to be that high.
| | Collapse this transcript |
| Reducing noise while sharpening an image| 00:00 | In this movie, we're going to continue
to talk about noise reduction, but we're
| | 00:03 | going to talk about it in combination
with sharpening. Go ahead and select the
| | 00:07 | file corwig_freestyle.jpg, press
Command+R on a Mac, Ctrl+R on a PC.
| | 00:12 | Next, what we're going to do is
double-click the Zoom tool. Now this is a
| | 00:15 | photograph that I captured at an ISO of
1600. So by nature of that ISO we have
| | 00:20 | quite a bit of noise. Now I don't know
if you're going to be able to see this
| | 00:23 | in the movie, but when you open up the
file, if you have access to the file,
| | 00:26 | you're going to see that there is
quite a bit of noise and color noise in the
| | 00:30 | sky. So I'll zoom in a little bit closer here.
| | 00:32 | I'm going to start to see that there
is some red discoloration in the sky and
| | 00:36 | that happens sometimes in digital
capture when you have a high ISO. It also
| | 00:40 | happens a lot of times in your shadows.
So let's navigate over to our Detail panel.
| | 00:44 | Now with our Detail panel, what I'm
going to do is crank my color noise
| | 00:47 | reduction up all the way and I'm going
to do this so that we can begin to see
| | 00:49 | how this is correcting the image. I'm
going to pan around the image a little
| | 00:51 | bit and look at my before and after,
before and then after. You can see that
| | 00:52 | what its doing is it's smoothing out
the color; noise or the color variety in a
| | 00:53 | few areas and it's removing
all that noise in the background.
| | 00:54 | Well, I don't want to go that high so
I'll bring it down. And on my monitor, it
| | 01:20 | looks good right at about 30 I think.
That looks pretty nice. Now the Luminance
| | 01:21 | noise is going to be a little bit more
dramatic than the last image. We can see
| | 01:23 | our Luminance noise in the sky and
when I increase that I'll go ahead and
| | 01:24 | increase it all the way and then press
the P key. We should see that that the
| | 01:26 | sky now is becoming much more smooth.
| | 01:26 | Yet the problem with this is our
image is looking a little bit more like a
| | 01:28 | drawing and less like a photograph. So
let's double-click the Zoom tool to look
| | 01:32 | at this at 100%. Here's our before
and after. Well, the sky looks good, the
| | 01:37 | detail on the motorcycle guy doesn't
look very good and that's important detail.
| | 01:42 | So I'm going to go ahead and lower the
Luminance so I can remove quite a bit of
| | 01:45 | Luminance, but not as much as I had
previously, somewhere right there. I think
| | 01:50 | that looks pretty good. I'm looking at
my before and after by pressing the P key.
| | 01:54 | Now next, I'm going to add a little
bit of sharpening. Noise Reduction and
| | 01:58 | Sharpening always go hand in hand,
because Noise Reduction reduces detail, we
| | 02:02 | then need to bring some of that detail
back. Now how can you actually use these
| | 02:06 | sliders? So let's go ahead
and zero all of them out.
| | 02:08 | The Amount slider, at least for
starters is our overall intensity, the Radius,
| | 02:12 | you can kind of think of as the
extension, how far out from an areas at
| | 02:16 | sharpening. We'll look at our before
and after here. Here we can see we have
| | 02:20 | some pretty nice details maintained.
| | 02:22 | Now Detail has to do with the small
detail. So we will be talking about this
| | 02:25 | more later, but with this image,
because there is a lot of noise, we want that
| | 02:29 | really low. Masking well then, limit
the sharpening to the edges. So if we go
| | 02:34 | ahead and increase that, it's going to
limit it to the edges in the image. So
| | 02:37 | what I'm seeing here is that the edges
and the motorcycle guy are sharpened and
| | 02:41 | now I can increase my Amount a little
bit more because I have this nice high
| | 02:44 | amount of masking.
| | 02:45 | All right. Well, let's zoom in so you
can actually see our overall before and
| | 02:49 | after. Here's before and then here is
after. We've applied some Noise Reduction
| | 02:53 | and then some Sharpening in order to
counteract that Noise Reduction and the
| | 02:58 | image is looking much better.
| | 02:59 | One final look at this one by zooming
out all the way by double-clicking the
| | 03:02 | Hand tool. Here is our before and after,
I can't really see much there so we'll
| | 03:06 | go into 100%, our before and after.
Again on my monitor, this image is looking
| | 03:11 | really good.
| | 03:12 | All right, well we've just barely
scratched the surface with sharpening. Let's
| | 03:15 | talk a little bit more about the
sharpening controls and how to apply these
| | 03:19 | controls to a few different images and,
we'll do that in the next few movies.
| | Collapse this transcript |
| Previewing your sharpening| 00:00 | Now that we know a little bit about how
the noise reduction and the sharpening
| | 00:03 | controls work, what I want to do is dig
a little bit deeper so that we can get
| | 00:07 | some more exact results. Let's go ahead
and open up this file titled chalk.jpg.
| | 00:11 | You can open it up by pressing Command+
R on a Mac, Ctrl+R on a PC. Next what I
| | 00:16 | want to do is double-click the Zoom
tool to take this image to 100%. Now when I
| | 00:21 | do that, I see the nice detail of the
chalk, I love those vivid colors. They
| | 00:24 | are so interesting. So I'm going to
move around to an area that I think looks
| | 00:27 | kind of interesting.
| | 00:29 | Let's go ahead and navigate over to
the Detail panel. Now in the Detail panel
| | 00:33 | we have begun to talk about the
controls, yet you may be thinking okay, that
| | 00:37 | doesn't make much sense. How can I make
more sense out of these controls? Well,
| | 00:41 | here is what you can do. This is one
of the best shortcuts inside of Camera
| | 00:45 | Raw. Hold down the Option key on a Mac,
Alt key on a PC and then click and drag
| | 00:48 | the sliders. Now when you do that
with the amount, it shows you a grayscale
| | 00:52 | version of the image, so you can
really see the sharpening and you should be
| | 00:55 | able to see the intense
sharpening there and then much less hue.
| | 00:58 | So I'm going to bring my Amount up
and then go onto the Radius slider. Now
| | 01:02 | here I see what kind of looks like a
high pass filter overlay. If you have seen
| | 01:06 | that filter in Photoshop, here I can
begin to see how it reaches out into the
| | 01:10 | different areas and again, with a low
Radius that reaches this far. Now what
| | 01:15 | about that Detail slider? Well, this is
where the shortcut comes most in handy.
| | 01:19 | If I increase the Detail slider I can
see all of those details on the chalk.
| | 01:24 | I'm going to bring that all the way up.
And we will look at our before and
| | 01:27 | after. Here is before and then after.
It's bringing out the little tiny details.
| | 01:31 | So when is this slider best to have
high? Well, for architecture images it's
| | 01:36 | great to have a high detail. Now for
people photography what do you want? Well,
| | 01:40 | you don't want the skin to be over
sharpened. So you are going to go ahead and
| | 01:43 | lower that so that the sharpening is
really focusing in on the edges of the
| | 01:47 | photograph. Now that being said,
what you can do is increase your detail
| | 01:51 | amount. So again, we can see all the
sharpening on the chalk here, all the
| | 01:54 | detail coming in. Here is our before
and after. But then we can use the Masking
| | 01:59 | slider. Hold down the Option key on a
Mac, Alt key on a PC and clicking and
| | 02:03 | dragging it to the right and now all of
a sudden we are going to start to see a
| | 02:06 | mask. Now what is this mask about?
| | 02:08 | Well, if you use Photoshop you know
that white reveals and black conceals. So
| | 02:13 | in this case, wherever we are seeing
white that's going to be sharpened. Black;
| | 02:18 | no sharpening at all. So let's go ahead
and let go of that and now look at our
| | 02:21 | before and after. Even with that
high detail amount, the details that I'm
| | 02:26 | seeing are limited to the edges of this
particular image. So keep in mind that
| | 02:31 | it is typically a combination of your
different controls that lead to the best
| | 02:35 | results. Now we haven't talked about
Noise reduction. We have sharpened the
| | 02:38 | image and it looks much better, but
now I notice there is a little bit of
| | 02:42 | noise. So I'm going to increase my
Luminance noise a bit and my color noise
| | 02:45 | and almost every image needs a little bit
of noise reduction. Okay, that looks good.
| | 02:49 | Well, now that I have done that I
want to bring in a little bit more of my
| | 02:52 | details, a little bit more intense
sharpening and press P to look at my overall
| | 02:56 | before and then after. Now the
sharpening is pretty subtle so I'll zoom in so
| | 03:00 | you can see what we are doing here.
When I zoom in it's going to look a little
| | 03:04 | exaggerated, but here is my before
and after sharpening the edges, really
| | 03:08 | focusing in on those edges, bringing
out a few of the details but that high
| | 03:11 | masking amount is really
limiting the sharpening to those edges.
| | 03:15 | Here you can see all the details being
brought in. When that mask increases, we
| | 03:19 | see less details. It may be perhaps a
little bit less on those details as well.
| | 03:23 | Although, you typically want to
evaluate your sharpening at 100% because that
| | 03:27 | will be the best view in order to see
the appropriate amount of sharpening and
| | 03:32 | noise reduction.
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| Sharpening a portrait| 00:00 | Now that we know a thing or two about
noise reduction and sharpening, let's go
| | 00:04 | ahead and apply what we know to a
couple of different images. We'll start off
| | 00:07 | by working on a portrait. Go ahead and
select the portrait corwig_demo_01.jpg
| | 00:11 | and press Command+R on the Mac, Ctrl+
R on a PC. And here we have this nice
| | 00:15 | portrait. And this was pretty much how
the image was captured. Yet, I haven't
| | 00:19 | sharpened the file yet. So I'm going
to go ahead and double-click the Zoom
| | 00:22 | tool. That will take the image to 100
% and then I'll press the Spacebar to
| | 00:26 | reposition the image, and I'm going
to focusing on this area of the image,
| | 00:29 | because that's where I'm
seeing some nice details.
| | 00:32 | Next, I'm going to go over to the
Detail panel. Now that we are in the Detail
| | 00:35 | panel, I'll hold down the Option key
on a Mac, Alt key on a PC, and I'm going
| | 00:39 | to increase my overall Amount and I can
see the sharpening being increased there.
| | 00:43 | Right now, even that looks much better,
before and after we can see some nice
| | 00:47 | detail in the eye there. Now the
Radius is just kind of interesting. Here we
| | 00:50 | are going to able to see that we can
change the overall Radius and it's going
| | 00:53 | to give us a softer edge. We can see
that it's kind of softening out that edge,
| | 00:57 | or a much harder edge. So in this
case I'm going to increase the Radius a
| | 01:00 | little bit. That's going to expand that
sharpening out in the edge a little bit.
| | 01:04 | Now, the Detail slider, what do we want
to do? Well, this is going to be really
| | 01:07 | vivid what we need to do. Do we want to
sharpen it this way? I'll go ahead and
| | 01:10 | do that, no, not at all. We can
see too much of the skin texture. And
| | 01:15 | especially with the beauty portrait
like this, we don't want to see that
| | 01:17 | details. So we are going to go ahead
and decrease that. I'll hold down the
| | 01:20 | Option key on a Mac, Alt key on a PC and
take that Detail amount all the way down.
| | 01:25 | Now, with that Detail amount all the
way down, do I need then to increase my
| | 01:29 | Masking? Well not really. But I'm
going to do it just a little bit. So I'll
| | 01:32 | increase my Masking to try to limit
it to the edges here. So I'm going to
| | 01:36 | limit that to some of the edges. So now,
the sharpening is going to be focused
| | 01:39 | on those edges. Increase the
Sharpening Amount a touch. Now let's look at our
| | 01:43 | before and after. Here is before and
then after, zoom out a little bit so we
| | 01:47 | can see more of the face. Here is
before and then after. We are seeing some
| | 01:51 | nice details in the eyes and some of
the other areas that are sharp and some of
| | 01:55 | the other portions of the skin. And to
look at our final you double-click to
| | 01:59 | zoom in to 100%. Here is our before
and after. And In my opinion it's just a
| | 02:04 | little bit high. So I'm going to go
ahead and reduce my Amount and my Radius
| | 02:07 | as well to bring that back down just a
bit. All right, well now we are almost
| | 02:11 | done with this image. So
let's double-click the Hand tool.
| | 02:14 | We may just want to take a look at what
we can do it in regard to reducing the
| | 02:17 | noise here. We may have some noise in
the background and so I'm going to go
| | 02:21 | ahead and grab my Zoom tool and zoom in
on that background. And there I can see
| | 02:24 | some of the color noise on that gray
background. So I need to increase my
| | 02:28 | Luminance noise, I also see it in the
hair. So when I increase that, all of a
| | 02:32 | sudden that noise is diminished which
is great, and also especially that Color
| | 02:38 | slider works so well at this image, wonderful.
| | 02:41 | We'll press the Spacebar and pan back
to the image. This is going to help even
| | 02:45 | out our skin as well. Double-click the
Zoom tool to take us back to 100%, and
| | 02:49 | take a look at how that Color Noise
Reduction is working for us. Again, just
| | 02:53 | evening out the overall tones of
the skin, and then I'm looking at my
| | 02:56 | Luminance before and after sliding
it one way or the other, pretty high
| | 03:00 | Luminance amount, good amount of
Sharpening before and then after. And that
| | 03:06 | image is good to go.
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| Sharpening architecture| 00:00 | In this movie we'll be working on this
file corwig_hotel_08.jpg. Let's go ahead
| | 00:04 | and open that one up by pressing Command
+R on the Mac, Ctrl+R on a PC. And this
| | 00:09 | is actually a view from my hotel in
Hawaii. And the last time I was in Hawaii,
| | 00:12 | I got sick, I got food poisoning, it
was horrible. So I was looking out of the
| | 00:17 | hotel balcony, I was looking up and
thinking that's kind of interesting and so
| | 00:20 | snapped this image off.
| | 00:22 | Now, let's go ahead and zoom in to 100
% here. And we'll double-click the Zoom
| | 00:25 | tool to do that. And when I do that I
notice a couple of things. One is I have
| | 00:29 | some noise in the sky; it's not
too bad. I have a little bit of noise
| | 00:33 | underneath the edges of these balconies.
And I'll go ahead and pan around the
| | 00:37 | image just to get a feel for it. In
this area the, the noise isn't so bad. It's
| | 00:41 | primarily -- my primarily concern is
going to be the sky and under those
| | 00:45 | balconies especially
where the image is in focus.
| | 00:48 | All right, well, I'll go ahead and
navigate to the Detail panel, and typically
| | 00:51 | what I like to do is start off by
reducing my Luminance noise and my Color
| | 00:55 | noise. And when I do that and look at
my before and after again, that sky looks
| | 00:59 | much better. I'll try to zoom in on
that for you, here is our before and after
| | 01:03 | just smoothing things out quite a bit
and a little bit more exaggerated there
| | 01:07 | so you can see it. Okay, we'll double-
click the Zoom tool to bring the building
| | 01:10 | back into view. Well, now how we are
going to sharpen this one? All right,
| | 01:14 | we'll go through our sliders. We are
typically going to bring our Amount up and
| | 01:17 | we can hold down the Option key on a
Mac, Alt key on the PC to begin to see
| | 01:21 | what it's going to sharpen.
| | 01:22 | Now, the Radius is going to be really
interesting here. With a low Radius,
| | 01:26 | those lines are going to be a really
sharp, with a high Radius, we are going to
| | 01:29 | start to see that they grow or the
extension goes out. And you should be able
| | 01:33 | to see it almost like it's pulsating,
it's growing or it's decreasing. So in
| | 01:38 | our case we want a real low Radius,
because we want that sharpening to be
| | 01:41 | limited to those edges.
| | 01:43 | Now, for the Detail Amount, again we
can bring in a lot of details. In this
| | 01:46 | case we zoom in, let's see if we can
get in close on this one. We are going to
| | 01:50 | see that there is all these noise in
there. But when I decrease that Detail
| | 01:54 | amount, it's going to focus in on
those edges. So I'm going to bring a little
| | 01:57 | bit of detail in just to make sure
the edges will be sharpened. Then I hold
| | 02:01 | down the Option key on a Mac, Alt
key on a PC, I'm going to bring up my
| | 02:04 | Masking slider, which is just going
to really limit the sharpening to that
| | 02:08 | portion of the image. Now when we look
at our overall before and then after,
| | 02:12 | here we can see that before its okay,
but then the after we have all of that
| | 02:16 | noise reduction, and it just refined
those edges right, they look super nice.
| | 02:20 | We'll double-click that Zoom tool and
take a look at 100%. Here is our overall
| | 02:25 | before and after. And again, it just
added some really nice edge definition.
| | 02:29 | All right, well, this just about
wraps up our conversation about using the
| | 02:33 | Detail panel. Before we leave the
Detail panel, just a couple of quick
| | 02:36 | thoughts. One is when you are working
on reducing the noise the Luminance in
| | 02:40 | the Color noise, keep in mind that
almost every image needs a certain amount of
| | 02:43 | Noise Reduction. And also keep in
mind that the lower the quality of the
| | 02:47 | camera, probably the higher
the amount of Noise Reduction.
| | 02:50 | And then also keep in mind that when
you are working on you sharpening, what
| | 02:54 | you are going to do is modify your
sliders and typically think of a low Detail
| | 02:58 | amount for people. A lot of times in
your people photographs, this needs to be
| | 03:02 | really, really low. And with your other
photos like architecture photos that's
| | 03:05 | going to be high. But in this case that
Detail slider isn't very high, because
| | 03:09 | it picked up quiet a bit
a noise underneath here.
| | 03:12 | So if it's a little bit more of a
pull back architecture shot, and the
| | 03:15 | architecture is smaller in the frames
so that we can then get to those small
| | 03:19 | details and bring out those smaller
edges, then perhaps in those situation that
| | 03:23 | at least for me in some of my
architecture photography, I need to crank that
| | 03:26 | detail up. But do be careful of this
slider, because this is one of the sliders
| | 03:30 | that I've found can cause the most
damage in regards to overall sharpening.
| | 03:34 | That being said that damage can be
protected if you go ahead and increase your
| | 03:38 | Masking amount, because that's kind of
the save the day slider, right? That's
| | 03:42 | the one that says, hey, hey, protect a
lot of the image. And by increasing that
| | 03:46 | you can protect quite a bit of the image,
and that's the final outcome, can be
| | 03:49 | much more desirable.
| | 03:50 | All right, well I hope you enjoyed this
chapter and I hope you picked up a thing or two.
| | Collapse this transcript |
|
|
14. HSLIntroducing the HSL controls| 00:00 | In this chapter we are going to have a
bit of fun working with the HSL panel,
| | 00:04 | and looking at how we can modify color
and tone. In this first movie what I'm
| | 00:08 | going to do is deconstruct how these
controls works. So let's go ahead and open
| | 00:11 | up the file colors.jpg and corwig_uk.jpg.
Press Command+R on the Mac, Ctrl+R on
| | 00:18 | a PC. All right, well, here we have
these different colors. We are going to
| | 00:21 | navigate over to the HSL/Grayscale panel.
| | 00:24 | Now, the next chapter we'll be talking
about Grayscale. In this chapter we are
| | 00:27 | focus in on HSL. HSL stands for Hue,
Saturation, and Luminance. Now, Hue is
| | 00:32 | color and so here you can see
that I have red and then orange.
| | 00:36 | If I modify my Reds, you can see that
I can shift the colors there. One of
| | 00:40 | things that's interesting you can
notice that now the red is a little bit more
| | 00:44 | like the color underneath it, which is
orange. Let's double-click that slider
| | 00:48 | to take it back. Well, what about the
Orange slider? Well, I can make that one go
| | 00:51 | more yellow or I can make it go more red.
| | 00:54 | You will also notice that there is a
bit of reach. It's not just affecting the
| | 00:58 | pure orange, because we know a little
bit about color, right? Color is made up
| | 01:02 | by mixing of other colors. Yet, what I
want to illustrate here is that there is
| | 01:06 | a bit of a connectedness of the colors
that we can see here. All right, here
| | 01:10 | I'm on the Yellows, right? I can make
those Yellows more green. I could make
| | 01:13 | my Greens even a little bit more green.
My Aquas, I'm going to go ahead and
| | 01:16 | make those a little bit more of this
aqua color. Blues, I'll do the same
| | 01:20 | thing. So again, all I'm doing in
this case is minimizing my color and
| | 01:24 | starting to get you to think about how
those different colors are connected.
| | 01:28 | Now, will you ever actually modify an
image in this way? Well, probably not.
| | 01:31 | But knowing how far you can push a Hue
in regards to its overall color shift is
| | 01:37 | kind of helpful. Okay, let's go
ahead and reset everything. Hold down the
| | 01:40 | Option key on a Mac, Alt key on a PC,
click on the Cancel button, which has now
| | 01:44 | become Reset. Let's go to the
Saturation sliders. Here what I can do is move
| | 01:48 | out or remove all of the color from
these different areas of the image. And
| | 01:52 | this is kind of helpful, right?
Because I can reduce colors and then say, you
| | 01:55 | know what? I'm just kind of interested
in having Greens. So now I have just
| | 01:58 | those Greens in there.
| | 01:59 | So on the other hand what I could do is
set all of these sliders back to normal
| | 02:03 | and say, well you know what? Let's
bring all those colors back to normal and
| | 02:06 | I'm going to go ahead and do that. And
now all I'm controlling is really just
| | 02:10 | the saturation of those Greens. I just
want to add a little snap there. If I want
| | 02:14 | to add a little bit more of a snap I
can reduce the other colors. So I can
| | 02:17 | create a little bit more of a muted
color palette. And this can be really
| | 02:21 | interesting. Muting other colors in
order to fake or to give the illusion of a
| | 02:26 | more saturated color. It can actually
be quiet powerful. In this case this
| | 02:30 | muted color palette then
that really vibrant green.
| | 02:33 | Now, that particular color
combination again isn't very interesting and I
| | 02:37 | probably wouldn't do that to images.
But knowing how to begin to think and
| | 02:41 | begin to work with a saturation
controls is really helpful. All right, let's
| | 02:45 | hold down the Option key on a Mac,
Alt key on a PC. That changes Cancel to
| | 02:48 | Reset and let's look at Luminance.
| | 02:49 | Well, here is where I can control the
overall brightness of a particular color.
| | 02:53 | In this case I'm going to make it
darker so we can see those are darker, and
| | 02:56 | I'll just go through the list here and
you can see how I'm slowly darkening up
| | 03:00 | these colors.
| | 03:01 | Now, some colors are going to go deeper,
darker, than other colors, because of
| | 03:05 | the particular nature of that color.
| | 03:07 | Now, keep in mind too if I go back to
my basic adjustments, then I modify my
| | 03:11 | overall color temperature. I'm also
going to be controlling the color in a
| | 03:15 | pretty unique way. So all of these
controls work in unison with the other
| | 03:19 | controls that we'll be using.
| | 03:21 | Now, that we've basically de-
constructed what they are, Hue is color,
| | 03:24 | Saturating is overall color intensity,
Luminance is really color brightness,
| | 03:29 | let's go ahead and work on an image.
Here we have this file corwig_uk.jpg and
| | 03:34 | it's a photograph that I took of the
Waterloo Underground sign. What I want to
| | 03:37 | do is begin to modify this image in
kind of a unique way. So I'll navigate over
| | 03:41 | to my Hue slider and here is what I'm
going to do. I'm going to go ahead and
| | 03:44 | change the Reds and because this
image only has a couple of colors I can see
| | 03:47 | that very vividly and I'll
go ahead and make that Orange.
| | 03:51 | Next, I'm going to navigate down to
mu Blues. Now what can I do with the
| | 03:53 | Blues. Well, again I can swing that
one way or the other. I'll go ahead and
| | 03:57 | change that just a bit here and I'm
just going to modify that so perhaps I
| | 04:02 | have a little bit more Purple. Next,
I'll navigate to my Saturation controls,
| | 04:06 | and I'm going to look to remove the
Yellows. I don't want any color in the
| | 04:09 | background back here.
| | 04:11 | Now that I have made this kind of
unique color adjustment, I want to see my
| | 04:14 | before and after. I press the P key,
here is the before, and then there is the
| | 04:18 | after. And I'll zoom in on that one a
little bit more so we will go to 100%, so
| | 04:22 | we can actually see the color in the
background as well. Here is our before and
| | 04:26 | then our after. Again reducing color
in different aspects of the image and
| | 04:30 | changing color in other aspects of the
image and then double-click the Hand
| | 04:34 | tool to take that back to a Fit in View.
| | 04:37 | So as you are starting to see, you can
begin to modify Hue and then add in a
| | 04:40 | little bit of a Saturation adjustment.
Let's go over to our Luminance controls.
| | 04:45 | Now we have to remember what were
the original colors here, right? So I'm
| | 04:48 | going to go down to my Blues, and when
go down to those Blues that's where I
| | 04:51 | can control the overall brightness of
that area of the image. What was the
| | 04:54 | color here? Well, that was red, right?
And so, now although we have changed the
| | 04:58 | color, the Luminance adjustments are
based on the original colors. So you just
| | 05:03 | have to keep that in mind as
you begin to use these controls.
| | 05:07 | All right, well, let's have a little
bit more fun with these controls so we can
| | 05:10 | get some more ideas on how we may work
with the HSL adjustments and let's do
| | 05:15 | that in the next few movies.
| | Collapse this transcript |
| Modifying color and tone with the HSL controls| 00:00 | In this movie, we are going to
continue to have some fun with the HSL
| | 00:03 | adjustments. We are going to be
using the file corwig_mexico_01 and
| | 00:06 | corwig_mexico_02. Select both of
those files by pressing the Shift key and
| | 00:10 | clicking on both of them, then press
Command+R on a Mac, Ctrl+R on a PC. One of
| | 00:15 | the things that I'm trying to
illustrate here is that in order to learn how
| | 00:18 | these control works; it's a good
idea to work with images that have vivid
| | 00:22 | colors and to play a little bit,
to have some fun with color.
| | 00:25 | All right. Well, let's go ahead and
navigate over to our HSL controls here, and
| | 00:30 | here we have this photograph of this
window in Mexico with these interesting
| | 00:33 | shutters. Now I like the colors but I
just want to play with them a little bit.
| | 00:37 | So here we are in our Hue adjustments.
So I'm going to go ahead and modify the
| | 00:39 | hue, and I can make my Reds, I can
make them a little bit more magenta red
| | 00:43 | because that's the way that I drag it
when I go over left. Okay, a little bit
| | 00:46 | more of a magenta red or a little
bit more of an orange red. Kind of
| | 00:50 | interesting. What then about those
Greens? So we have Greens and Blues down
| | 00:54 | here. We are going to go ahead and
make some adjustments there. When I modify
| | 00:57 | my Greens, you can see that I can shift
it one way or the other. Then I have a
| | 01:01 | little bit of control here as well
modifying the overall Blues inside of that
| | 01:05 | image but again, just a pretty quick
adjustment. I have changed the image
| | 01:09 | relatively significantly. Press the
P key, here is my before and after.
| | 01:14 | Okay. Well, now that I see that I
realize, I actually want a little bit more of
| | 01:17 | that red. So I'm going to bring in some
more red. Navigate over the Saturation
| | 01:20 | panel, I'm going to boost the
saturation of those Reds, I want a lot of red
| | 01:24 | there. Then I'll go to the Luminance
controls and here I'm going to go ahead
| | 01:27 | and darken those Reds, I want
those nice and deep and dark.
| | 01:31 | Go back to the Hue adjustments. Now
what about these Blues up top? Well, what I
| | 01:36 | can do there is modify this so that it
becomes a little bit of more purple. I'm
| | 01:39 | affecting the door, which brings in a
little bit of that purple color into the
| | 01:43 | door, but I like that. I think that's
working for me. Press the P key, here is
| | 01:47 | my overall before and after.
| | 01:50 | In order to really begin to see how we
can use these different controls, let's
| | 01:53 | move to our next image. Here we have
another photograph that was captured in
| | 01:56 | Mexico and I just love the vivid
colors of Mexico. So here we have this image
| | 02:01 | and again, I'm just going to begin to
modify this to have a little bit of fun
| | 02:04 | with it. I'll go ahead and modify my
Reds here and I'm going to make those
| | 02:08 | nice and bright there. It's a little
bit more color. Oranges as well, I want to
| | 02:13 | brighten those up.
| | 02:14 | The Saturation controls, what happens
if we just remove a lot of color? I'm
| | 02:17 | going to move through this image and
just take out a lot of this color, and
| | 02:20 | here you can see that I'm slowly
pulling out the different colors until I just
| | 02:25 | have, let's say, my Oranges left and
I'll saturate those. Luminance, well here
| | 02:30 | is where I can control the overall
brightness of that backdrop because we know
| | 02:34 | that that was red-oranges. Now
that's where the flames surrounding this
| | 02:38 | particular object. Then I can
control different aspects of the image, the
| | 02:41 | dress, brighten that up a little bit.
There is a little bit of blue on the
| | 02:44 | necklace there. I might bring back
some of those colors and just modifying
| | 02:48 | these sliders till I find somewhere
it's kind of visually interesting.
| | 02:51 | Going back to the Saturation controls,
again, just having a little bit of fun.
| | 02:54 | What if I bring back a little bit of
the color inside of this image? It also
| | 02:58 | brings back a little bit of the Reds.
Now look at my before and after. Press
| | 03:01 | the P key, here is before and here is
after. Still a real vivid and colorful
| | 03:06 | image, yet very different. Then
sometimes what will happen when you make
| | 03:09 | adjustments like this is you will bring
back in some of the other colors so you
| | 03:12 | still have some of those in the mix.
Then look at your before and after and
| | 03:16 | just see how you can change the overall
mood of a particular image, change the
| | 03:20 | overall color and color
palette of a particular image.
| | 03:24 | So again, the whole point with this
movie is to just to begin to realize that
| | 03:28 | you can change color in some pretty
significant ways. Yet keep in mind, I would
| | 03:32 | like to think of this more as swinging
color than as changing color completely.
| | 03:37 | You can take color where it is and move
it a little bit to the left or a little
| | 03:40 | bit to the right. You can change its
saturation, pretty significantly down or
| | 03:44 | up. You can change its brightness,
pretty significantly down or up.
| | 03:48 | All right. Well, I hope that that
helped you de-construct those controls a
| | 03:51 | little bit. In addition, I hope that
it helped you to realize that these
| | 03:55 | controls can be quite a bit of fun.
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| Reducing color with the HSL controls| 00:00 | All right, one more quick movie using the
HSL adjustments. We will work on the file
| | 00:05 | corwig_annika.dng. Select that file,
then double click it to open it up inside
| | 00:10 | of Camera Raw. Here is a photograph of
my daughter, Annika, sitting on a swing.
| | 00:14 | I love the nice colors of this image
and here is the image as captured, and
| | 00:18 | just for the record it was an overcast
day. That's why the colors are really
| | 00:21 | vivid and the light is really smooth
and soft, and I love taking pictures on
| | 00:26 | overcast days.
| | 00:28 | All right. Well, we are going to
navigate over to our HSL controls. What I'm
| | 00:31 | going to do here is go to my
Saturation controls and I'm just interested in
| | 00:35 | trying to reduce color of this image.
I'm going to reduce color in order to
| | 00:38 | kind of create a little bit of a hand
color defect or maybe even to set the
| | 00:42 | stage for doing some hand coloring.
So I'll go ahead and start to pull the
| | 00:46 | colors out and as I do that, I realize
that a lot of the colors are in this,
| | 00:50 | Oranges there, Blues, I want to bring
those up even a little bit more, Purples
| | 00:54 | down, Magentas down, and I forgot
the Greens, bring those down as well.
| | 00:58 | All right. Well, so far so good, I was
able to bring a lot of the color out.
| | 01:01 | Now if I want to bring a little bit of
the color back, I can bring some of my
| | 01:04 | Oranges in, I can bring a little bit
of the Reds in, I'll add a little bit of
| | 01:07 | the Reds there. Go to the Luminance
adjustments slider here and here is where I
| | 01:11 | can control the overall brightness of
those Blues. I want to brighten up those
| | 01:15 | blue jeans. Overall, those look really
nice. Then click on our Hue adjustment.
| | 01:19 | Now I can modify the overall hue here
if I'm interested in swinging that one
| | 01:23 | way or the other.
| | 01:25 | Again, you can see the events of
beginning to shoot and think about color
| | 01:29 | because you now have these HSL controls.
One of my points here is to just to
| | 01:34 | get to begin to realize the
potential with these controls. Now like this
| | 01:37 | particular image, would I actually
process it this way? Well, maybe not but I
| | 01:41 | might experiment a little bit. I may
then go to my adjustments to add a little
| | 01:45 | bit of Vignette. See what happens if
I do that. Perhaps, it is a little too
| | 01:48 | strong. Go back to my Basic adjustments,
increase the Contrast, little bit of
| | 01:53 | Fill Light perhaps, little bit of
Brightness. Again, I'm just kind of shooting
| | 01:57 | from the hip here taking through how I
may be interested in processing this image.
| | 02:01 | What I then could do is open this one
up inside of Photoshop, I could remove
| | 02:06 | the color from the rest of the
background, and then do some hand coloring or
| | 02:09 | some hand paint of color on top of it.
It just gives me kind of a nice start.
| | 02:14 | It gives me some of the natural colors
that are there. I could then add some
| | 02:17 | more colors on top of this.
| | 02:19 | Now in my own particular workflow, do
I create images like this often? Not
| | 02:23 | necessarily, yet there are times when I
do something like this that it teaches
| | 02:27 | me a little bit about color. Then it
just may teach me that I like the blue
| | 02:32 | jeans in this image. So hold down the
Option key on a Mac/Alt key on a PC and
| | 02:36 | that changes Cancel to Reset. I'll
go back to my HSL controls. Go to the
| | 02:40 | Luminance slider and say, "I really
need to brighten those up and those are
| | 02:44 | really interesting blue jeans. I like
that." Saturation those Blues, I want to
| | 02:48 | bring more to that. I like those colors
there. I'm going to reduce some of the
| | 02:52 | other colors. The Greens, I'm going to
pull out a little bit. Yellows, just a
| | 02:56 | touch. Now Oranges, I need to keep
those pretty high. As I want those nice
| | 03:00 | vivid colors. Reds, I want those
pretty high as well. Purples and Magentas, I
| | 03:04 | can get rid of pretty much in this image.
| | 03:07 | Okay, so far so good, I like that. I'll
go to the Hue adjustments. Now here, I
| | 03:10 | can make some pretty significant changes,
right? I don't want to go too far but
| | 03:14 | I'll add a little bit of warmth of red
into it. Let's press the P key, here is
| | 03:18 | our before and here is our after. So
not significant real changes here but some
| | 03:22 | kind of interesting color adjustments.
Then I go to my Basic adjustments and
| | 03:26 | here I add some Contrast, little bit
of Fill Light, my Blacks come up, little
| | 03:30 | bit of overall Exposure, little bit
of warmth there. Then I'm going to
| | 03:34 | de-saturate the color a bit. It's
going to bring some of these colors down.
| | 03:38 | Let's go to the presets tab and look
at our overall before and after. Here is
| | 03:41 | before and here is after. Now is that
a very significant color adjustment?
| | 03:46 | Well, not necessarily but the mood has
been shifted just a little bit. So keep
| | 03:50 | in it mind, sometimes what you will
do is you will make these real drastic
| | 03:53 | adjustments. Then you will back them
off and say, "What did I learn through
| | 03:56 | those adjustments? Okay. How then do I
want to modify this image? What if I do
| | 04:00 | something perhaps a little bit less,
maybe a half as much, or maybe a third as
| | 04:04 | much, or maybe a quarter as much?" It
really depends on your overall style and
| | 04:08 | the intent of what you
are trying to communicate.
| | 04:11 | Now one of the interesting things
about using these controls is they can, of
| | 04:14 | course, correct your image or enhance
some in really significant huge ways or
| | 04:18 | in simple ways. More importantly, they
can help you to begin to see color, not
| | 04:24 | just when you are shooting but in post
production; and then seen those colors,
| | 04:28 | you can begin to make unique
modifications which can ultimately help you make
| | 04:32 | better black and white conversions;
which we will talk about how we can do in
| | 04:36 | the next chapter.
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|
|
15. Black and WhiteThe Black and White Controls| 00:00 | In this movie, we are going to begin
to deconstruct how we can convert to
| | 00:04 | Grayscale or convert to black and white.
And it was Ansel Adams who is used to
| | 00:08 | say, "I like to shoot in black and
white format because it can help me express
| | 00:13 | how I feel and it can help me express
how I experience a particular situation."
| | 00:17 | There is something about removing color
from a photograph that can add depth or
| | 00:22 | it can kind of quiet or calm or deepen
a photograph and Ansel also said,
| | 00:27 | "One of the reasons I don't take pictures
in colors because people would expect the
| | 00:31 | colors to be accurate. I don't want to
necessarily create accuracy, I want to create expression."
| | 00:36 | Now that's a bit of paraphrase but
it's kind of an interesting thought, isn't it?
| | 00:39 | All right, well let's go ahead
and select this file colors.jpg and then
| | 00:42 | press Command+R on the Mac, Ctrl+R on a
PC to open it up inside of Camera Raw.
| | 00:48 | Now there are a couple of different
ways that we can convert to black and
| | 00:50 | white. One is we can simply desaturate
here. Now when I desaturate here, the
| | 00:55 | black and white conversion is
based on the color temperature.
| | 00:58 | So when I modify the color
temperature you are going to see that my overall
| | 01:01 | tones are shifting one way or the other.
You can see that I have control over
| | 01:05 | those tones. Yet it's pretty limited
control. All right, press Option on a Mac,
| | 01:10 | Alt on a PC. That will change Cancel to
Reset. Another technique that we can use
| | 01:15 | is go to the HSL/Grayscale controls
and go to the Saturation slider and then
| | 01:19 | manually pull out the
Saturation from each of the channels.
| | 01:22 | Now as I do that I can then go to the
Luminance controls and here I can modify
| | 01:26 | the brightness or darkness of a
particular area of an image. Let's say I want
| | 01:30 | to darken the sky, I can darken the
Blues that way. Yet there is another
| | 01:33 | technique. Hold down the Option key on
a Mac, Alt key on a PC. It will change
| | 01:37 | Cancel to Reset.
| | 01:38 | We can also choose Convert to Grayscale.
It combines those three HSL controls
| | 01:43 | into one set of controls and now what
I can do is control the Blues and here
| | 01:47 | you can see that I can take these
Blues to a much darker or a much more vivid
| | 01:51 | and much more high contrast deeper Blue.
Look at the Blue here. Okay we can see
| | 01:56 | that nice deep black. I'm going to
Reset that and then show the other
| | 02:00 | technique. When I perform this this
way removing the color and then go to my
| | 02:05 | Luminance slider and I'm going to
use my Blues and Purples and Aquas. It
| | 02:10 | doesn't even come close, right? It's a
much more muted gray versus that deep black.
| | 02:15 | So that Covert to Grayscale can give
us a lot of flexibility where we can
| | 02:19 | really push colors pretty far and we
can then modify the tones in some of
| | 02:23 | unique ways. Quick word of caution.
As we begin to do this, we can actually
| | 02:28 | introduce some noise or
some problem to our images.
| | 02:30 | So we have to keep an eye out for that.
It doesn't mean we don't want to use
| | 02:33 | these techniques. We do want to use
these techniques, but we just want to keep
| | 02:36 | an eye on noise that can come from
modifying our tones based on the color in
| | 02:42 | these real high amounts. In this case
-100. All right, well now that we know
| | 02:46 | a little bit about converting to
Grayscale, let's go ahead and put our skills
| | 02:50 | to work and we will do
that in the next few movies.
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| Simple black-and-white conversion| 00:00 | Converting to black and white almost
always needs to be wrapped in a larger
| | 00:04 | context of photographic workflow. So
we are going to talk about photographic
| | 00:08 | workflow and converting to black and
white with these next few images. We are
| | 00:11 | going to start up with the simple
image corwig_ny. Go ahead and select that.
| | 00:15 | Press Command+R on a Mac, Ctrl+R on a PC.
| | 00:19 | Now I really enjoy this photograph
because this particular woman just walked up
| | 00:23 | to that sculpture, nose to nose and I
love that she walked in the frame. Now
| | 00:27 | when I first opened up this image, I
thought oh, I don't really know if it's
| | 00:31 | very good because the white balance is
off. So the first thing we need to do is
| | 00:34 | color correct the file. We will hold
down the Shift key to access the White
| | 00:37 | Balance tool, click on the background
because I know that wall was white or at
| | 00:40 | least close to white and I'll get
a pretty rough White Balance here.
| | 00:44 | Now that's not perfect but it helps
me begin to see little bit more of the
| | 00:48 | accurate color and it helps me begin to
evaluate the image. Okay well now that
| | 00:52 | I have seen that. I'm going to go ahead
and navigate over to the HSL controls.
| | 00:56 | Now with these HSL controls I'm
interested in converting to Grayscale, yet I
| | 01:00 | want to keep in mind the color of the
face, also of the sweater and of the
| | 01:04 | purse back here. So I Convert to Grayscale.
| | 01:06 | Now if I want to modify the face, I
know that that face had a lot of orange in
| | 01:10 | it. So I can modify that one way or
the other. Now if I darken it, it doesn't
| | 01:14 | looks very good it's not very flat and
if I brighten it, I bring a little bit
| | 01:17 | more to her face. Now that's a pretty
simple adjustment. Yet it looks pretty
| | 01:21 | good and again I'm just pressing the P
key before and after taking a look at
| | 01:25 | the different colors here.
| | 01:26 | Now to see the before and after.
Here is overall before for that and then
| | 01:30 | finally our after. Okay that's nice.
Next we know that we have some yellows and
| | 01:34 | greens in here. So we are going to try
to modify those sliders and here we can
| | 01:37 | see we can bring a little bit of
detail on to the purse and also brighten up
| | 01:41 | the sweater a little bit or darken it
for that matter, if you want to go that
| | 01:44 | particular route.
| | 01:45 | All right, well now that we have
modified this Grayscale conversion, the next
| | 01:48 | thing that we need to do is tweak it
out a little bit further. I'm going to go
| | 01:51 | to my Lens Correction and I'm going to
add a bit of vignette because I want to
| | 01:54 | darken up my corners and you can do a
pretty significant amount here and I'm
| | 01:58 | going to slide my Midpoint in and out
until I find the sweet spot. Again, I
| | 02:02 | just want to focus in on those corners.
| | 02:04 | Another thing that's kind of
interesting to do. If you want to create a little
| | 02:07 | bit of stylistic effect is to add a
Post Crop Vignette. What you need to do is
| | 02:12 | to dial in the overall Roundness amount.
When you do that you can see that you
| | 02:16 | can just bringing a border around the
edge of the image and again it's just a
| | 02:19 | little bit of an interesting style
and then I'll back that off to make it a
| | 02:23 | little bit more subtle, a little bit
more feathering there and then the amount
| | 02:27 | I'm going to take off. But again it's
just some darkening around the edges.
| | 02:30 | Okay so far so good.
| | 02:31 | Next step, go to the Basic panel and
here I'm going to increase the overall
| | 02:34 | Contrast. I'm going to add a little bit
of Fill Lights to bring in some detail
| | 02:38 | there and then my Blacks, I'm going
to bring up as well and trying to add a
| | 02:42 | little bit of a motion, a little bit
more of an intriguing image. But now as I
| | 02:46 | do that I say, you know what I like
the image except I don't really like the
| | 02:49 | Post Crop Vignette I added, so I'm
going to go back there and I'm going to
| | 02:52 | reduce that even further.
| | 02:54 | I want a little bit of darkening effect
around the edges but not quite so much
| | 02:58 | and now in regards to the tone on her
face, I'm going to modify that. Head
| | 03:01 | back to the HSL/Grayscale sliders and
here is where we can modify the overall
| | 03:05 | brightness there. I'm just going to
darken it up, just a touch. I felt like we
| | 03:08 | want a little bit too bright. Final
adjustment for me. Basic here and do a
| | 03:13 | little bit of Recovery and then a
little bit of Brightness and that is a wrap.
| | 03:18 | We now have a very different image. In
my opinion a little bit more expressive
| | 03:23 | and now here is the trick. A lot of
times when you convert to black and white
| | 03:26 | you remember the color. You have to
keep in mind that when someone comes to one
| | 03:30 | of your images, like an image like
this they are not going to know anything
| | 03:33 | about it except for this initial view.
So you almost have to look away from
| | 03:36 | your computer. Close your eyes, look
back and say, hey, does this one look
| | 03:40 | pretty good. Does this capture the
sentiment for what I was going for, with
| | 03:44 | this particular image?
| | Collapse this transcript |
| Creating a dramatic black-and-white landscape| 00:00 | Go ahead and select the file corwig_
desert.CR2 and then double-click it to open
| | 00:05 | it up in Camera Raw. We are going to
convert this beautiful landscape shot to
| | 00:09 | black and white. We are going to have
quite a bit of fun with these grayscale
| | 00:12 | controls here.
| | 00:13 | Now, keep in mind typically when you
are converting the black and white, you
| | 00:15 | need to think about your normal or your
overall photographic workflow. So what
| | 00:20 | am I going to do with this image?
| | 00:21 | Well, I'm going to go ahead and double
-click the Zoom tool. That will take
| | 00:23 | this image to 100%. Press the Spacebar,
then reposition the image so I can look
| | 00:27 | at the sky. Now, I'm looking for any
potential problems in the sky. I see a
| | 00:31 | little bit of a grain structure here
and some potential problems. Click and
| | 00:35 | drag the Zoom tool to zoom in.
| | 00:36 | I notice a little bit of color noise
as well as just some luminance noise. So
| | 00:40 | let's go over to the Detail panel and
here what I'm going to do is increase
| | 00:43 | my Luminance Noise Reduction as well as
my Color Noise Reduction and bring that up pretty high.
| | 00:49 | Now for my Sharpening amounts, what
I'm going to do is have a pretty high
| | 00:52 | amount, lower my Detail a bit and
increase my Masking. Why am I going to do that?
| | 00:56 | Well, I'll press the Spacebar
to reposition this image, so we can
| | 01:00 | actually see what's happening here. If
you hold down the Option key on a Mac,
| | 01:03 | Alt key on a PC, you can then mask out
the sharpening so it's not affecting the sky.
| | 01:08 | It is going to affect the other
areas. We will go ahead and pan and move
| | 01:12 | down here to the foreground and then
hold down the Option Key on a Mac, Alt Key
| | 01:15 | on a PC. And here you can see I'm
still sharpening the edges of this
| | 01:19 | particular landscape and some different
aspects of this image. All right, well,
| | 01:23 | let's go ahead and double-click the
Hand tool so we can see the entirety of
| | 01:27 | this photograph.
| | 01:28 | Now that we have, quote, protected the
sky, I'm ready to convert this image to
| | 01:32 | grayscale. So I'll click on my HSL/
Grayscale controls, click on Convert to
| | 01:37 | Grayscale and I'm already starting
to like the image a little bit more,
| | 01:40 | except the sky is just way too bright.
| | 01:43 | Well, let's go ahead and darken that.
We'll do that by deepening those blues up
| | 01:47 | there. We also want deepen the aquas
just a little bit. I'm going to go ahead
| | 01:51 | and modify this till I find a sweet
spot where I think that looks pretty good.
| | 01:55 | Now, we know that this path was dirt.
How could I then modify that? Well, we'll
| | 01:59 | go ahead and modify the oranges in
the image. I'm going to brighten up the
| | 02:01 | path because that's really an
important part of this image, right?
| | 02:05 | The next thing I'm going to do is
work on the fields here. And here you can
| | 02:07 | see that I can darken or brighten the
field. I'm going to darken the field and
| | 02:11 | I'm creating a real dynamic black and
white conversion, right? Then click on
| | 02:15 | the Lens Corrections adjustments, add a
little bit of vignette to darken those
| | 02:18 | corners. Not too much of a
vignette, just a touch there.
| | 02:22 | Navigate back to the Basic adjustments.
I'm going to add a little bit of Fill
| | 02:25 | Light to bring in some light to these
areas here. I want to have a little bit
| | 02:29 | more light in those areas and then
increase the contrast a bit and now we
| | 02:34 | have a pretty stunning, pretty
amazing black and white conversion.
| | 02:38 | Now, one of the things that we need to
be careful about when you are converting
| | 02:41 | to black and white is we can introduce
noise to our images. Let's go ahead and
| | 02:45 | double-click the Zoom tool, take the
image to 100% and then press the Spacebar
| | 02:49 | to pan or reposition the image, to move
around the image. We want to really pay
| | 02:53 | close attention to the sky. So I'm
going to look at the sky here and see how
| | 02:56 | the grain structure is holding up or
not holding up. In this particular image
| | 03:01 | it's doing pretty well.
| | 03:02 | Now I'm going to go to my Detail
adjustments and here I'm going to increase
| | 03:05 | my Luminance Noise Reduction just a bit.
I'll take it down and then bring it up.
| | 03:09 | What I'm noticing is I need to
just bring that up a little bit higher
| | 03:13 | there in order to reduce a little bit
more of the noise, and then I want to go
| | 03:17 | to the foreground. So I'm going to
reposition the image to the foreground here
| | 03:20 | on the path. Take a look at the
sharpening amount. Here is my amount; we can
| | 03:25 | see the overall amount of sharpening
that is being applied. And then the detail
| | 03:29 | is going to be all those little small
details. How much detail do I actually
| | 03:32 | need to sharpen?
| | 03:33 | We are going to have a pretty low
detail amount. We will look at our before and
| | 03:36 | after and here is what's happening the
before and after with these particular
| | 03:39 | adjustments. Pretty significant, right?
Because we have this high amount of
| | 03:43 | Luminance Noise Reduction, this high
amount of Color Noise Reduction, and that
| | 03:47 | Color Noise Reduction in this case,
while it cleaned up the sky, gave me a
| | 03:51 | little bit of a problem.
| | 03:52 | So as I modify those sliders and
double check my adjustments, I realize,
| | 03:56 | you know what? I didn't really need to
reduce color noise. I was going about my
| | 04:00 | normal workflow. But what happened was,
when I reduced the colored noise,
| | 04:04 | I lost a lot of detail on the foreground.
Okay, well, I can see that I can get
| | 04:08 | away with much less Color Noise
Reduction there because it adds some nice vivid
| | 04:12 | detail to this portion of the image.
Well what about the sky then? Let's go
| | 04:15 | ahead and navigate back to the sky here,
and take a look at what's happening to
| | 04:19 | the grain structure in the sky.
| | 04:21 | Now, when I look up at the sky, all
of a sudden I'm seeing all of these
| | 04:23 | problems. So what I'm going to need to
do then is bring up the Color Noise so
| | 04:27 | I see the distractions or I see
the grain structure disappearing.
| | 04:31 | Now, why is Color Noise Reduction so
important? Well, because we are modifying
| | 04:35 | the color in huge ways. Remember, I
darkened the blues and so I'm looking at
| | 04:40 | those blues to try to see how far I
actually need to reduce the Color Noise and
| | 04:45 | then I'm going back to my foreground
because I want to make sure I have nice
| | 04:49 | detail here and there is going to be
quite a bit of give and take, and so I'll
| | 04:52 | go ahead and find a sweet spot for that there.
| | 04:55 | All right, well let's double-click the
Hand tool that will take us back to 100%
| | 04:59 | and let's look at the overall before
and after. We'll go to the Presets panel,
| | 05:03 | press the P key. Here is before and
here is an after. A completely different
| | 05:08 | image. And so you may be thinking,
okay Chris that was kind of interesting.
| | 05:11 | We learned how to convert to black and
white. We learned how to integrate this
| | 05:15 | into our overall photographic workflow,
but I'm just not quite satisfied with
| | 05:19 | what you did in regards to the
foreground and the sky. It's almost as if you
| | 05:23 | need two different adjustments, one
for the sky and one for the foreground.
| | 05:28 | If you are thinking that, I would say
I agree. Let's double-click the Zoom
| | 05:31 | tool, take this to 100% and move back
to this foreground area of the image.
| | 05:36 | Now, when we do that, we'll go to our
Detail controls and I'm going to remove
| | 05:39 | my Color Noise Reduction so I have
nice vivid detail here and click Done.
| | 05:44 | All right, now that I have clicked
Done and gone back to the Bridge, it is
| | 05:47 | going to apply those settings. Now to
complete this image, we are going to need
| | 05:50 | to take a few more steps, which are
going to involve duplicating this file and
| | 05:54 | navigating to Photoshop, and we are going to
talk about how we can do that in the next movie.
| | Collapse this transcript |
| Reducing noise from a black-and-white landscape| 00:00 | One of the things that we discovered
was that in the previous movie when we
| | 00:03 | covert to black and white, and when
we are going for this really impactful
| | 00:07 | black and white conversion we can
sometimes introduce noise into our
| | 00:10 | photographs and that's what happened here.
| | 00:12 | So what I want to do in this movie
is talk about the second-half of our
| | 00:15 | workflow. Well now that we have a
pretty good black and white conversion and
| | 00:18 | we have a good black and white
conversion for the foreground. I like the
| | 00:21 | density of the sky; yet, I
don't like the detail of the sky.
| | 00:24 | I'm going to go ahead and select this
raw file here. I'm going to navigate to
| | 00:27 | my Edit pulldown menu and choose
Duplicate or use the shortcut Command+D on a
| | 00:31 | Mac, Ctrl+D on a PC. This will give me
another version of this image. Here you
| | 00:36 | can see it's corwig_desert copy.CR2.
| | 00:39 | I'll select this file, press
Command+R on a Mac, Ctrl+R in a PC.
| | 00:43 | So I'm opening up another version of the
file. Next, I'm going to navigate to my
| | 00:47 | Detail panel. Now, what I'm going to do
here is zoom in on to the sky, so I'll
| | 00:50 | double-click the Zoom tool, press
the Spacebar to reposition the image.
| | 00:54 | Now when I zoom in on the sky,
I see quite a bit of artifacting here.
| | 00:57 | To illustrate that, I'm going to zoom in
even further and there you can see all
| | 01:00 | the artifacts in the sky. Well I'm
going to increase my Color Noise Reduction,
| | 01:05 | so the sky looks really good.
| | 01:06 | Now keep in mind, the sky can actually
be quite soft. So I'm going to go ahead
| | 01:09 | and reduce the overall sharpening
amount, reduce my details, so that I have a
| | 01:13 | really nice looking sky. Press the P
key, there is my before and I'll move
| | 01:17 | this maybe so you can see it better and
then press the P key again, there is my after.
| | 01:22 | Now do I mind that these clouds are
soft on the edges? No, because clouds are,
| | 01:26 | by nature, soft; so that will be fine.
I'll go ahead and double-click the Hand
| | 01:30 | tool to zoom out and press the P key
to look at my before and after, just to
| | 01:34 | make sure I seeing any glaring
blemishes. Okay that image looks pretty good.
| | 01:38 | I'll go ahead and press Done.
| | 01:40 | Now that I have pressed Done, what I
want to do is rename this file. I'm going
| | 01:43 | to go ahead and rename this file corwig_
desert_sky. So press the Command key on
| | 01:50 | a Mac, Ctrl key on a PC and click on
both images. Then hold down the Shift key
| | 01:54 | and double-click in order to open
up both images inside of Photoshop.
| | 01:59 | Now that both of these images are open
inside of Photoshop, I'm actually going
| | 02:02 | to pull this tab out. I don't want
these tabs grouped together, and I'll click
| | 02:06 | and drag and hold this and
move this over to the right.
| | 02:09 | Now this is the image where the sky is
really good. This is the image where the
| | 02:12 | foreground is really good. So I'll hold
down the Shift Key. I'll then click and
| | 02:16 | drag this photograph and drop it into
the other photograph. Holding down the
| | 02:20 | Shift Key will ensure that those two
images are lined up perfectly. Press the F
| | 02:25 | key to go to full screen view mode and
then let's double-click to Zoom tool to
| | 02:29 | zoom in on this photograph.
| | 02:30 | All right, well, now that we are
zoomed in on the sky, we can see that this
| | 02:32 | particular image, this layer here is
the layer for the sky. So I'm going to go
| | 02:36 | ahead and name this layer sky. Now I
know this is a training title on Camera
| | 02:40 | Raw, but I just couldn't help it. I had
to go to Photoshop here because in order
| | 02:44 | to create this amazing black and white
conversion, I needed to take this extra
| | 02:48 | step. So I have this layer called sky.
| | 02:50 | Next, I'm going to hold down the Option
Key on a Mac, Alt Key on a PC and then
| | 02:54 | click on the Add Layer Mask icon. That
will add a layer mask that's filled with black.
| | 02:59 | Okay, we'll zoom out, Command+
Minus on a Mac, Ctrl+Minus on a PC.
| | 03:04 | Now that we are zoomed out, we will
grab our Brush tool by pressing the B key,
| | 03:08 | increase the brush size by pressing
the right bracket key or use any of the
| | 03:12 | other techniques for increasing the
brush size. Press Shift+Left Bracket key to
| | 03:17 | decrease the hardness of the brush. Of
course, you could simply click on the
| | 03:20 | brush here. No hardness, large size, great.
| | 03:24 | Now we are going to paint with white,
so we'll go ahead and choose white in our
| | 03:27 | Foreground Color here, and then I'm
just going to mask in this area of the
| | 03:31 | image here, so that I have nice, soft
sky detail. And in order to illustrate
| | 03:38 | what I have here - here you can see
I have one layer with the sky, make a
| | 03:42 | little bit of a smaller brush so I
can approach the horizon here. Make sure
| | 03:45 | I've a nice detail there and then if
there are any areas that I want to mask
| | 03:49 | away, like, let's say I've gone too
far into the hills here, smaller brush,
| | 03:54 | press the X key and that will then
give me the ability to mask away the
| | 03:58 | adjustment to this portion of the image.
| | 04:00 | Now if you don't know too much about
masking, here is what I recommend. Be sure
| | 04:03 | to check out Photoshop CS4 for
Photographers, where I go into the details of
| | 04:08 | how to work with masks.
| | 04:09 | All right, well so far so good.
We'll go ahead and turn on our Background
| | 04:12 | layer. We now have a foreground layer
that has great detail in it. And we now
| | 04:16 | have this background or the clouds
that have nice detail. The grain structure
| | 04:20 | is so much better which makes our overall
black and white conversion even stronger.
| | Collapse this transcript |
| Adding a black-and-white conversion into a workflow| 00:00 | In this movie we are going to talk
about how we can convert this image to black
| | 00:03 | and white. We're going to talk about
how we can do that in the context of the
| | 00:06 | overall workflow and then we are going
to use that conversion and start of the
| | 00:10 | next chapter, Split Toning, so that we
can really finish this image off. So here
| | 00:14 | we are going to begin to work on it,
convert to black and white and then later,
| | 00:18 | we will add a little bit of
split toning to this file.
| | 00:20 | Let's go ahead and select this file.
I'll press Command+R on a Mac, Ctrl+R on a
| | 00:24 | PC to open it up inside of Adobe
Camera Raw and here we have this photograph
| | 00:28 | of my relatives and this little guy was
catching frogs and he caught this guy.
| | 00:32 | He was so excited about this. He is
holding it up in order to show me the frog.
| | 00:36 | What I'm going to do is add a little
bit more emotion, add a little bit more
| | 00:39 | depth to this image.
| | 00:40 | So I'm going to do a few things.
First of all, I'm going to go ahead and
| | 00:42 | increase the color temperature and
again, I'm just thinking about an overall
| | 00:46 | photographic workflow. Now when I do
that, the image already looks better.
| | 00:49 | Press the P key, there is before and
after, right. I'm going to increase my
| | 00:53 | recovery amount, recover a
few of those highlights there.
| | 00:56 | I'll go ahead and add a little bit
of Fill Light and then I'm going to
| | 00:58 | increase the Contrast a bit. I'm
looking to create a little bit more of a mood
| | 01:02 | with this image. Next, I'm going to
navigate over to my Lens Corrections.
| | 01:05 | I'm going to add quite a bit of a vignette
here. I'll go ahead and darken up those
| | 01:10 | corners and those edges. What I'm
interested in doing is darkening up these
| | 01:14 | edges to create a little bit more
emotion. I'll click on the presets adjustment
| | 01:17 | here. Press the P key,
there is my before and after.
| | 01:21 | All right, well, so far so good. I'm
enjoying the image a little bit more and
| | 01:25 | from my perspective, this is one of
those images where you want to convey or
| | 01:27 | communicate emotion. You don't want it
to be emotional but you want it to have
| | 01:32 | a bit of emotion.
| | 01:33 | All right, so I think we are starting
to get that. Let's then navigate to over
| | 01:37 | to our conversion of black and white
using the HSL/Grayscale controls. We will
| | 01:42 | go to that panel and click on
Convert to Grayscale. Now that I convert to
| | 01:46 | Grayscale I realize that I need to do
some more with this file. One of the
| | 01:50 | things that I need to do is figure out
how I can brighten up the frog. Maybe
| | 01:53 | work on the hands a little bit, work
on the eyes, and then do some other
| | 01:57 | effects in regards to the overall tone.
| | 01:59 | So let's turn that back on and one of
things that we will notice here is we
| | 02:02 | have quite a bit of red in the hands.
We do have green in the frog.
| | 02:06 | We typically think if the frog being
green yet there is some green in the
| | 02:09 | background as well. So if I modify
that, I'm going to modify the background
| | 02:12 | and there is probably going to be some
other colors we will need to modify as
| | 02:15 | well. All right, well, let's
click Convert to Grayscale on.
| | 02:17 | Now with the Reds what's I'm interested
in doing is brightening up those hands
| | 02:21 | a bit. So I'm going to go ahead and
brighten up those hands. Okay, great. Now
| | 02:24 | for the frog, I'm going to try to
bring in some more focus on the frog. So
| | 02:28 | I'll bring in a little bit of detail
on the frog. Now as I did that I also
| | 02:31 | brought in some detail in the background.
| | 02:33 | I'll see if there is any other tones
here, maybe Yellows on that frog as well.
| | 02:37 | That's going to then, brighten up the
skin a touch too. Okay, well, so far so good.
| | 02:41 | I like the brightness I brought in here.
I don't necessarily like it in the background.
| | 02:45 | So I'm going to back to my Lens
Corrections. See if I can increase my Lens
| | 02:50 | Vignetting a little bit, and increase
it even more. Okay, that's looking good.
| | 02:54 | Let's look at before and after with our
vignette. Here is before, here is after.
| | 02:58 | Next let's go to that Greyscale
conversion and here is where we can see the
| | 03:01 | before and after. Starting to really
build out that conversion. Okay, well the
| | 03:05 | next thing that I need to do is to
select the Adjustment Brush. I'll choose the
| | 03:08 | Adjustment Brush and here what I'm
interesting to doing is increasing the
| | 03:11 | Exposure a bit.
| | 03:12 | Auto Mask is off. Flow, I want that to be pretty low,
| | 03:16 | and I want a pretty small brush size here, even
smaller than that, even smaller. Feather amount,
| | 03:22 | I'm going to take down a little bit as
well. What I'm going to do here is just
| | 03:25 | start to paint some light around the
eyes here because I want to bring in
| | 03:29 | some of the details of the eyes and the
face, and so I'm just going to go ahead,
| | 03:32 | and paint back and forth across
those areas. You can see the area
| | 03:36 | that I'm affecting. Here is my before and after.
| | 03:39 | Okay, well, I went to a little bit too
far in this side, hold down the Option
| | 03:43 | key on a Mac, Alt key on a PC. I'll
change my brush Size, increase the Flow.
| | 03:47 | This gives me the ability to access the
Erase tool and then let's look at our
| | 03:52 | before and after, before and
after. Okay, great. So far so good.
| | 03:56 | Next, we are going to go ahead and
create a new adjustment. This time decrease
| | 03:59 | the Exposure. And we want a relatively
big brush here because we are going to
| | 04:04 | work on the background. Pretty high
amount of Feathering. Go ahead and increase that.
| | 04:08 | I'm just looking for a good
brush size there. My Flow is pretty low and
| | 04:12 | that's great because I want to darken
up the edges and I'm darkening up the
| | 04:16 | edges for a couple of reasons.
| | 04:18 | One is I want to focus in on the frog
and his hands holding the frog, and two,
| | 04:24 | what I'm interested in doing is trying
to counteract some of that brightening
| | 04:28 | that happened as result of what I
was doing. So I'm doing just some
| | 04:30 | traditional burning and dodging here.
I'm going to get into the arms a little bit.
| | 04:34 | That will then help the light
or the eye be attracted to the
| | 04:39 | frog there. Let's take a look at how
we are doing so far, before and after.
| | 04:43 | Okay, definitely changing the overall image.
| | 04:45 | Now when we hover over this pin,
it will show us the mask. In this case, it's
| | 04:49 | showing me that I've darkened up a
little bit of this area as well. So I'm
| | 04:52 | going to go ahead and turn-on Show
Mask so I can see that. Go to my Erase
| | 04:56 | Brush and here I want to erase that
darkening effect to this portion of the image.
| | 05:01 | Now the hair, I think, that will be
kind of interesting. I'll make my brush a
| | 05:04 | little bit bigger and I'll think
that will be interesting because,
| | 05:08 | again it will keep the focus in on this
area of the image to where the light is
| | 05:12 | traveling down this way. Let's then
turn-off that mask and take a look at our
| | 05:16 | overall before and after.
| | 05:18 | All right, so far so good, except that
adjustments are a little bit too strong.
| | 05:22 | So I'll modify the overall Exposure.
Here we can see that I'm creating this
| | 05:26 | effect. It's a little bit of figure 8 and
whenever you can create a little a bit of dynamic
| | 05:30 | shape in the image,
it can be interesting.
| | 05:32 | So here it is without any adjustment,
and then I'll just slowly bring this down.
| | 05:37 | Now this is what I do a lot of times
when I'm adjusting my photos. I make an
| | 05:40 | adjustment and then I swing it one
way or the other to try to find the sweet spot.
| | 05:45 | I think that looks kind of nice.
| | 05:46 | Now let's go back to our basic adjustments.
We can do that by exiting this tool or
| | 05:50 | by clicking on another tool, and then
clicking on Basic, and here I'm going
| | 05:54 | to increase the Fill Light a little
bit, add a little bit of detail, and the
| | 05:58 | Contrast, believe it or not, a little
bit as well. All right, well so far, you
| | 06:02 | have seen how I began to think and
work on this image and how I'm processing
| | 06:05 | my progress.
| | 06:06 | As I look at it, I realize the edges
are just a bit too dark. I'm going to go
| | 06:10 | back to the Adjustment Brush here.
Target this particular area and then I'm
| | 06:14 | going to increase the exposure a bit.
I don't need to go that far, especially
| | 06:17 | because when you print dark tones like
this, they actually print quite a bit
| | 06:22 | darker than they are now.
| | 06:24 | And I just want to point out that as
you can see here, converting to Grayscale
| | 06:27 | or converting to black and white, can
be really fun and in addition, we need
| | 06:31 | to think about it in a larger context
of our overall Camera Raw workflow. Go
| | 06:36 | ahead and keep this image open because
we are going to start off with this file
| | 06:39 | in the next chapter, where we will
talk about how we can add Split Toning to
| | 06:43 | make our images even more interesting.
| | Collapse this transcript |
|
|
16. Split ToningTraditional black-and-white toning| 00:00 | In this movie, we are going to continue
to work with an image that we worked on
| | 00:03 | in the previous chapter. It was
actually the last movie in the chapter, Black
| | 00:07 | and White Conversion. Now ideally, you
still have that image open, yet if you
| | 00:11 | are coming to this chapter without
having previously gone through Chapter 15,
| | 00:14 | I have included a small JPEG of the file.
So you can go and select that JPEG and
| | 00:18 | then open it up inside of Camera Raw.
| | 00:21 | Now in my case, I already have the
image opened. So I'm going to go ahead and
| | 00:23 | navigate over to Camera Raw and access the file.
| | 00:26 | Here we have this interesting file,
this black and white conversion. What I
| | 00:29 | want to do here is add a little bit of
tone in order to make this image come to life.
| | 00:32 | And what you can do with Split Toning
is you can add tone to the Highlights or
| | 00:36 | the Shadows and then you can actually
control the strength of the Highlights or
| | 00:40 | the Shadows with this Balance
control. So what you want to do is pick a
| | 00:43 | particular color. In this
case, I'm picking yellow.
| | 00:46 | Now I can't really see that yellow
but I can see it once I increase the
| | 00:50 | Saturation. So here I'm warming up
the image. Now wouldn't it be nice if I
| | 00:54 | could actually see the color that I
was selecting? Well, here is a great
| | 00:57 | shortcut for Split Toning. Hold down
the Option key on a Mac, Alt key on a PC,
| | 01:01 | then click and drag that color. And
what you are going to do is see the color
| | 01:04 | at 100% and here I'm going to see
that 100% Saturation, so I can find just
| | 01:09 | the exact yellow that I want to go
for and then I can dial in the overall
| | 01:13 | Saturation amount.
| | 01:14 | All right, well, now that I have
warmed up this image, I decide might be kind
| | 01:17 | of interesting if I warm it up and
also add a little bit of cool tone. So I'm
| | 01:21 | going to go ahead and hold down the
Option key on a Mac, Alt key on a PC and
| | 01:24 | click and drag until I go to this Blue
tones here, these are going to be for my
| | 01:28 | Shadows and then I'll increase my
Saturation, so we can see we have those blue
| | 01:32 | tones in the Shadows.
| | 01:34 | Now I need a little bit more warmth in
the Highlights and then I have these
| | 01:37 | nice cool tones in the Shadows. Did you
know color is incredibly communicative?
| | 01:42 | And here it communicates a particular
mood and that's one mood that we can try
| | 01:46 | out with this image.
| | 01:47 | On the other hand, what may work even
better with this image is to warm up the
| | 01:51 | image, is to bring to some Reds or some
Oranges to make this file a little bit
| | 01:55 | more nostalgic. Find the sweet spot
there for the overall color Saturation and
| | 02:00 | the Saturation for those Yellows as
well and then we can balance this. If I
| | 02:04 | drag to the left, there is much more
red. If I drag to the right, I have much
| | 02:09 | more Yellow and again it's bringing in
more Highlights or more Shadow color.
| | 02:13 | And if I double-click the slider,
I'll take it back to the default setting.
| | 02:16 | Now a lot of times what happens is
when you add color or tone, you get excited
| | 02:20 | about the color. So you just need to
careful; that sometimes it's best to pull
| | 02:24 | back the saturation a little bit. So
I'm going to ahead and pull this way back,
| | 02:27 | maybe a little bit more yellow
there and now I have a little bit subtle
| | 02:32 | color but that's working for me. Press
the P key to see my overall before and
| | 02:36 | then after. And when I look at the
before, I like that except the image is
| | 02:41 | pretty dark. And now when I add color
on top of those dark tones, it actually
| | 02:44 | brightens them because I see a little
bit more of the detail. I can see some of
| | 02:48 | the structure of those tones. And
somehow that color adds dimension a little
| | 02:52 | bit to this image. And in this case,
especially with this particular
| | 02:56 | conversion, it makes the overall
image feel little bit more nostalgic and
| | 03:00 | that's the look I was going for.
| | 03:02 | Okay, I just want to go through and
look at my before and after. So when I go
| | 03:04 | to my presets and press the P key,
here is my before and after with those
| | 03:08 | adjustments. I'm going then go to that
Adjustment Brush. Press the P key here,
| | 03:12 | we can see the before and after, how
we modified the image. And next what I'm
| | 03:16 | going to do is go back to my Grayscale
conversion. And here I'll click on the
| | 03:19 | option to show my Grayscale
conversion, before and after. And one of the
| | 03:24 | reasons why you want to do that is
sometimes when you go through those steps,
| | 03:27 | you will find something perhaps that
you like or that you may want to change.
| | 03:31 | Like for example in this case, when I
bring back the color, I say you know
| | 03:34 | what? The image is actually pretty
interesting. It may be worthwhile to print a
| | 03:37 | color version of this as well as this
black and white tone version. I can then
| | 03:42 | set those image side by side and
decide which photograph is actually best.
| | Collapse this transcript |
| Creative toning of a color photo| 00:00 | In this movie we are going to have a
little bit of fun and we are going to talk
| | 00:02 | about how we can split tone a color
image. We will be working on the file
| | 00:06 | corwig_family.jpg. You can find it in
the Chapter 16 folder. Press Command+R on
| | 00:12 | the Mac, Ctrl+R on a PC.
| | 00:14 | Here we have this family portrait of
one of my all time favorite artists and his
| | 00:18 | family, Andy Davis. This artist is so
amazing to me for some reason. Anyway,
| | 00:22 | what I want to do is I want to stylize
this photograph and I want to create a
| | 00:25 | bit of kind of cross processed effect.
I want to have a little bit of fun with
| | 00:28 | the color and create a little
bit more of a nostalgic mood here.
| | 00:32 | So I'm going to navigate over to my
Split Toning controls here and I'm going
| | 00:35 | to go ahead and hold down the
Option on the Mac, Alt key on the PC and
| | 00:39 | click-and-drag that slider. I want to
bring in some yellow into my highlights
| | 00:42 | and I'll increase the Saturation.
I'm going to increase it quite a bit.
| | 00:45 | All right, it's already starting to
have a little bit more of an old time feel.
| | 00:49 | Next, I'm going to go ahead and hold
down the Option key on a Mac, Alt key on
| | 00:52 | a PC and I'm going to click-and-drag
to find a nice green. I want to bring some
| | 00:56 | green into these shadows there. All
right, that looks pretty good. Go ahead and
| | 01:00 | increase the Saturation amount and I
want to find just the sweet spot for that
| | 01:04 | green there. I don't want to go too
far with that. Okay, so far so good,
| | 01:08 | starting to have a nice color effect
here. Look at our overall before and
| | 01:12 | after, very different expression.
| | 01:15 | Next thing I'm going to do is navigate
to my Lens Correction adjustments. I'll
| | 01:18 | add quite a bit of a vignette here. So
I'm going to add a vignette on the edge
| | 01:21 | then I'm going to go ahead and add an
edge around the image here. And what I'm
| | 01:26 | looking to do is to just create a
little bit more of a nostalgic effect. Then
| | 01:30 | navigate back to the Basic panel.
| | 01:32 | Now in the Basic panel, I'm going to
go ahead and brighten up this image, add
| | 01:35 | quite a bit of Fill Light, some
Exposure, some Brightness and increase the
| | 01:39 | overall Contrast, bring in my Blacks.
Then I need to recover some of those
| | 01:43 | highlights to bring those back down
a bit. Now that I have done that, I'm
| | 01:47 | ready to navigate back to my Split Toning.
| | 01:49 | Now back to my Split Toning, here I
can continually modify the overall color
| | 01:53 | that I'm bringing in, I want to
just take a look at some other color
| | 01:56 | combinations that I can have here
and I like the nice warm colors in the
| | 02:01 | highlights, want to make sure I'm
getting a nice, good amount of yellow in the
| | 02:05 | image. And then with the Shadows, I'm
going to look at my different options
| | 02:09 | for greens and now I'm realizing I
need to go a little bit more vivid on the
| | 02:14 | green. So now that I have those vivid
colors, I'll then navigate back to the
| | 02:17 | Basic panel.
| | 02:18 | Here I'm going to modify the overall
color Temperature. I can make this a
| | 02:21 | little bit more cool or I can make
this a little bit more warm as I have done
| | 02:25 | here. Decrease the Saturation a
little bit, so that the Split Toning color
| | 02:31 | effect is a little bit more prominent,
dial in my overall Contrast. And now we
| | 02:35 | have a very different image. We will
press the P key, there is our before and
| | 02:38 | after with our basic adjustments.
| | 02:40 | Go back to Split Toning, press the P
key. There is our before and after with
| | 02:44 | the split tone effect. And then of
course go back to Lens Corrections, before
| | 02:48 | and after, adding the edges and the
vignette effect. And then we go back to
| | 02:51 | Presets we can see the overall before.
Interesting family portrait and now a
| | 02:56 | very different type of a family portrait,
a little bit more of a film effect or
| | 03:00 | a little bit more of a special effect.
| | 03:03 | Now with this particular movie,
I pushed the color pretty far. There are times
| | 03:07 | when you are going to use the Split
Toning with color images to come up with
| | 03:10 | much less dramatic results, just a
little subtle increase in a color one way
| | 03:14 | or another and those subtle
adjustments can be equally as significant.
| | 03:18 | Yet here I want to have a little bit
of fun and I want to get you to begin to
| | 03:21 | think about how you can use this Split
Toning with your color photographs for
| | 03:25 | some real creative results.
| | Collapse this transcript |
|
|
17. Lens CorrectionsCorrecting lens vignette| 00:00 | In this movie, we are going to talk
about how we can use the Lens Correction
| | 00:03 | adjustments in order to
correct and enhance our photographs.
| | 00:07 | We are going to start up by working on
this file corwig_01.jpg. Select it and
| | 00:13 | press Command+R on a Mac, Ctrl+R on a
PC to open it up in Camera Raw and here
| | 00:17 | we have this photograph of my good
buddy Travis up in the mountains in
| | 00:20 | Washington. We did this
backcountry skiing trip. It was amazing.
| | 00:24 | Yet one of the things I have noticed
in here with this image is that the
| | 00:26 | corners are a bit too dark. They have
been darkened because I was shooting this
| | 00:31 | with a wide-angle lens. So
here is what I need to do.
| | 00:33 | I'm going to go ahead and navigate
over to my Lens Corrections panel. We are
| | 00:37 | going to skip Chromatic Aberration
for a moment and jump right down to Lens
| | 00:41 | Vignetting. Now I want to brighten the
corners, so I'm going to click-and-drag
| | 00:44 | this to the right. Now as I do that,
let's press the P key, we can see the
| | 00:48 | before and then the after. We have
successfully brightened those corners.
| | 00:52 | How does the Midpoint work? Well, if
I drag this to the right and drag my
| | 00:56 | Amount way up so you can actually see
what's happening and then press P to look
| | 00:59 | at the before and after. It's really
limited to the edges. Well, if I drag this
| | 01:03 | to the left and press the P key now to
look at before and after, you can see
| | 01:07 | the brighten effect goes all the way
and almost to the middle of the image.
| | 01:11 | Now that doesn't look good with this
image, so we only need to modify the
| | 01:14 | Midpoint a little bit and the overall
Lens Vignetting correction Amount, it's
| | 01:18 | probably somewhere right in there, 50
or 60 or so. It's going to vary on each
| | 01:23 | image. I'm just looking at the edges
there. Man, maybe a little bit higher.
| | 01:26 | Press the P key, before and after;
don't want to go too far, I don't want to
| | 01:30 | brighten the edges.
| | 01:32 | So I want to press the P key to look
at my before and after, and a subtle
| | 01:36 | vignette isn't a bad thing but I want
to correct the vignette that happened as
| | 01:39 | a result of shooting wide and you
know what? That looks much better.
| | 01:43 | Here's our before, here is our after.
We have successfully corrected that lens
| | 01:48 | vignetting problem that happens
when shooting with a wide-angle lens.
| | Collapse this transcript |
| Correcting a chromatic aberration| 00:00 | In this movie we'll be working on the
file corwig_02.jpg, select it and press
| | 00:04 | Command+R on a Mac, Ctrl+R on a PC.
Here we have this photograph of a subway
| | 00:09 | tunnel in London. And I just love
photographing in subway tunnels especially
| | 00:14 | with a wide-angle lens, because we
have all these interesting lines.
| | 00:17 | All right, as I look at this image I
realize that I need to brighten this image
| | 00:20 | up just a bit. And as I do that I
realize that my edges are still quite a bit
| | 00:24 | too dark there. So I'm going to
navigate over to the Lens Corrections
| | 00:28 | Adjustments panel. Now here I'm going
to correct the Vignetting. I'll go ahead
| | 00:32 | and increase my Midpoint. And again
all I'm trying to do is brighten up these
| | 00:36 | edges. We've see that before, right?
Look at our before and after by pressing
| | 00:39 | the P key before and then after.
| | 00:41 | All right, well, that's not really
what we are talking about in this movie.
| | 00:44 | What we are really talking about is
how we can correct Chromatic Aberration.
| | 00:48 | Yet typically what happens is we do
what I just did. We correct the image we
| | 00:52 | say, you know what I'm good to go, but
then we decide what would happen if I
| | 00:56 | would double-click the Zoom tool and
go into 100% and then press the Spacebar
| | 01:00 | and reposition the image and begin to
navigate around the image? Well, when we
| | 01:04 | get to the edges of photographs
that were shot with a wide-angle lens,
| | 01:08 | sometimes we see this color fringing,
and you can see it right here. I'll zoom
| | 01:11 | in a little closer.
| | 01:13 | We can see that red fringe there. Well,
how can I correct that? Well, I can
| | 01:17 | correct that with these controls here.
I'm going to simply click-and-drag this
| | 01:21 | until I see that red fringe disappear.
We can see the before and after there,
| | 01:26 | press the P key, there is before, there
is after. Let's zoom in even further so
| | 01:30 | we can see what's happening here before
and then after. That looks so much better.
| | 01:35 | Yet, once I zoom in I realize hey,
I have a little bit of color artifacting
| | 01:38 | here. I need to correct that so I'll
go to the Detail panel, I'll reduce the
| | 01:42 | Color noise. All right, now we were
talking. A little bit of a Luminance noise.
| | 01:47 | Go back to that Lens Vignetting
control, modify my control just to pull out
| | 01:53 | just enough of that fringe there.
Press the P key, here is before and after.
| | 01:58 | That image look so much better. Double-
click the Hand tool to go to 100% and
| | 02:03 | let's press the P key. There is
our before, there is our after.
| | 02:07 | Now, let's go ahead and select
the Zoom tool by pressing the Z key,
| | 02:10 | click-and-drag on that problematic area
so we can zoom in and let's press the
| | 02:15 | P key one more time. Here is our
overall before and after. We want to zoom in
| | 02:18 | even closer so you can actually see
the correction. Here is our before and
| | 02:23 | after. Not only did we correct the
vignetting, not only did we correct the
| | 02:28 | color noise, we also correct that
chromatic aberration that sometime occurs
| | 02:33 | when you are shooting with a wide-angle lens.
| | 02:35 | Look for the chromatic aberration
around the edges of your images. Although it
| | 02:38 | can happen in other places, but that's
a nice place to look. And if I press the
| | 02:43 | Spacebar tool, and then click-and-drag,
we'll see that it happened on this edge
| | 02:47 | a little bit as well. Now, I was able
to diminish that fringing right along those
| | 02:51 | edges as well.
| | 02:52 | All right, well we have now successfully
corrected and even enhanced this photograph.
| | Collapse this transcript |
| Adding a vignette project: Girl| 00:00 | In this movie, we will be working on
the image corwig_03. Let's open it up in
| | 00:04 | Camera Raw. Press Command+R on a Mac,
Ctrl+R on a PC, and here we have this
| | 00:09 | photograph of my daughter Annika.
| | 00:10 | One of the things that I like about
this photo is we were actually going to a
| | 00:13 | wedding, so she was all dressed up and
we started to walk around the back alley
| | 00:17 | and there was this interesting green
wall and I just liked the colors of that
| | 00:20 | wall. So what I'm going to do is go
ahead and improve this image. So we are
| | 00:23 | going to lower the Exposure of it,
because it is a bit too bright there,
| | 00:26 | increase the Contrast a little bit,
warm it up. All right, that's looking
| | 00:29 | better. A little bit on the Recovery,
little bit on the Fill and then bring our
| | 00:33 | Blacks up just to touch. Let's look
at the before and after, here is the
| | 00:36 | before, here is the after.
| | 00:39 | The next thing that I want to do is
look at how we can enhance this image by
| | 00:41 | adding a Lens Vignette. So we will go
over to our Lens Corrections, Adjustments
| | 00:45 | panel, and here what we are actually
going to do is add a vignette. So I'm
| | 00:48 | going to go ahead and click and drag
to the left to darken up the corners.
| | 00:52 | Now, if we use this Midpoint
controller before, if I click and drag it to the
| | 00:56 | left, you are going to see that the
darkening goes way into the center of the
| | 01:00 | image. On the other hand, if I click
and drag to the right, we can see that now
| | 01:03 | the darkening is just on the corner.
There is my before and after, really
| | 01:07 | focusing in on the corners there and I
can go even further, so that I just have
| | 01:10 | those corners darkened.
| | 01:11 | Now with this particular image, I think
I want a little bit less of amount but
| | 01:15 | some more lens vignetting which is
then zeroing the attention in on this
| | 01:18 | portion of the image. I'll navigate
back to the Basic panel and I'm going to
| | 01:22 | go ahead and lower the Exposure just
a touch more here. Now there is nice
| | 01:26 | Brightness and Fill Light controls so I
can modify those even further. I think
| | 01:30 | that looks pretty good.
| | 01:30 | Let's click on the presets option and
then press the P key, here is before and
| | 01:35 | here is after. We've successfully
enhanced this image using our basic
| | 01:39 | adjustments in combination with those
adjustments that are unique to Camera
| | 01:43 | Raw, the Lens Corrections and Lens
Vignetting controls and that vignette really
| | 01:48 | helps to keep the eye in the frame.
| | 01:50 | A lot of times when you have
brightness around the edges of your frame, your
| | 01:53 | eye goes towards it; in this case,
I'm using this for a little bit of a
| | 01:56 | special effect in order to keep the
focus in on Annika and redirect the eye to
| | 02:01 | that portion of the image.
| | Collapse this transcript |
| Adding a vignette project: Antique sign| 00:00 | In this movie we are going to continue
to talk about photographic workflow and
| | 00:04 | adding a lens vignette to an image. We
will be working on a file corwig_04.jpg.
| | 00:08 | Select and press Command+R on a Mac,
Crtl+R on a PC and here is what I want to
| | 00:13 | do with this image. I'm going to go
ahead and increase the Exposure a little
| | 00:15 | bit, increase the Brightness,
increase the Contrast, and then I'm going to
| | 00:19 | bring down the brighter tones, lower
those by increasing the Recovery amount,
| | 00:24 | bring in a little bit of Fill Light,
bring in a little bit of Blacks there.
| | 00:28 | All right, let's look at the before
and after, here's our before and after,
| | 00:31 | just trying to make the image snap a
bit. Next step here is I'm going to
| | 00:34 | navigate over the Vignettes panel,
and go ahead and add a little bit of a
| | 00:37 | corner darkening, but I wanted that to
be limited to the corners there. So I'm
| | 00:41 | going to increase my Midpoint, drag
it to the right and then find just the
| | 00:44 | sweet spot there. It's going to be
pretty subtle here, but just a nice amount
| | 00:48 | of corner darkening.
| | 00:49 | Next, I'll navigate that to the Basic
panel and I'm going to slowly modify
| | 00:54 | this image, increasing my blacks there,
I'm going to decrease the Exposure a
| | 00:58 | bit, once you add a Vignette, you need
to go back to the Basic panel, dial in
| | 01:01 | your controls. Now we are going to
navigate over the HSL/Grayscale controls. We
| | 01:06 | are going to start up by going to
Saturation. In the saturation, I'm going to
| | 01:09 | remove quite a bit of the Red from the
image. I'll go ahead and boost those Oranges.
| | 01:13 | I want to bring that Green color up a
little bit and in addition, I'm going to
| | 01:18 | bring up some more of that Purple. I
want that to really come out a little bit
| | 01:22 | there. Then go to the Luminance
controls and I'll brighten up the purple there,
| | 01:26 | I'm going to brighten up my Greens.
I'm also going to brighten up the
| | 01:28 | Oranges. This will be a really
interesting effect, because there is white and
| | 01:32 | black on that. So when I bring the
color up, it's going to make it a little bit
| | 01:35 | more vivid. All right,
that's looking pretty good.
| | 01:38 | I'll navigate back to the Basic panel,
little bit more Contrast and then
| | 01:42 | Brightness value, I'm just going to
bring down a bit, I want this to be a nice
| | 01:45 | kind of moody image and let's take a
look at our overall before and after, in
| | 01:50 | regards to the Basic adjustments.
Here is before and after. Let's go to the
| | 01:53 | HSL/Grayscale before and then after,
just making it a little bit more vivid and
| | 01:58 | then go to the Lens Corrections before
and after, subtle darkening of those edges.
| | 02:03 | Now of course, you can increase
that or decrease that based on your own
| | 02:06 | perspective and the different Amount
that you want to add there. I'm going to
| | 02:10 | modify that, so we have another
treatment of those edges and then go to the
| | 02:14 | presets, overall before and after. We
have an image with some deeper tones;
| | 02:20 | more contrast, darkening on the edges.
Now because I have added this Vignette,
| | 02:24 | and it's a little bit bright down here.
I'm going to go ahead and select the
| | 02:27 | Graduated Filter, decrease my Exposure
a bit and then click and drag from the
| | 02:31 | bottom up. That way I can darken this
area of the image, and here we can see
| | 02:35 | the darkening effect on the bottom
portion of the image. I'm going to keep it
| | 02:38 | pretty subtle, but I do
want some darkening there.
| | 02:40 | We will look at the before and after
on that and then I'm going to click and
| | 02:43 | drag from the top down, same thing.
I'm also going to click and drag over
| | 02:48 | here, just adding a little bit more of
a shape around this side as that points
| | 02:53 | in, a little bit less there. Let's
look at our overall before and after, just
| | 02:57 | some more darkening, some more edge
effects. And then finally, let's go back to
| | 03:01 | the Zoom tool and then choose the
Lens Corrections panel and dial in our
| | 03:06 | overall Amount on that Lens Vignette
and at this juncture, we will evaluate the
| | 03:11 | final before and after, press the
P key, here is before and after.
| | 03:16 | Now the intent of this movie is to
begin to get you to think about how you are
| | 03:19 | going to use multiple controls and
how simply adding a vignette around the
| | 03:24 | edges of your images isn't the answer.
A lot of people are doing that, now they
| | 03:27 | say, oh this Vignette tool is great.
All they do is add in a vignette and the
| | 03:31 | image does look amazing. Imagine if we
hadn't had done those other adjustments;
| | 03:35 | the image wouldn't be half as good.
Now I'm also aware we went quickly when I
| | 03:40 | was going through those other adjustments.
| | 03:41 | Yet I was just trying to illustrate how
I would begin to work on an image that
| | 03:45 | was a little bit like my thought
process, you could see how I would hop and
| | 03:48 | skip around and go back and forth and
modify the different controls one after
| | 03:52 | another. And in my opinion, getting to
this point and looking at our overall
| | 03:56 | before and then after, we have arrived
at a pretty good place and we have added
| | 04:00 | a bit of visual interest to this photograph.
| | Collapse this transcript |
| Adding a vignette into a photographic workflow| 00:00 | In this movie we are going to talk
quite a bit about workflow and how we can
| | 00:03 | integrate into our workflow, adding a
vignette or affecting the edges of our
| | 00:08 | images after we have actually cropped
it. We will start off by modifying the
| | 00:11 | color and tone and then progress on to
other things. We will be working on the
| | 00:15 | file corwig_05. So select it press
Command+R on a Mac, Ctrl+R on a PC.
| | 00:20 | Now when I open this image up, I
begin to evaluate. I say, I like the
| | 00:24 | composition for the most part, I
like the color and tone, I like the
| | 00:27 | expression, I like the moment that was
captured here. Yet, I want to work on
| | 00:31 | work on a few aspects of this image.
One aspect that I want to work on is
| | 00:34 | color, so I'm going to go ahead and
increase the warmth of the image, okay,
| | 00:37 | already that's looking much better. We
will zoom in here, so you can see the
| | 00:41 | new color, here is my before and after, great.
| | 00:44 | Next place I'm going to go is to
Split Toning, what I'm interested in doing
| | 00:47 | is adding a little bit of color into
this image. It's going to be brought into
| | 00:50 | the shadows and I'm going to increase
this really high so you can see what's
| | 00:53 | happening. Here is my before and after.
Now that's too high, right? That color
| | 00:57 | isn't quite correct. So I'm going to
try to find a nice color. I want a bit of
| | 01:00 | red in that, and then I'll lower my Saturation.
| | 01:03 | Now let's look at our before and after.
It's subtle, but you can see that it's
| | 01:06 | warming up the image in some pretty
unique ways that's adding a bit of life to
| | 01:10 | the image. I'll go back to the Basic
panel, here I'm going to increase the
| | 01:13 | warmth even a touch more. My
before and after on that overall color
| | 01:17 | temperature, then with a little bit of
red in there, I have these really nice,
| | 01:21 | vivid and warm colors,
kind of fits the image, right?
| | 01:25 | Next thing that I'm going to do is
navigate over to my HSL/Grayscale controls.
| | 01:29 | Now we know that the skin is made up of
a wide range of yellows and oranges. So
| | 01:34 | I'm going to go up to my Luminance
slider in order to bring some light to
| | 01:36 | those tones. So I'm going to go ahead
and increase this. Now, if I decrease
| | 01:39 | this on the other hand, it's going to
look like they are a little bit more
| | 01:41 | tanned, it will also look a little bit
unnatural because I went so far, but you
| | 01:45 | can see how I'm modifying those skin tones.
| | 01:47 | So I'll go ahead and increase that,
increase the Yellows as well, which will
| | 01:50 | affect the skin as well as some of the
surrounding areas. Let's zoom out so you
| | 01:54 | can see those areas, press the
Preview option, here's our before and then
| | 01:58 | after, zoom in a little bit more, and
then press the P key, before and after.
| | 02:02 | It's almost like I have a reflector,
I'm bouncing light on to that area of
| | 02:07 | that image. All right, well next I'm
going to navigate back to the Basic
| | 02:10 | panel, and here I'm going to bring in
a little bit of Fill Light to bring in
| | 02:13 | some light to some of the shadow areas.
| | 02:15 | Now a lot of times when you bring in
Fill Light, you also need to add a little
| | 02:18 | bit of Contrast or you need to bring
your Blacks up just a bit, otherwise it
| | 02:22 | can look a little bit unnatural. Now my
Whites for the most part are good, but
| | 02:26 | I'm going to bring my Recovery slider
up just a touch to bring down some of
| | 02:29 | those bright, bright whites. I'll zoom
out a little bit look at my before and
| | 02:33 | after, here is before and
after for my Basic adjustments.
| | 02:36 | HSL/Grayscale my before and after, and
then navigating over to Split Toning and
| | 02:41 | here is my before and after, and that
Split Toning color really makes this
| | 02:45 | image come to life. It has this real
nice golden light. All right, well next
| | 02:49 | I'm going to navigate to my Lens
Corrections. If I zoom out I can add a lens
| | 02:54 | vignette right now, I can go ahead and
lower my Amount and my Midpoint, and it
| | 02:58 | looks really nice, I'm darkening all
the edges. But let's say that I decide I
| | 03:02 | want to crop this image, because I
notice this person in the background and
| | 03:05 | they are a little bit distracting.
| | 03:07 | So I press the C key to select the Crop
tool, I click and drag and then hold on
| | 03:11 | the Shift key and create a new
composition, a new crop for this image and then
| | 03:15 | press Enter or Return to apply that.
Then I say I want to modify my lens
| | 03:19 | vignette, well, I can't really apply
a lens vignette, because it has been
| | 03:23 | applied to the four corners of the
actual image. So that's not going to work
| | 03:27 | for me. Double click the Amount
slider to remove that. What I need to do is
| | 03:32 | navigate down the post crop vignette.
All right, let's press Enter or Return,
| | 03:36 | so we can begin to see how this actually works.
| | 03:38 | Now it works in ways that are similar
to lens vignette and yet at the same
| | 03:42 | time, very different, let me show you
why. I'm going to go ahead and modify my
| | 03:47 | Amount. When I take my Amount all
the way down, you can see that my edges
| | 03:50 | become black. Now that doesn't happen
with Lens Vignetting. On the other hand,
| | 03:54 | when I bring my Amount all the way up
my edges actually become white. We also
| | 03:58 | have a few other controls, Midpoint,
Roundness and Feather. Let's take a look
| | 04:02 | at these options.
| | 04:03 | So my Midpoint, we know how that works,
right? How far in this adjustment, goes
| | 04:07 | into the image. Roundness is interesting;
it's actual shape of the adjustment.
| | 04:12 | Now it's a little difficult to see
because of the Feather amount. The Feather
| | 04:15 | determines the hardness or softness of
the edge. So if I take the Feather off
| | 04:19 | and then change the overall shape here,
now we are starting to see that I can
| | 04:23 | really modify the shape of
this particular edge effect.
| | 04:27 | Now because the Midpoint is so far
out, it's going beyond the edge of the
| | 04:30 | frame, so in this case I would need to
bring it in and I could also then change
| | 04:34 | its shape so that I get the entirety
of the couple in the frame. One of the
| | 04:39 | things you can do is apply a Post
Crop Vignette effect, press the C key to
| | 04:43 | activate the Crop tool and then click
and drag to change your crop. This is
| | 04:47 | helpful because now that you can see
the Vignette and see the Vignette effect,
| | 04:51 | let's say, if I wanted a little edge
effect like that I can then realign that,
| | 04:55 | press Enter or Return to apply it and
then slowly modify what this particular
| | 04:59 | effect looks like.
| | 05:00 | Select the Crop tool again by pressing
the C key, reposition the crop and then
| | 05:04 | even redo the crop and again here I
have complete flexibility, press Enter or
| | 05:09 | Return to apply that. Now let's say
that rather than having a special effect
| | 05:13 | kind of white edge, I just want to
darken the corners. Let's go ahead and
| | 05:16 | double click the Amount slider to
reset this control. Here I'm going to go
| | 05:20 | ahead and darken the edges; we can see
the darkening amount there. Now I don't
| | 05:24 | want it to be quite that shape, so I'm
going to go ahead and take away some of
| | 05:27 | the shape there and then the Feather
amount, I'm also going to increase, so
| | 05:31 | that I have a little bit more
of subtle darkening effect there.
| | 05:35 | I'm going to modify the Roundness as
well. Midpoint needs to go out away from
| | 05:39 | the Midpoint and then my Amount, I'm
going to take back as well. So at this
| | 05:43 | juncture I'm just looking to try and
find the sweet spot here, and we will
| | 05:46 | look at our before and after. Again,
just a subtle darkening effect in order to
| | 05:51 | keep the eye in the center of the frame.
You have a ton of flexibility with the
| | 05:55 | Post Crop Vignetting tools. Now keep
this in mind, this Post Crop Vignette tool
| | 05:59 | isn't only for images that you have
cropped, I have seen a lot of people who
| | 06:02 | only use this tool when they crop their images.
| | 06:05 | We will check this out, let's go ahead
and press the C key to activate the crop
| | 06:08 | and then press the Esc key to remove
that. Well here as you can see, I can
| | 06:12 | still completely modify my image in
this unique way with this particular type
| | 06:16 | of an edge and I'll go ahead and just
add a different kind of stylistic edge
| | 06:20 | here on this image. And I can do this
to images that I haven't cropped, that I
| | 06:23 | have cropped subtly, you name it. In
addition to using the Post Crop Vignette I
| | 06:28 | can also use the other Vignette and
then I can combine these two together, in
| | 06:32 | order to come up with some
pretty interesting results.
| | 06:35 | Now with this image I feel like I do
need to crop it, so I'll press the C key
| | 06:38 | to activate the Crop tool, I'll click
and drag that across the image and I
| | 06:42 | really want to crop out that person in
the background over there because that's
| | 06:46 | a little bit distracting to me. I'll
go ahead and bring down this top corner
| | 06:49 | and press Enter or Return to apply
that. And in conclusion, my hope is that
| | 06:55 | with this movie, you have begun to
see how we can use some of the other
| | 06:58 | controls and combination with the Lens
Correction adjustments in order to come
| | 07:02 | up with some pretty creative results.
| | Collapse this transcript |
|
|
18. Camera CalibrationIntroducing the Camera Calibration panel| 00:00 | In this chapter we are going to
briefly talk about the camera calibration
| | 00:03 | panel. In this first movie we will be
looking at a few images and we will talk
| | 00:07 | about camera profiles and then if you
are interested in digging deeper into
| | 00:11 | this topic of camera profiles and
camera calibration, in the next movie, I'll
| | 00:15 | give you a few resources where you can
learn some more information about how
| | 00:19 | all of this works.
| | 00:20 | All right, we will first start, as
you can see that I have three different
| | 00:23 | images here. These were all captured
at a family reunion in upstate New York,
| | 00:27 | this last summer. Here you can see my
wife and our two daughters. This one it
| | 00:30 | was captured on the Canon EOS 5D as
you can see down here. The next image was
| | 00:34 | captured on a LEICA point and shoot
camera and it's a RAW file, then the next
| | 00:39 | image was also captured on that
LEICA camera, but it's a JPEG file.
| | 00:43 | I just want to point that out because
we will notice a difference between these
| | 00:46 | three images when we go into Camera Raw
in regards to their camera calibration.
| | 00:51 | Let's go ahead and select all of them.
Click on one, press the Shift key, click
| | 00:54 | on another and then press Command+R on
a Mac, Ctrl+R on a PC to open them up
| | 00:58 | inside of Adobe Camera Raw. All right,
now that we have these three images what
| | 01:03 | I'm going to do is go ahead and
navigate over to my Camera Calibration tab.
| | 01:07 | First thing I want to point is that we
have a couple of different controls; we
| | 01:10 | can modify our Shadows, the Reds, the
Greens and the Blues. We can modify the
| | 01:15 | overall tint so with the Red Primary, I
can change it, so it's a little bit of
| | 01:19 | magenta or so it's a little bit more
orange, double click it to reset it. I
| | 01:23 | also can control the overall color
Saturation in this case, removing a lot of
| | 01:28 | those red, double click to Reset. That's
a little bit about how these sliders work.
| | 01:32 | Now up to the top you will notice that
we have different Camera Profiles. Now
| | 01:36 | there are some default profiles, in
this case, default Adobe Camera Raw
| | 01:39 | Profiles and there are some other
profiles. Now all of these profiles are
| | 01:44 | camera specific. Let's go ahead and
open up this menu. Here we can see ACR 4.4
| | 01:49 | and 3.3 and then I have a few Beta
profiles. Now I have these Beta profiles
| | 01:54 | because I'm recording this before
Camera Raw has actually been released.
| | 01:57 | By the time you watch this movie that
is where Beta will be gone from the list
| | 02:01 | and you will have profiles that will
actually work much better than the ones
| | 02:04 | that I have here so keep an eye out
for that and what these profiles are, is
| | 02:08 | they are profiles based on my
particular camera. Take a look at the list there,
| | 02:12 | let's go to another version and here
you can see I only have a few profiles
| | 02:16 | because there were fewer profiles
created for this particular camera.
| | 02:19 | I still have both of these Adobe
Camera Raw profiles, but I don't have the
| | 02:23 | camera specific profiles below. Now
when I go to the JPEG file and I go to this
| | 02:27 | particular Camera Profile pulldown menu,
I notice that I don't have any options
| | 02:31 | at all and I don't have any options
because this isn't a RAW file because the
| | 02:35 | profile has been embedded into this
document. So when you are working with
| | 02:39 | JPEG, you can't take
advantage of these different profiles.
| | 02:42 | All right, well let's go ahead and
navigate back up to our first image, the one
| | 02:45 | captured on the 5D. I'll go ahead and
navigate from this pulldown menu and I'm
| | 02:49 | going to try another profile, let's
say Landscape, and you can see how it
| | 02:53 | shifts the color. I'll zoom in a
little bit on this image, so that we can
| | 02:57 | actually see the color a little bit
better. Here is the Adobe Camera Raw
| | 03:00 | profile and then there
is that Landscape profile.
| | 03:03 | You can see that it's rendering the
colors much differently. I'm going to go
| | 03:07 | ahead and choose another option, let's
go down to that Standard there and we
| | 03:10 | will go from Standard back to ACR 4.4.
So what we have are these Adobe Camera
| | 03:15 | Raw Profiles. These you can think of as
kind of the general profiles. Although,
| | 03:19 | they are camera specific as well,
but these are the more particular, more
| | 03:22 | specific profiles. And what you can do
is use these as a starting point; you
| | 03:27 | are always going to need to go
further with your adjustments.
| | 03:29 | But these have been created based on
your camera sensor, based on the way your
| | 03:33 | camera sensor renders color and what
you can do is use these profiles as a
| | 03:37 | really good starting point from which
you make further edits. So one of the
| | 03:41 | things you may want to do is open up
your images and try these different
| | 03:44 | profiles, look at different starting
points from your images. Once you have
| | 03:48 | selected one, let's say in my case, the
landscape profile, I can further modify
| | 03:51 | that. I can modify the Tint and the
Shadows, if I feel like if I need to swing
| | 03:54 | it one way or another.
| | 03:55 | Press the P key to look at my before
and after and then from there, I'll go to
| | 04:00 | the Basic panel in order to further
make adjustments. So think of those camera
| | 04:04 | profiles as a starting point. All right,
well what about making your own camera
| | 04:08 | profiles? What about digging deeper
into this topic of camera profiles? Well,
| | 04:12 | I'll share with you a few resources
where you can get some more information in
| | 04:15 | the next movie.
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| Camera calibration resources| 00:00 | In this movie, I want to share with you
a few resource sites where you can get
| | 00:03 | some more information about Camera
Calibration and about creating your own
| | 00:08 | custom camera profiles with the DNG
profile editor. So let's go ahead and
| | 00:12 | navigate over to the web and here we
are at the web and the first place that
| | 00:15 | you want to go is labs.adobe.com. Now
when you go there, do a quick search for
| | 00:20 | camera profiles and DNG profile editor.
| | 00:23 | Now that will either take you to this
Tutorial page or it will take you to the
| | 00:26 | Overview page. In this Overview page,
you will get quite a bit of information
| | 00:30 | about the DNG profile. Now what this
actually is, is it's a tool which is
| | 00:35 | purpose is to enable photographers to
create camera profiles. It's a tool that
| | 00:39 | enables photographers to have a
better starting point from which to further
| | 00:43 | modify their images.
| | 00:45 | Now that being said, using the DNG
profile editor, which is this tool, is
| | 00:48 | actually a little bit complicated. Here
we have the tutorials and I'm going to
| | 00:52 | go ahead and scroll through this and
I'm going to scroll and scroll and scroll
| | 00:56 | and scroll and scroll and scroll and
scroll and I'm going to go ahead and keep
| | 01:00 | scrolling here and as you can see
there is quite a bit of information here.
| | 01:04 | I'll go ahead and keep scrolling, keep
scrolling, keep scrolling, again a ton
| | 01:08 | of information. I'll go
all the way back to the top.
| | 01:11 | Now why did I do all of that scrolling?
Well, it was just to illustrate that
| | 01:13 | this is an advanced topic. For most
of us, the default camera profiles are
| | 01:18 | going to be a great starting point,
especially the profiles that now ship with
| | 01:22 | Photoshop CS4. Yet if you are
interested in digging deeper, this is where you
| | 01:26 | want to go to find out some more information.
| | 01:28 | Here on John Nack's website you can
find some information about the DNG profile
| | 01:33 | editor that was actually developed by
Eric Chan and here you can read about the
| | 01:37 | DNG profile editor from the person who
actually created it. So again if you are
| | 01:42 | interested in digging deeper into this
topic, do Google search for John Nack
| | 01:46 | and then once you get to his site, do a
search for DNG profile editor, it will
| | 01:51 | take you to this particular post.
| | 01:53 | Now there is one last site that I
want to highlight and its Julianne Kost's
| | 01:56 | site is jkost.com. Now if you go to
her site, you can find a handful of
| | 02:01 | different PDF files that she has created.
Julianne Kost is a phenomenal person,
| | 02:05 | incredibly creative and incredibly
technical, and if you scroll down to the
| | 02:09 | bottom of page one on her Camera Raw
PDF, you can find some more information
| | 02:14 | about camera calibration.
| | 02:16 | Now the information that you are going
to find here is going to be a bit more
| | 02:18 | of an overview and this actually may
be a good starting point and then from
| | 02:21 | there go to John Nack's website or go
to labs.adobe.com. Creating a custom
| | 02:26 | camera profile is a little bit
complicated. Yet, for most of us, using a camera
| | 02:30 | profile as they come with Photoshop
CS4 are going to be more than sufficient,
| | 02:34 | they work incredibly well. They help
us have a good starting point from which
| | 02:38 | we can further modify our photographs.
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|
|
19. PresetsCreating a simple preset| 00:00 | In this chapter we are going to talk
about how we can use presets in order to
| | 00:03 | speed up our overall workflow. We are
going to start off by working with this
| | 00:07 | image corwig_engagement, yet I want
to point out that there are a series of
| | 00:11 | images that were all captured at this
particular engagement session and we are
| | 00:15 | going to then look at how we can
apply these presets to these similar yet
| | 00:18 | different images.
| | 00:20 | I'll go and select the first image and
press Command+R on a Mac, Ctrl+R on a
| | 00:23 | PC and in this movie I just want to
expose you to how you can begin to work
| | 00:27 | with presets and then in the next movie
we are going to dig way deeper. We are
| | 00:31 | going to create even more intelligent
presets. All right, well here what I'm
| | 00:35 | going to do is go ahead and modify my
Color Temperature, bring in a little Fill
| | 00:38 | Light, let's say add a little bit of Contrast.
| | 00:40 | We will cover some of those Highlights
and then brighten up the image overall.
| | 00:44 | All right, well I have made some
adjustments. I'm going to then navigate over
| | 00:47 | here to my Presets panel. I'll click on
the New icon. In this case, it's going
| | 00:51 | to apply all of these different
adjustments or create all of those different
| | 00:54 | adjustments as a preset and I'll call
this one Engagement_1 and I'll press OK.
| | 01:02 | Next I'm going to actually cancel out
of this image, so we will click Cancel
| | 01:06 | and we will go back to the original
file and now no adjustments have been made
| | 01:09 | to this because I canceled out of that
Camera Raw dialog. Well, if I reopen the
| | 01:13 | image, press Command+R on a Mac,
Ctrl+R on a PC and navigate to my Presets panel,
| | 01:18 | well, to remember that preset,
to apply it all I need to do is click on that
| | 01:21 | option and now I have modified that
image with those particular settings.
| | 01:26 | Now I can of course go back and modify
in further by going to the Basic panel
| | 01:29 | and saying, you know what? I need more
Recovery, I need to lower my Exposure a
| | 01:33 | bit, bring up a little bit more Fill
Light and I can go from there. So a lot of
| | 01:37 | times what will happen is you will
use a preset as a starting point. Think
| | 01:41 | of it almost like a launching pad so
that you can go further because each image
| | 01:45 | will vary just a little bit.
| | 01:47 | All right, well this is a real
basic approach to presets. What's a
| | 01:50 | little bit more of an intelligent approach?
We will talk about that in the next movie.
| | Collapse this transcript |
| Creating functional presets| 00:00 | All right, let's go ahead and dig a
little bit deeper into our presets. We are
| | 00:03 | going to select this first file again
corwig_engagement01, open it up in Camera
| | 00:08 | Raw. We are going to make a few
adjustments. We'll go ahead and warm this image
| | 00:11 | up, add a little bit of Fill Light,
Brightness, Contrast, and Clarity and Vibrance.
| | 00:16 | Okay, good, we have now made our basic
adjustments. Next thing I want to do is
| | 00:20 | navigate over to the Lens Corrections
panel. Now I'm going to go ahead and add
| | 00:24 | a little bit of a Lens Vignette to
this image. I'll go ahead and darken those
| | 00:28 | edges and add a pretty
strong vignette to the photograph.
| | 00:32 | The next thing I'm going to do here
is click on the option for HSL and
| | 00:34 | Grayscale and convert it to Grayscale,
and then I'll darken up the sky a bit.
| | 00:38 | All right, well, that's all I'm going
to do here, but typically what you would
| | 00:41 | do is go through all of your different
panels, go through your entire workflow
| | 00:44 | for an image. In this particular case,
I have gone through the workflow by
| | 00:48 | modifying the color and then add it a
Vignette and then convert it to Grayscale.
| | 00:52 | Now based on this workflow, I want to
build or create a few presets. So I'm
| | 00:56 | going to navigate to the presets
panel and I'm going to click on the New
| | 00:59 | option. Now in this case, I'm not
going to apply a preset to all of the
| | 01:03 | adjustments, just those basic adjustments.
| | 01:05 | So I'll title this one E and then -
Basic, and then I'll go ahead and click OK.
| | 01:12 | So now that particular set of
adjustments are going to be just the adjustments
| | 01:15 | based on the Basic panel.
| | 01:17 | I'll go ahead and create another
adjustment. Now at this point, what I want to
| | 01:20 | do is create an adjustment for my Lens
Corrections. I'll name this one E and
| | 01:23 | that's E for an Engagement. Then I'll
name is Lens and I'll go ahead and click OK.
| | 01:27 | Now I want to create one more
adjustment, I'll click on the New icon and this
| | 01:32 | time, I'm going to go ahead and
choose Grayscale Conversion, and I'll name
| | 01:35 | this E - BW for black and white and click OK.
| | 01:38 | So now for these engagement photos, I
have three different types of presets.
| | 01:43 | Now let's say that I want a little bit
of a different Lens Vignette. I want to
| | 01:46 | create an image that's in color and has a
Lens Vignette that's a little bit different.
| | 01:50 | So I'm going to go back to my
Grayscale Conversion, turn that off, navigate
| | 01:54 | back to my Lens Corrections, remove the
Lens Corrections by double-clicking the
| | 01:58 | slider. Then we can go ahead and add
this edge effect. The image is in color.
| | 02:03 | I'm going to navigate back to my presets.
Click on this New icon. This one I'm
| | 02:07 | going to called E - Basic - Lens.
| | 02:13 | So now, I have a very different type of
a preset. This particular basic preset
| | 02:18 | here is just the basic adjustments.
This one has a basic adjustment in addition
| | 02:22 | to or in combination with
that particular Lens Vignette.
| | 02:26 | All right, well, now that I have
created these different presets based on this
| | 02:30 | particular image workflow, how can I begin
to use and apply these to different images?
| | 02:35 | We are going to talk about how we can
do that in the next movie. So let's go
| | 02:38 | ahead and cancel out of this image, so
click Cancel, so we don't apply any of
| | 02:41 | those settings to this image and then look at
how we can apply those presets in the next one.
| | Collapse this transcript |
| Applying presets to multiple images| 00:00 | Now that we have created our presets,
we are going to take a look at how we can
| | 00:03 | apply them and how we can modify them
so they are even better. Let's go and
| | 00:07 | select the entire set of images by
clicking on one. Press Command+A on a Mac,
| | 00:10 | Ctrl+A on a PC to select all of the
images. Then press Command+R on a Mac,
| | 00:15 | Ctrl+R on a PC to open
them up inside of Camera Raw.
| | 00:19 | Now what we can do here is select all
by clicking Select All. Navigate to the
| | 00:23 | Presets panel. Here we have our
different presets. I'll go ahead and apply the
| | 00:27 | Basic presets and you can see its
updated, and all of the different thumbnails
| | 00:30 | with those new settings. Okay, well so
far so good, those images look pretty nice.
| | 00:35 | I'll go ahead and select one of the
images and then choose Select All. Yeah,
| | 00:38 | I'm targeting this image. Next I'm
going to go ahead and choose Basic Lens.
| | 00:42 | Now when I do that I have the Basic
adjustments with this Lens Vignette which
| | 00:46 | is this Post Crop, a vignette that I
have added to the image or darkening of
| | 00:50 | the edge, I kind of like that. I go
through my different adjustments, and now
| | 00:53 | here I have added in addition to that,
a little bit more of a Lens Vignette.
| | 00:56 | Yeah, I really wished if I could
remove this particular Lens Vignette. Well,
| | 01:00 | how can I get rid of that? We will go
ahead and click through my Options. Even
| | 01:03 | when I go to black and white or back to
basic, that option is still turned-on.
| | 01:08 | And the reason it's still turned-on
is because what's happened is, I have
| | 01:12 | modified the settings but in those
other presets I never said, you know what, I
| | 01:15 | want to undo any of those settings.
| | 01:18 | So I'm going to go ahead and hold down
the Option key on a Mac, Alt key on a
| | 01:21 | PC that will change Cancel to Reset
to reset this back to normal. I'm then
| | 01:25 | going to select all the images that I
have here. Click on Basics, and now I
| | 01:29 | have my basic adjustments. Then,
I'm going to create a New preset.
| | 01:33 | This time what I'm going to do is
navigate over to my Lens Corrections, make
| | 01:36 | sure I have no vignetting on, go over
the Presets panel, click on New. I'm
| | 01:41 | going to name this one E - Basic - No Lens.
| | 01:45 | I'll go ahead and choose the Basic
Settings for this preset, in addition to
| | 01:48 | Lens Vignetting and Post Crop Vignetting.
Remember now because this has no Lens
| | 01:54 | Vignetting or Post Crop Vignetting,
this preset will remove those options.
| | 01:58 | All right, so I can go ahead and look
at E with the Lens Vignetting on, or I
| | 02:02 | can turn that off with this particular
preset. So keep in mind that as you are
| | 02:06 | creating your presets, you are
going to create this based on your own
| | 02:08 | particular workflow and what you want
to do is create presets that give you
| | 02:12 | quite a bit of flexibility.
| | 02:14 | In this case, for example, I was able
to apply the Basic adjustments, let's say
| | 02:17 | with that border around them really
quickly, and I'm able to see how these set
| | 02:21 | of images look with
these particular adjustments.
| | 02:24 | Now as I go through these images, I
say for the most part they look really
| | 02:27 | good, except for this image because
this was the coolest file. Then I'm going
| | 02:31 | to need to go back to my Basic panel,
and perhaps warm this image up even a
| | 02:34 | little bit more and then perhaps a
little bit more Contrast and a little bit
| | 02:37 | less Fill Light for this particular file in
order for to fit into these set of images.
| | 02:43 | Now these images are all very similar,
yet at the same time very different but
| | 02:46 | you can see how these presets help me
process these files incredibly quickly.
| | 02:51 | All right, well, there is a little bit
more to talk about in regards to presets
| | 02:54 | and we'll talk about that in the next movie.
| | Collapse this transcript |
| Working with presets| 00:00 | In this movie, I want to talk about how
we can begin to work with our presets.
| | 00:04 | In the previous movie, we talked about
how we can use Camera Raw to access the
| | 00:07 | presets, yet once those are created,
they actually don't even need to go in the
| | 00:11 | Camera Raw to apply the presets,
and let me show you what I mean.
| | 00:14 | Here I can select a file and I can
see the Preview over here. I'm going to
| | 00:17 | open up a little bit more space for the
preview so we can focus in on it. Next,
| | 00:22 | in the Content panel, I'm going to right
-click, and keep in mind I can do this
| | 00:25 | on more than one image as well.
| | 00:27 | I'm going to right-click and then, I'm
going to navigate down to the Develop
| | 00:30 | Settings option. And here, I'm going to
choose the preset that I want to apply
| | 00:34 | which is E - Basic with that Lens
Corrections Vignette border around it. I'll
| | 00:38 | go ahead and apply that, and there
you can see that I have now applied that
| | 00:41 | preset without ever
having to open up Camera Raw.
| | 00:44 | Now as you can imagine this is
incredibly helpful because you can use and
| | 00:48 | access your presets without ever
having to open up Camera Raw and sometimes
| | 00:52 | opening up Camera Raw, that extra step is
just a step that you don't want to take.
| | 00:57 | All right, well, how else can we begin
to work with these presets? Let's say we
| | 00:59 | need to delete a preset. What I can
do here is press Command+R to open up
| | 01:02 | Camera Raw, go under my presets, I
can click on the preset that I want to
| | 01:06 | delete, and click and drag that to the
Trash Can icon, or click on the Trash Can icon.
| | 01:11 | In addition, what I can also do is I
can find the presets on my particular hard
| | 01:15 | drive, and here I have the Camera Raw
preset folder. You can navigate to this
| | 01:20 | particular folder and then go down to
your Settings folder, and here you can
| | 01:23 | see my different presets. And then go
ahead and select one of these presets,
| | 01:27 | right-click, and then I'll choose
Move to Trash to delete that preset.
| | 01:31 | Now let's go back to Bridge in Camera
Raw for a moment. When I press Command+R
| | 01:36 | to open up Camera Raw and I go back to
my presets, that preset is now missing
| | 01:40 | or it's gone from this
particular collection of presets.
| | 01:43 | So I can manage the presets either
inside of Camera Raw or by going to the
| | 01:47 | folder where those presets are saved,
and the reason why I want to point out
| | 01:51 | that particular folder, and I'll go
ahead and open it up again, and being able
| | 01:54 | to go to these folders is kind of handy,
right, because it's here where I can
| | 01:58 | manage my presets.
| | 01:59 | I can also take these presets, and I
could share them with someone else, or I
| | 02:02 | can take someone else's presets, and
install them in this particular folder.
| | 02:06 | Camera Raw will recognize those, they
will then show up in Camera Raw inside of
| | 02:11 | the Presets panel.
| | Collapse this transcript |
| Presets resources| 00:00 | In this movie I want to share with you
a few preset resources because as you
| | 00:03 | starting to discover presets, it can
really help out your overall workflow. But
| | 00:07 | keep in mind a lot of times presets
will simply be a starting point from which
| | 00:12 | you will continue or further modify
your image. Let's go ahead and take a look
| | 00:16 | at a couple of preset resources. I'm
going to do that by navigating to the
| | 00:19 | web. The folks over at onOne Software
have released a free set of a hundred
| | 00:24 | presets and they were created and
designed by Photoshop guru Jack Davis.
| | 00:29 | He has created these free presets. You
can go to the onOne Software site and
| | 00:33 | you can find them by navigating the
products or simply doing a search for
| | 00:37 | Camera Raw presets and then you can
download those for free. Another site that
| | 00:41 | I want to highlight is Kubota. And if
you navigate to kubotaworkshops.com you
| | 00:46 | can click around and you
can find their Camera presets.
| | 00:48 | Now I haven't actually used these and
these particular presets cost money. I
| | 00:52 | think they cost about $20 or something
like that. I simply want to highlight
| | 00:56 | that they are out there and again I
haven't used these so I don't know if they
| | 00:59 | are good or bad. So if you are
interested in these, you will have to dig into
| | 01:02 | things a bit to see if they will work
for you. So let's go ahead and navigate
| | 01:05 | back to the onOne Software
presets because those are free.
| | 01:09 | After you download them, it will walk
you through a few steps to install the
| | 01:12 | presets. So let's hide the web browser
and navigate back to the Bridge and I
| | 01:16 | have gone ahead and installed those
presets. Let's take a look at what that
| | 01:20 | actually looks like. I'll press Command+
R to open up an image inside of Camera
| | 01:23 | Raw. I'll then navigate
over to the Presets panel.
| | 01:27 | Now one of the things that I like about
these presets is that they have resets
| | 01:31 | built into them. So here we can see I
have a Global Reset. So if I go ahead and
| | 01:34 | click through a few presets and I'm
stacking them up and I don't really like
| | 01:38 | it. You can click back on Global
Reset to bring everything back to normal.
| | 01:42 | All right, well I'm going to go
ahead and choose a few presets here. I'm
| | 01:44 | going to scroll down and say I want to
convert this image to black and white. I
| | 01:47 | have a few different little black and
white conversions options, great. I'll
| | 01:51 | try tinting it. Cool. I don't like
that. Reset that I'll try tint it Warm.
| | 01:55 | Okay, that's kind of interesting.
| | 01:56 | What about a Vignette, I could add a
little bit of a Vignette or even a darker
| | 01:59 | Vignette or even a darker Vignette.
That one was too dark. Click on Reset,
| | 02:03 | bring that back to normal and then
click on one of those options perhaps above
| | 02:07 | that and try to find one that
works with your particular image.
| | 02:10 | So as you can see here, you can slowly
build up your options and keep this in
| | 02:14 | mind, presets many times are just a
starting point. You can go even further
| | 02:18 | right. I could go back to my controls
and look at the different type of Toning.
| | 02:22 | Here I have the Toning, maybe I don't
want that much Saturation. I can go ahead
| | 02:26 | and lower that.
| | 02:27 | I can go on to my basic adjustments and
I can continually modify those for this
| | 02:31 | image. So again those presets simply
modify the controls and you can think of
| | 02:35 | them as a really good starting point.
Now a lot of times what happens is when
| | 02:39 | people use other people's presets is
they get a little frustrated because there
| | 02:43 | is so many options. And perhaps there
is so many options that you don't want to
| | 02:46 | use all of these options.
| | 02:48 | Well, if there are too many options for
you, you know what you can do. You can
| | 02:51 | always navigate back to that folder
where those presets are stored and here you
| | 02:55 | can see where I have all the presets
stored in this folder. Now they are the
| | 02:59 | presets that I created and they are
these presets that I've installed. I go
| | 03:02 | ahead and scroll through this whole
list. Now let's say that I'm really not
| | 03:06 | interested in this old photo
effect because those are just excessive.
| | 03:09 | Well, all I need to do is select and
highlight those and then drag them to
| | 03:13 | Trashcan and delete those. Now in my
opinion those are actually pretty good
| | 03:15 | presets, so I'll hang on to those.
Yet I hope you get my gist that you can
| | 03:19 | modify these, you can change the
names of these presets, you can use these
| | 03:23 | presets from which to build at your
own and then get rid of all of them.
| | 03:26 | There is incredible flexibility here as
you begin to work with presets in Camera Raw.
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|
|
20. AutomationQuick raw processing of multiple files| 00:00 | When you're working in Camera Raw, you
are never working in a vacuum. What I
| | 00:03 | mean by that is when you're working
in Camera Raw, you're also working in
| | 00:06 | Adobe Bridge and sometimes you need
to even go over to Photoshop. And what
| | 00:10 | we'll get to do in this chapter is talk
about how we can expedite, how we can
| | 00:13 | speed up, how we can automate our overall
Camera Raw workflow, and how we can take
| | 00:17 | advantage of some of the power of the
Adobe Bridge and of Photoshop in order to
| | 00:21 | speed up what we are actually doing.
| | 00:23 | All right, well in this first movie,
what I want to do is first talk about what
| | 00:26 | we are trying to accomplish here. I
have three raw files and I'll go ahead and
| | 00:29 | click through those files. I'm going
to make the preview a little bit bigger.
| | 00:32 | And here you can see I have these
nice three photographs of my sister, my
| | 00:35 | brother-in-law and their little guy
Stewart. Now my sister says, hey Chris can
| | 00:39 | you send me those three photographs?
| | 00:41 | Well I could of course go through each
image and I can process them one at a
| | 00:44 | time or I can look at some techniques
that I could use in order to speed up my
| | 00:49 | overall workflow. And that's what I
want to do here. Initially, let's talk
| | 00:52 | about Camera Raw. Then we're going to
talk about Photoshop then we're going to
| | 00:56 | talk about a few other
things. So initially Camera Raw.
| | 00:58 | We'll select an image. Press Command+R
on a Mac, Ctrl+R on a PC to open it up
| | 01:03 | inside of Camera Raw. We'll modify
the Temperature, bring in a little bit a
| | 01:07 | Fill Light, some Clarity, some
Contrast and perhaps a little bit of Blacks
| | 01:11 | there and then press the P key. Here is
our before and after. In addition, I'm
| | 01:15 | going to go ahead a little bit of
Sharpening, low Detail, Amount, before and
| | 01:19 | after. Double-click the Zoom tool. You
want to see the image at 100% to really
| | 01:23 | evaluate the sharpening and that looks good.
| | 01:26 | Next thing I'm going to do is add a
little bit of a vignette. So I click on
| | 01:29 | Lens Corrections. I'll double-click the
Hand tool there and I'll just lower the
| | 01:33 | Amount and bring the Midpoint in
just a touch. Okay, well I have processed
| | 01:37 | this image and again all I'm doing
here is real simple Camera Raw stuff. We know
| | 01:40 | how to do this stuff already.
| | 01:41 | I'll go ahead and click Done to
apply those changes. We'll see that the
| | 01:45 | thumbnail will soon be updated. All
right, well how then can I process all
| | 01:49 | three of these files? Well we've
learned a number of different techniques but
| | 01:52 | we haven't learned the shortcut yet.
This is one of my favorite shortcuts. What
| | 01:57 | you do is select the first image,
press Command+Option+C on a Mac, Ctrl+Alt+C
| | 02:02 | on a PC and then click on the other
images and then select multiple images. Hold
| | 02:07 | down the Command key and click on a Mac.
Hold down the Ctrl key and click on a PC.
| | 02:12 | Next press the shortcut Command+Option+V
on a Mac, Ctrl+Alt+V on a PC. That
| | 02:20 | allows me to paste the Camera Raw
settings. I'm going to paste all of these
| | 02:23 | settings. Click OK. It will then update
both of those thumbnails. And now this
| | 02:29 | is really nice because I was able to
work with Camera Raw without even having
| | 02:33 | to open up Camera Raw and then now
I have processed all three of these photographs.
| | 02:37 | All right, well so far we've seen
nothing new. We've processed all three of
| | 02:40 | these photographs; we are ready to go
Photoshop in order to create an action.
| | 02:44 | And we're going to do that in the next movie.
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| Recording an action| 00:00 | Now that we have modified these images
with Camera Raw, let's go ahead and head
| | 00:03 | on over to Photoshop. Photoshop, we are
going to go to our Window pulldown menu
| | 00:07 | and choose Actions and then click-and-
drag this tab out and then collapse the
| | 00:11 | History panel there, so we can focus in
on the Actions panels. Now we have some
| | 00:16 | Default Actions here. We are going to
go ahead and close that set and create a
| | 00:19 | new set and I'm going to name this
set Orwig and click OK. And you can name
| | 00:24 | this obviously whatever your name is.
| | 00:26 | The next thing we're going to do is
create a New Action and I'm going to call
| | 00:29 | this one Small JPG - Color, and I'll
start recording it. The first step is
| | 00:35 | going to be to open the image, so we'll
go File > Open. We are going to select
| | 00:38 | our first raw file and click Open.
That will then open up this file. Now keep
| | 00:42 | in mind any of the adjustments that I
make here will actually be applied to all
| | 00:46 | of my images later. I don't need to do
anything here but if I did want to raw
| | 00:50 | process this file and the
others I can make some changes here.
| | 00:54 | Also keep in mind that whatever I set
here, in this case my workflow options,
| | 00:58 | Adobe RGB 1998 8 Bit/Channel and a
particular image size, that is how this
| | 01:03 | image will be opened inside a
Photoshop. Well I'm going to size this image
| | 01:07 | down, and why I'm going to do that
because I want to email my sister and my
| | 01:10 | brother-in-law some photos. So it's sized
down, click OK. And then open the image.
| | 01:15 | Now this particular action will record
that I just open it in Camera Raw with
| | 01:20 | those particular settings and it open
it at this particular size. The next step
| | 01:24 | is to go to Image and then choose
Image Size. I'm going to resize this down,
| | 01:28 | change the Width to 700 pixels wide
that will work really well for emailing or
| | 01:32 | for posting it online. Bicubic Sharper (
best for reduction). Definitely click OK.
| | 01:37 | Now, some of the things that we will be
talking about here in Photoshop may be
| | 01:40 | a bit unfamiliar to you. If they are,
check out my movie Photoshop CS4 for
| | 01:45 | Photographers to learn more about how to do
some of the things that we'll be doing here.
| | 01:49 | Next I want to add a little bit of the
curves adjustments so I'll click on the
| | 01:52 | Curves icon in my Adjustments panel.
I'm just going to bring my Whites up a
| | 01:56 | little tiny bit and my Blacks down a
bit just to add a little bit more of a
| | 02:00 | punch to the color. All
right, well so far so good.
| | 02:03 | The next step is to navigate to File >
Save for Web and Devices, and here we
| | 02:07 | are going to save this out at a quality
of something somewhere around 60 there,
| | 02:11 | the image looks pretty good. We'll go
ahead and click Save in order to save
| | 02:15 | this file in the same folder just
a new name and then click Save to
| | 02:19 | successfully save that image. Well we
have this image still open. Let's go
| | 02:22 | ahead and close it. We don't need it
anymore. And then we'll press Don't Save.
| | 02:26 | Now, I have recorded all of these
steps interaction. The action is now
| | 02:30 | complete, so we are going to click on
the Stop button. All right, well now that
| | 02:33 | we have created this action, how can
we then take advantage of it in order to
| | 02:37 | batch process our photos? Well. We'll talk
about how we'll do that in the next movie.
| | Collapse this transcript |
| Batch-processing multiple photos| 00:00 | Now that we have created this
particular action we are going to go ahead and
| | 00:03 | take advantage of it. So let's navigate
back to the Adobe Bridge. I'm going to
| | 00:06 | delete this JPG just so we are not
distracted by it. Go ahead and right-click
| | 00:10 | or Ctrl-click and choose Move
to Trash, and then click OK.
| | 00:13 | All right, well here I only have the
raw files. I'm going to select all of
| | 00:17 | them. Click on one, hold down the
Shift key, click on another, and then
| | 00:19 | navigate to your tools, choose
Photoshop and Batch. This will open up the Batch
| | 00:24 | dialog window, couple of things we
want to do here. We want to play an action
| | 00:28 | from my Set or from your set if you
have added your name there. The Action I'm
| | 00:32 | going to apply is Small JPG - Color.
| | 00:33 | Now I need to be sure to check this
option on, Override Action "Open" Commands.
| | 00:38 | Now that's really important because
what that does is it allows us to open up
| | 00:42 | that Camera Raw file. It allows us to
take advantage of that action that we wrote.
| | 00:46 | Here all that we need to do is simply
press OK. And then kick back and watch
| | 00:51 | Photoshop do all of its magic. Let's
go ahead and check out these images when
| | 00:55 | we go back to the Adobe Bridge. We now
have three files that have been resized.
| | 01:00 | They are all really small, less than a
100K or just about a 100K. Those are now
| | 01:04 | good to go. I can email those to
my sister and my brother-in-law.
| | 01:08 | Before I send off the email, I all of
a sudden remember that my sister said,
| | 01:12 | Chris, I would really love to see the
photos in black and white as well. So
| | 01:16 | what I need to do is take advantage of
the action that I have written, modify
| | 01:19 | that action in order to generate some
black and white images as well, and we
| | 01:23 | are going to do that in the next movie.
| | Collapse this transcript |
| Modifying an action| 00:00 | What are going to do in this movie is
take advantage of the action that we have
| | 00:03 | already written. In order to process or
change that action then we need to open
| | 00:07 | up a file. I'm going to open up this
file here. Now one of the things that I
| | 00:11 | want you to keep in mind is when we
open this up, we'll get a little bit of a
| | 00:13 | missing profile warning. That doesn't
matter because this image doesn't really
| | 00:18 | matter. We just have to have
something open. So I'll move that over to the
| | 00:21 | side, and then we'll expand our Actions
panel here by clicking-and-dragging it
| | 00:25 | down. Click on the Small JPG - Color
Action and click-and-drag that to the New
| | 00:29 | Option, double-click in the Name we are
going to change this to Small JPG - BW.
| | 00:34 | All right, well now that we have
renamed this action, let's go ahead and close
| | 00:38 | the other action and here we have few
options. We are opening the image, great!
| | 00:43 | Resizing it, great! Making adjustment
layer curves that's fine. I'm going to
| | 00:46 | go down to my modifying of that
adjustment layer and I want to add another
| | 00:50 | adjustment. So I'll click on that
Record button and then I'll choose the icon,
| | 00:54 | in the Adjustments panel for
converting to black and white.
| | 00:57 | Now that I have done that, it recorded
that action, perfect. I'll go ahead and
| | 01:01 | click Stop. Now my next action has to
do with exporting. It has to do how I'm
| | 01:06 | going to save this file out. Now there
are two options here. One option is to
| | 01:10 | double-click this in order to overwrite
it. Another option is to click-and-drag
| | 01:14 | it to the Trashcan icon, or click on
the Trashcan icon, and rerecord it.
| | 01:17 | I'm going to go ahead and overwrite
this by double-clicking this action. I'm
| | 01:22 | going to then click Save, and I'm
going to save these to a new folder. I'll
| | 01:26 | click New Folder and I'll name this BW
and then create and then save the image
| | 01:31 | into that folder. All right, well now
that I have modified this action, I'll go
| | 01:36 | ahead and close this file because I
don't need it. And I'm going to go down to
| | 01:39 | my folder. There we have that bw
folder and just to illustrate, I'll delete
| | 01:44 | this image, right-click or Ctrl-click,
move that one to Trash and go back to my
| | 01:48 | main folder.
| | 01:49 | I'm going to select the three raw
images, the three big images. Click on one,
| | 01:53 | hold down the Shift key, click on
another, then navigate to the tools pulldown
| | 01:57 | menu, choose Photoshop Batch. Now
here's what we are going to do. We are going
| | 02:02 | to choose Small JPG - BW, Override
Action "Open" Commands and click OK.
| | 02:07 | Now all that we need to do at this
point is kick back and relax. Stretch out
| | 02:12 | our shoulders or arms, take a deep
breath, say yeah, Photoshop is amazing. It
| | 02:17 | can really help me speed up my workflow
and this is especially true when we are
| | 02:21 | working with a lot of images.
| | 02:22 | So here we can see that I now have
three black and white images that I could
| | 02:26 | email to my sister as well. Yet I want
to put these all on the same folder. And
| | 02:31 | I notice they have the same name as
the other color files. How can I quickly
| | 02:35 | rename these files? We'll go ahead and
click on one. Hold down the Shift key,
| | 02:39 | click on another, and then press Shift+
Command+R on a Mac, Shift+Ctrl+R on a
| | 02:43 | PC. We are going to name these corwig_
caldwells_bw, start off with the number
| | 02:49 | one, and then click Rename.
| | 02:52 | Now I have new names for these
files. I'm going to drag them into my
| | 02:55 | Automation folder, go to that
Automation folder, delete this folder because we
| | 02:59 | don't need it. It's empty, right? Go
ahead, right-click, or Ctrl-click, Move to
| | 03:02 | Trash or select and press the Delete
key and then choose Delete. Yup, we want
| | 03:07 | to get rid of it. And how here you
can see that I have successfully batch
| | 03:11 | processed these files. I have color
versions of the image, I also have a black
| | 03:16 | and white version, as we can see here,
and I can email these to my sister or to
| | 03:20 | the client, even better so that they
can review the files and determine which
| | 03:24 | one is a keeper.
| | 03:26 | Now keep in mind that while I'm
showing you a particular technique in regards
| | 03:29 | to this batch processing and saving
JPGs, you can use batch processing for
| | 03:34 | almost anything that you can do inside
of Photoshop and inside of Camera Raw.
| | 03:37 | So you can really take advantage of all
the Camera Raw controls as well as all
| | 03:42 | of the Photoshop controls in this context
in order to expedite your overall workflow.
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|
|
21. Camera Raw CreativityCreative vivid color| 00:00 | You can think of this chapter as a bit
of a bonus chapter and all that I want
| | 00:03 | to do here is begin to work with
Camera Raw in some creative ways just to get
| | 00:07 | the wheel spinning, just to get you
thinking about how you can begin to use
| | 00:10 | these controls for creative purposes.
We're going to work on this file
| | 00:14 | corwig_vegas.jpg. Select it, press
Command+R on the Mac, Ctrl+R on the PC.
| | 00:19 | Now, what I'm interested in doing with
this particular photograph is shifting
| | 00:22 | the color and shifting it dramatically.
I like this photograph because I like
| | 00:26 | that the birds landed on the sign. I
like the overall composition. You don't
| | 00:30 | want to push this image to a new place.
| | 00:32 | So here is what I'm going to do. I'm
going to go ahead and swing the color
| | 00:35 | pretty far and pretty hard. Here you
can see that I'm coming up with a brand
| | 00:38 | new color palette by modifying
the overall temperature and tint.
| | 00:42 | Now, when you have images where the
color is really vivid, you can do some
| | 00:45 | things like this and come up with
some pretty interesting results. I'll go
| | 00:48 | ahead and increase the contrast. I'm
going to bring in a little bit of Fill
| | 00:51 | Light and then bring up my blacks, and
then modify the overall exposure that
| | 00:56 | will then in turn affect the color.
| | 00:58 | All right, next I'm going to go to my
Lens Vignetting, and I'm going to add a
| | 01:01 | bit of a lens vignette. Again, I'm
going to try, and create a little bit of
| | 01:05 | this cross process type of a look.
I'm then going to go over to my HSL/Gray
| | 01:08 | scale. And here I'm just going to
play a little bit with some of my
| | 01:11 | Saturations. Now, that's kind of
tricky to remember what was what color. So
| | 01:16 | when I move a slider, I can't
really see what I'm modifying.
| | 01:19 | So in order to trigger my memory, I'll
go back to the Basic panel. I'll press
| | 01:23 | the P key to see my before and after.
Okay, well that is red. The sky is blue.
| | 01:26 | I'll press the P key again, and then
navigate back to HSL/Grayscale. So here
| | 01:31 | I'm in my Reds, and I can also work on my Blues.
| | 01:33 | Well, I'm going to go to the Luminance
and this is what I really want to do is
| | 01:36 | modify the overall Brightness of
those Tones. There are going to be some
| | 01:39 | Oranges in there as well. So here we
can see that I can control the sign there
| | 01:43 | pretty well. I'm going
to brighten that up a bit.
| | 01:45 | Now, for the background, we have the sky.
We'll tap into our Blues, looks like
| | 01:50 | it's mostly actually Aquas with this
particular sky. There is a lot of that
| | 01:53 | nice bright Blue in there and again, I
can modify that. I can come up with a
| | 01:58 | pretty interesting combination, darker
background, little bit brighter sign,
| | 02:02 | and that's a little bit too far. I
think that's kind of interesting.
| | 02:05 | Press the P key. There is before and
after. Again, just bringing a little bit
| | 02:08 | more focus into the sign. Next, I'll
navigate back to the Basic panel. What can
| | 02:13 | I do here, I can actually remove
the color, and I can remove the color
| | 02:16 | completely, or I can then bring it up
incrementally just to find the sweet spot.
| | 02:21 | Let's say, I want a little bit more
of a muted color palette. I still want
| | 02:24 | vivid colors, but I just want it to be
quite so neon or perhaps I want it to be
| | 02:28 | a little bit more vivid. Again, you can
see that we have some different options here.
| | 02:33 | We can also go over to our Split
Toning controls. Now, Split Toning, this is
| | 02:37 | going to control our highlights or
brighter colors, and again we're really
| | 02:41 | mixing color in some pretty
significant ways. So as we move through these
| | 02:44 | different colors, you are going to see
that what's going to start to happen is
| | 02:47 | we're now stacking or layering
color on top of other colors.
| | 02:51 | Here, I can go in and come up with
some other color combinations. I'm just
| | 02:55 | modifying my controls here a bit to
see some other color combinations, and
| | 03:01 | that's kind of interesting there.
Let's take a look at our overall before and
| | 03:04 | after. We'll go to our presets and
then press the P key. Here is before and
| | 03:08 | here is after.
| | 03:10 | So it's kind of an interesting journey,
wasn't it? It's not too far from the
| | 03:13 | original, yet at the same time, it's
very different. We have this unique kind
| | 03:18 | of punchy vivid colors. We also have
some options. We go back to those Split
| | 03:23 | Toning controls, there are some
options here where we can remove that final
| | 03:27 | color adjustment and go back to
these really Deep Greens and these bright
| | 03:31 | Orange Reds.
| | 03:32 | Again, the point here is to play with
color, and to look at how we can begin to
| | 03:37 | combine controls to come up with
some really interesting color effects.
| | Collapse this transcript |
| Soft and warm color| 00:00 | Here, we are going to continue our
conversation about Camera Raw creativity and
| | 00:03 | in particular, we are going to look at
how we can crop and work with color in
| | 00:07 | order to enhance an image, make it a
little bit more soft and yellow, and
| | 00:11 | perhaps change the overall mood of a photograph.
| | 00:13 | We are going to work on the file
corwig_wedding.jpg. Select it, and press
| | 00:18 | Command+R on a Mac, Ctrl+R on a PC. Next,
we are going to select the Crop tool,
| | 00:22 | and what I want to do is maintain the
aspect ratio. So I'll choose 2 to 3,
| | 00:25 | actually I already have
it selected there, great.
| | 00:27 | Next, I'll click and drag across the
area that I want to crop into, and this is
| | 00:31 | basically what I want to crop into.
I'll then press Enter or Return.
| | 00:35 | Now, as I do that, as I take away the
rest of the elements, I realize that is
| | 00:40 | not a very good composition. I don't
like the way the lean is. So I need to
| | 00:43 | modify the crop even further. So I'll
press this C key to access the Crop tool,
| | 00:47 | and then I'm going to go ahead and
click and drag this to the left. I'll
| | 00:50 | approach one of these corner points and
click and drag to left, and then press
| | 00:54 | Enter or Return.
| | 00:55 | What that will do for me is it will
make the composition that much more
| | 00:59 | interesting. I can even go a little bit
further. Press the C key to access the
| | 01:02 | Crop tool, click and drag that
and then press Enter or Return.
| | 01:07 | All right, well now I have a much
different crop and it is looking a little bit
| | 01:10 |
|
|
