1. Introducing Camera RawWelcome| 00:04 | Hey! Welcome!
| | 00:05 | My name is Chris Orwig.
| | 00:06 | I am a photographer, and I am teacher.
| | 00:09 | I am on the Faculty of the Brooks
Institute in Santa Barbara, California, and
| | 00:13 | I'm really excited about this
training course, and here's why.
| | 00:15 | You know Raw workflow has become a cornerstone.
| | 00:19 | It's become foundational for
all of our post-production work.
| | 00:22 | And here in this course, you're going
to learn everything that you need to know
| | 00:26 | in order to take
advantage of this powerful tool.
| | 00:28 | Now we'll start off by focusing in
on the Adobe Camera Raw Interface.
| | 00:33 | And then we'll take a look at how we can
use some of these controls in order to
| | 00:36 | process our images in some
pretty creative and interesting ways.
| | 00:40 | Now, we're going to cover
all of these topics and more.
| | 00:43 | And I have to say it is a real honor
and privilege to partner with you in
| | 00:47 | this training venture.
| | 00:48 | Now we have a lot of exciting
ground to cover so without further delay,
| | 00:52 | let's begin.
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| Should I use Adobe Camera Raw or Photoshop?| 00:00 | Before we actually begin to work with
Adobe Camera Raw, I thought it would be helpful
| | 00:04 | to take just a couple of minutes to
talk about how Adobe Camera Raw fits into
| | 00:09 | our larger digital photographic workflow.
| | 00:12 | And you know whenever we start to talk
about digital photography and workflow,
| | 00:16 | we begin to think of these different
elements of our workflow, whether capture,
| | 00:19 | or post-production or output.
| | 00:22 | And here as we start to focus in
on post-production, inevitably a
| | 00:26 | question surfaces or arises.
| | 00:28 | Should I work with Adobe Camera
Raw, or should I work with Photoshop?
| | 00:33 | And a lot of times this question
surfaces because people discover that working
| | 00:37 | in Adobe Camera Raw is incredibly flexible.
| | 00:40 | It doesn't increase your file size.
| | 00:42 | It's non-destructive, and there are
all of these other benefits as well.
| | 00:45 | Therefore, they ask, well should I
work with Camera Raw or Photoshop?
| | 00:49 | And from my perspective, I don't
think it's an either/or a question; rather,
| | 00:54 | it's both/and solution.
| | 00:55 | Let me show you what I mean.
| | 00:56 | Well, one of the things that we want
to do is really focus in on what Adobe
| | 01:01 | Camera Raw is good at and
also what Photoshop is good at.
| | 01:04 | I like the way one of my friends puts it.
| | 01:06 | He says you know Camera Raw is
really good for making global adjustments.
| | 01:10 | Now we can, of course, make really
specific and fine-tune adjustments as well,
| | 01:14 | but primarily, when we're Raw
processing our photographs we're thinking about
| | 01:18 | the larger picture.
| | 01:20 | Then on the other hand, when we want
to make more specific adjustments, I
| | 01:24 | mean we want to fine-tune something,
or we want to create some really unique
| | 01:28 | and distinct effect,
| | 01:29 | well, in that case we're
going to need to go to Photoshop.
| | 01:32 | Another way to think about this is the
difference between precision versus speed.
| | 01:37 | We can work incredibly
quickly in Adobe Camera Raw,
| | 01:41 | yet if we want to make some real precise
edits we need to go over to Photoshop. All right!
| | 01:46 | Well, how then do these two programs
really work together, and where do we begin?
| | 01:51 | Well, for most photographers the typical
digital photographic workflow works like this.
| | 01:56 | We start off with Raw processing,
whether in Adobe Camera Raw or in Lightroom.
| | 02:00 | We make all the global type of
adjustments that we can make, and then from there
| | 02:04 | we send our images off to Photoshop.
| | 02:07 | And in Photoshop, we finish those files off.
| | 02:10 | Well, then you may be thinking okay,
well how then does this work for you Chris?
| | 02:12 | You're a photographer.
| | 02:13 | Well, in my own context I always start
off with Raw processing, and I do a lot
| | 02:18 | with Raw processing because
it's so flexible, and it's so fast.
| | 02:22 | Yet, almost always I finish my images
off in Photoshop, and that finishing work
| | 02:27 | is really important.
| | 02:29 | What I find I can do is I can push my
image to about 80% in Adobe Camera Raw,
| | 02:34 | but then if I really want to
sweeten up the file, I mean if I want to make it
| | 02:37 | compelling and engaging and enlivening,
if I really want to create an image
| | 02:41 | that connects with people,
| | 02:42 | well, in that case I definitely
need to go to Adobe Photoshop.
| | 02:46 | So, keep in mind that as we learn
more and more about Adobe Camera Raw what
| | 02:50 | we're doing here is foundational work.
| | 02:52 | And the better the foundation the
better we can finish our files later.
| | 02:57 | Now, I should say, of course, that
there are some images that you can
| | 02:59 | completely finish off in Adobe Camera Raw, like
this particular black and white photograph here.
| | 03:05 | It looks phenomenal, and it's only
been processed in Adobe Camera Raw.
| | 03:10 | As we begin to work more and more with
Camera Raw, just keep in mind that this
| | 03:14 | tool isn't the only solution;
rather, it fits into our larger digital
| | 03:19 | photographic workflow context.
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| What is Camera Raw?| 00:00 | In photographic circles, Adobe Camera Raw
has become quite a hot and popular topic.
| | 00:05 | There's so much excitement about
Raw Capture and Raw Processing.
| | 00:09 | Yet, sometimes some of this
is a little bit mysterious.
| | 00:12 | It's a little bit confusing.
| | 00:14 | So what I want to begin to do
here is to distill things a bit.
| | 00:18 | And the first thing that we need to
do is take a look at two terms: Raw
| | 00:21 | Capture and Raw Processing.
| | 00:23 | For starters, Raw Capture has to do with how
we're actually capturing the image on camera.
| | 00:28 | On the other hand, Raw Processing
is all about using Adobe Camera Raw.
| | 00:33 | Let's define these even further,
starting off with Raw Capture.
| | 00:38 | Whenever you capture an image with a digital
camera, the image is captured on the sensor.
| | 00:43 | And if you're capturing in JPEG mode,
that information goes through your whole
| | 00:49 | sequence of steps here:
| | 00:51 | Bayer Interpolation, White Balance Contrast
so on, Compression and then we get to JPEG.
| | 00:56 | On the other hand, we can
capture a file in its Raw format.
| | 01:00 | In other words, the information simply
comes straight off the sensor, and we
| | 01:04 | have all of this for our data.
| | 01:07 | So, in this scenario we're
talking about Raw Capture.
| | 01:10 | Now in contrast, when we talk about
Adobe Camera Raw we're talking about
| | 01:15 | something completely different.
| | 01:16 | This has to do with how we process an image
in software which is called Adobe Camera Raw.
| | 01:22 | So one of the things that happens when
we're using Adobe Camera Raw is that we
| | 01:26 | have these actual pixels.
| | 01:28 | We have image information.
| | 01:30 | Well, we then apply a set of
instructions to these actual pixels, and the
| | 01:35 | instruction are actually kind of interesting.
| | 01:37 | They are simply a laundry list of
information which describe how we want this
| | 01:42 | image to be displayed, whether the crop
or the color, and so what happens then is
| | 01:47 | this set of instructions
displays an image in a particular way.
| | 01:51 | Now, the nice thing about Adobe Camera
Raw is that working in this context, it's
| | 01:56 | completely non-destructive.
| | 01:58 | In other words, no pixels are
harmed, no pixels are affected.
| | 02:01 | We're not actually pushing pixels per se.
| | 02:04 | Rather, we have pixels that we're
applying some instructions to which then in
| | 02:10 | turn display the image
perhaps in a different way.
| | 02:13 | This in turn gives us a lot of
flexibility, and we can always undo
| | 02:18 | whatever we've done.
| | 02:20 | This can also really speed up our
overall workflow, because if you think
| | 02:24 | about it, with Adobe Camera Raw
there's no render time, because you're not
| | 02:29 | actually doing something to pixels; rather,
you're simply changing the set of instructions.
| | 02:35 | So again, this can result in a
different format and here you can see I have yet
| | 02:39 | another version of this image.
| | 02:41 | The other thing that's kind of
interesting about Adobe Camera Raw is that we can
| | 02:45 | process images, whether the RAW,
DNG, TIFF, or JPEG in this format.
| | 02:50 | So, we're not limited to just working
on files that we're captured in the Raw
| | 02:55 | format; rather, we can use these
different types of formats. All right!
| | 02:59 | Well, if we had to distill
this, how would we do that?
| | 03:02 | Well, think of Adobe Camera Raw as a
way to nondestructively edit and work on
| | 03:08 | your photographs, and what it does for
you is it helps things to be a little bit
| | 03:11 | more flexible, because you can
always undo whatever you've done.
| | 03:16 | It also will really speed up your
overall workflow, because while working in
| | 03:20 | Camera Raw there is no render time.
| | 03:22 | There's really no save time and so it
speed things up by leaps and bounds.
| | 03:26 | And then lastly, I like to think of
Adobe Camera Raw as a really creative space.
| | 03:30 | It's not just functional, but it can
help you come up with some really creative
| | 03:34 | ways to process images, and it's
because of these reasons and more, as you'll
| | 03:38 | soon discover, that Adobe Camera Raw
really has become one of the most premiere
| | 03:42 | and prominent tools of our time.
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| Using the exercise files| 00:00 | If you're a premium member of the
lynda.com Online Training Library, or if
| | 00:05 | you're watching this on a disk, you
have access to the exercise files.
| | 00:09 | When you find your Exercise Files
folder, you can simply open that up.
| | 00:13 | Inside of this folder, you'll notice
that all of the different exercise files
| | 00:17 | are organized based on the different chapters.
| | 00:20 | In order to access these files, all
that you need to do is just simply open up
| | 00:23 | the folder for that particular chapter, and
you can see the images that we'll be working on.
| | 00:28 | Now, because we'll be doing a lot of
work in Camera Raw you'll most likely want
| | 00:32 | to access these files using Adobe Bridge.
| | 00:34 | Inside of Adobe Bridge again, just
simply point to exercise files and select the
| | 00:40 | particular chapter that we're working on,
and then there you can find and then
| | 00:43 | access and work with these exercise files.
| | 00:46 | Now, if you don't have access to
these exercise files, no big deal.
| | 00:50 | You can simply follow along, or you can
always use your own assets. All right!
| | 00:54 | Let's begin.
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2. Preferences and File FormatsBridge overview and preferences | 00:00 | The Adobe Bridge really is a strong
program that allows us to access and
| | 00:04 | organize and even process our photographs.
| | 00:07 | Because Adobe Bridge is so important
in regards to our Camera Raw workflow,
| | 00:11 | I thought it would be helpful to briefly talk
about how we can customize Adobe Bridge, and
| | 00:15 | also, I want to take a look at just a
couple of our preferences that we want to
| | 00:19 | dial in, so that we can work more
effectively with Adobe Camera Raw.
| | 00:23 | Now, I'm assuming that you know a
little bit about Adobe Bridge already.
| | 00:27 | If that's the case, feel free
to skip ahead to the next movie.
| | 00:30 | But if not, what I want to talk about
here is how we can customize the way that
| | 00:33 | Bridge actually works.
| | 00:35 | Well, here you can see that I have
what's called the Essentials layout.
| | 00:39 | I can change that by
clicking on this Layout button here.
| | 00:41 | I'll go ahead and select Filmstrip.
| | 00:44 | Now when I make that selection,
let's say that I really want to have
| | 00:46 | thumbnails that are bigger.
| | 00:48 | Well, I can do that by simply
clicking on this Thumbnail slider here.
| | 00:52 | You can see it's dedicating
more space to my Content panel.
| | 00:55 | Another way I can make the same change
is by simply hovering over the dividing
| | 01:00 | line between our Preview and our Content panels.
| | 01:03 | You'll see that the cursor changes.
| | 01:06 | When you see that change, simply
click and drag to reallocate space for
| | 01:10 | those different panels.
| | 01:12 | If ever you want to go back to one of
your previous workspaces, all you need
| | 01:15 | to do is to click on this button here,
and then click on the other workspace
| | 01:19 | that you want to use.
| | 01:20 | Now in this case, I want to
open up more space for the Preview.
| | 01:23 | So I'll go ahead and click and drag
to the left, and then I want to close
| | 01:27 | the Metadata panel.
| | 01:28 | To do so, simply double-click that.
| | 01:30 | It will then collapse that particular panel.
| | 01:33 | Now if you want to bring it back up,
you can simply double-click again and that
| | 01:36 | will open up that panel.
| | 01:38 | You can also close it by hovering over that
dividing line, and changing the View there.
| | 01:43 | Now a lot of times what we're going to
do is we're going to access our files
| | 01:46 | through Bridge before we
open them up in Camera Raw.
| | 01:49 | Before you open an image up in Camera
Raw, sometimes you want to have some
| | 01:53 | certainty, if the file has good
information, meaning if it's sharp, if it's in
| | 01:57 | focus, if it's a keeper.
| | 01:58 | Well, one way that we can do that
is we can hover over the image and
| | 02:02 | simply click on the photo.
| | 02:03 | Here you can see that I
have what's called a loupe.
| | 02:06 | The loupe is helping me determine that.
| | 02:08 | Yes, I have good detail there,
nice sharpness in the face.
| | 02:11 | I'll go ahead and navigate down to another area.
| | 02:13 | There is also a good detail
here on the bike. Well, perfect!
| | 02:17 | Click again, and we can go ahead and close that.
| | 02:19 | Well, one of the things that I want
to do next is take a look at how we can
| | 02:22 | customize the Bridge interface by way
of our Preferences, and also, how we can
| | 02:27 | customize that Loupe tool.
| | 02:29 | We'll navigate to the Adobe Bridge
CS5 pulldown menu, and then choose
| | 02:33 | Preferences or press Command on a
Mac, Ctrl on Windows and K to open up
| | 02:38 | our Bridge Preferences.
| | 02:40 | Let's start off by going to the General tab.
| | 02:43 | Here, one of the things that I prefer to
turn on is this option, which allows us
| | 02:47 | to Command+Click in order to open the
Loupe, because sometimes I find that the
| | 02:52 | Loupe accidentally opens,
and it's kind of distracting.
| | 02:55 | This way, it only opens when I need it.
| | 02:57 | So if you turn on that option, on a
Mac, it's a Command+Clicking.
| | 03:01 | On Windows, it's Ctrl+Clicking. All right.
| | 03:05 | Well, the other thing I want to
highlight here is that you can change the
| | 03:07 | appearance of Bridge.
| | 03:08 | You can do so by simply dragging your sliders.
| | 03:10 | In this case, you can see that I'm
modifying that background color inside of Bridge.
| | 03:15 | Now this is just a preference, but
again, sometimes it's a good idea to
| | 03:18 | customize the Bridge Layout,
because it's so important for Camera Raw.
| | 03:22 | Now so far, we just really covered
some surface things, but this next
| | 03:26 | preference, and this next tip is
actually really quite significant.
| | 03:29 | What you want to do is click on Cache.
| | 03:32 | Now how this works is when you're
creating or working with Camera Raw files is
| | 03:36 | that it saves those
settings in a particular location.
| | 03:39 | By default, it's saving
them to this location here.
| | 03:42 | Now, I don't want that to be the case,
because if I save all these settings in
| | 03:46 | one location, and then if I move the
images to a different hard drive, those
| | 03:51 | settings won't travel with the image.
| | 03:53 | So, in order to have more consistency,
what I recommend you do is you turn on
| | 03:58 | this option to automatically export
the cache to the folders when possible.
| | 04:02 | That way, if you move a folder of
images, all of those settings will also be
| | 04:06 | moved with that folder.
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| Camera Raw preferences | 00:00 | Before we begin to work in Adobe Camera
Raw, it's obviously a good idea to take
| | 00:04 | a look at our Camera Raw Preferences.
| | 00:07 | We can find those by navigating
to the Adobe Bridge pulldown menu.
| | 00:10 | Then we can select Camera Raw Preferences.
| | 00:13 | Now, all that we're going to do here is
simply walk through these different options.
| | 00:16 | There are only going to be a couple
of things that we'll need to change.
| | 00:19 | Now, for starters, we want to make sure
we're saving our image settings not in
| | 00:23 | the Camera Raw database, but we want
to save it locally with the file as
| | 00:27 | Sidecar ".xmp" files.
| | 00:29 | In other words, this will be
important, so that the file, and its process
| | 00:33 | settings will travel together.
| | 00:35 | Otherwise, if those get separated,
we'll lose all the work that we've done
| | 00:38 | in Adobe Camera Raw.
| | 00:40 | The next option is to apply sharpening.
| | 00:42 | Now, typically, RAW files coming
straight off the sensor need a little bit of
| | 00:46 | sharpening and contrast and color work.
| | 00:48 | Now, what we want to do is we
want to change this to All images.
| | 00:51 | This will give us a good starting point,
a good amount of input sharpening, so
| | 00:55 | that we can actually see where we're going.
| | 00:57 | We'll probably do another level of
sharpening in Photoshop, just before output.
| | 01:02 | All right, well, what about
these Default Image Settings?
| | 01:04 | We're going to leave these all as is,
but I'll just talk through them briefly.
| | 01:08 | Applying auto tone adjustments isn't a
good idea, because it doesn't always work.
| | 01:12 | So typically, you want that off.
| | 01:14 | Also, once in Adobe Camera Raw, you
can always apply auto tone by way of a
| | 01:19 | shortcut, which we'll be talking about later.
| | 01:21 | Now, the next option I recommend you
leave on, which is an auto grayscale mix.
| | 01:26 | Again, this is just a nice good starting
point when you're converting to grayscale.
| | 01:31 | Next, you can have specific defaults
based on your camera, if you're going to
| | 01:34 | set up different default
settings for camera or ISO setting.
| | 01:39 | Now, for most of us, we're not going
to need that, yet if you have really
| | 01:42 | specific scenario where you're using
multiple cameras and where you're creating
| | 01:46 | defaults or settings for those different
cameras, then of course you'd want to
| | 01:49 | turn those two options on.
| | 01:51 | Now our Camera Raw Cache, we're
actually not taking advantage of, because you
| | 01:55 | remember, we're saving all of
our settings to our Sidecar files.
| | 01:58 | So we'll go ahead and
skip over Camera Raw Cache.
| | 02:01 | Now DNG files, we'll talk about a little
bit later, yet one of the things that I
| | 02:06 | want to highlight here is that if
you're going to use the DNG format, like I do
| | 02:09 | and a lot of other people do, you
want to check this option to update that
| | 02:13 | embedded JPEG preview.
| | 02:15 | That will help you out in your overall workflow.
| | 02:17 | Now the last option down here has to do
with how we RAW-process JPEG and TIFF files.
| | 02:23 | Now, one of the advantages of working
with Adobe Camera Raw is that we can,
| | 02:26 | of course, work with JPEG and TIFF files, yet
we need to determine how do we open those up?
| | 02:32 | In other words, when we open a JPEG file up,
do we want it to automatically go to Camera Raw?
| | 02:37 | Probably not, because it's not
typical that we're going to process all of our
| | 02:41 | JPEGs in Camera Raw.
| | 02:42 | Rather, I find this default setting
which says open your JPEGs if they have
| | 02:47 | settings with Camera Raw or your TIFFs
if they have RAW settings with Camera Raw.
| | 02:51 | In other words, only automatically
open those files that you've already
| | 02:55 | RAW-processed, because typically,
we're not going to RAW-process our JPEGs
| | 02:59 | and TIFFs all the time.
| | 03:01 | We'll leave that as is.
| | 03:02 | On the other hand, if you know that you
want to open up all JPEGs and all TIFFs
| | 03:07 | always in Camera Raw, well, then you
can go ahead and choose the second option
| | 03:10 | here in both of these
pulldown menus. All right!
| | 03:12 | Well, that wraps up our
conversation about Camera Raw Preferences.
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| Raw vs. JPG or TIFF files| 00:00 | As I mentioned previously, one of the
benefits of using Adobe Camera Raw is that
| | 00:04 | we can RAW-process TIFFs, JPEGs and RAW files.
| | 00:07 | So, why not always use TIFFs or JPEGs,
because JPEGs have that smaller file
| | 00:12 | size, why do we need to use these RAW files?
| | 00:15 | Well, RAW files have a lot of information in
them, a lot of dynamic range, a lot of depth.
| | 00:19 | Camera Raw can take advantage of that.
| | 00:23 | If we work with JPEGs, we can process
our photographs, although it's going to be
| | 00:27 | a little bit more limiting.
| | 00:28 | What I want to do here is
illustrate how this works.
| | 00:32 | Well, you can see that I have two photos.
| | 00:34 | The only difference is that one
is a JPEG and one is a RAW file.
| | 00:38 | You can see in the Metadata panel
down here that we have the actual
| | 00:41 | dimensions and the file size.
| | 00:43 | When we compare that to the RAW file,
we have the same dimensions, yet we have
| | 00:47 | so much more information. All right.
| | 00:49 | Well, let's go ahead and open
up both of these in Camera Raw.
| | 00:52 | So, hold down the Command key on a Mac,
Ctrl key on Windows and click on both images.
| | 00:57 | Next, we're going to
navigate to our File pulldown menu.
| | 01:00 | Here, we're going to choose Open in Camera Raw.
| | 01:03 | This will then launch Camera Raw.
| | 01:05 | Currently, one of the things that
I've turned on in Camera Raw is this
| | 01:08 | indicator, which shows me clipping.
| | 01:10 | You can turn that on by clicking
on the top right-hand corner here.
| | 01:14 | It's showing me that I have
some highlight problems in this
| | 01:16 | particular photograph.
| | 01:18 | Now, this is the JPEG file.
| | 01:20 | Let's take a look at the RAW file.
| | 01:21 | Now when I look at the RAW file, I
notice that yes, indeed I have some
| | 01:24 | clipping here as well.
| | 01:26 | Well, one of the things that we can do
in Camera Raw is we can correct that.
| | 01:29 | We can bring back some of those
highlights, because what clipping means is we
| | 01:33 | have loss of detail in this particular area.
| | 01:36 | In other words, it's
overexposed on the front of the car.
| | 01:39 | Let's take a look at how we
can actually correct this.
| | 01:42 | Well, what we can do is use
what's called the Recovery slider.
| | 01:46 | So if I go ahead and click and drag
this Recovery slider up, you can see that
| | 01:49 | it's now showing me that
there isn't any clipping.
| | 01:52 | What was red was the problem area.
| | 01:54 | Now the problem area is almost gone.
| | 01:56 | I'll go ahead and increase this
just perhaps a little bit more.
| | 02:00 | Here we can see that, let's say, at about 30,
we have almost the entire problem corrected.
| | 02:05 | Well, that's because this is a RAW file.
| | 02:08 | Now on the other hand, if we go to
the JPEG file and do the same thing,
| | 02:11 | let's take a look at how this works.
| | 02:13 | I'll increase my Recovery amount to the
same number there, which was 30, but in
| | 02:17 | this case, we still have a huge problem.
| | 02:19 | So, what we're going to need to do is
to continue to crank up our Recovery
| | 02:23 | slider, and continue to
pull it up, and up and up.
| | 02:27 | One of the reasons this is happening
is because the JPEG just doesn't have
| | 02:30 | as much information.
| | 02:32 | In other words, it's a little bit more
difficult for Camera Raw to work on this JPEG file.
| | 02:37 | So, I show you this illustration, not
to teach you how to work with Camera Raw.
| | 02:41 | We'll be doing that later.
| | 02:42 | Rather, I show you this, just to
illustrate this idea that if ever you have a
| | 02:46 | choice between processing a JPEG or a
RAW file, go with the RAW file, because
| | 02:51 | there is so much more information there.
| | 02:53 | The more information you have,
the better off Camera Raw will do.
| | 02:57 | It will enable and empower you to make
more compelling and engaging adjustments,
| | 03:01 | improvements and
corrections on your photographs.
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| Choosing a native raw file or a digital negative (DNG)| 00:00 | As the photographic community and
others know, capturing images in the RAW
| | 00:05 | format is unquestionably
better than any other format.
| | 00:09 | Therefore, you will even hear the joke
which says you should always shoot in the
| | 00:12 | RAW, but don't shoot in the buff,
because you might get arrested.
| | 00:16 | And it's true, working with RAW
files is superior to any other format.
| | 00:20 | Yet, one of the questions that we need
to consider is which type of RAW format,
| | 00:24 | especially as we start to
work with Adobe Camera Raw.
| | 00:28 | Now, we have two options.
| | 00:30 | We can either work with the Native RAW
file that comes straight off the camera.
| | 00:34 | That's going to be the NEF file or the
CR2 file, or whatever file format your
| | 00:39 | particular camera manufacturer creates
when you capture an image in the RAW.
| | 00:43 | Or we can take this RAW file, and we can
convert it to a format, which is called
| | 00:49 | the Digital Negative, or DNG file.
| | 00:51 | What I want to do here is simply take a look
at how we can work with both of these formats.
| | 00:57 | Take a look at some of the pros and cons.
| | 00:59 | So that you can make an educated decision
about which format will work best for you.
| | 01:03 | All right.
| | 01:04 | Well, let's start off with the
Original or Native file format.
| | 01:07 | Now, let's say that I am shooting with my
Canon 5D Mark II and I capture this image.
| | 01:13 | It's a .CR2.
| | 01:14 | Well, if I then open that image up
inside of Adobe Camera Raw and make some
| | 01:19 | adjustments, those adjustments
will be saved in a Sidecar XMP file.
| | 01:24 | Now, the Sidecar file is
simply a set of text instructions.
| | 01:29 | And these instructions say, "Display
this image with more contrast, more
| | 01:33 | color saturation, or a little bit of
this color shift or just a creative
| | 01:37 | effect or whatever it is."
| | 01:39 | That's really the beauty of working
with Adobe Camera Raw, in that we are not
| | 01:43 | actually modifying pixels, rather we
are simply changing a set of instructions.
| | 01:48 | Now, the nice thing about this is it
works really quickly, doesn't increase file
| | 01:53 | size, and it's just a great way to go.
| | 01:55 | Now, the down side of this is that
let's say we decide to move this image
| | 02:00 | onto another hard drive.
| | 02:02 | Well, as I move this image, there is a
chance that the connection between the
| | 02:07 | RAW file and the XMP file could be lost.
| | 02:10 | For example, we could kind of
leave this file behind, so to speak.
| | 02:14 | Then we would lose
actually all of our processing.
| | 02:17 | While on the upside, one of the reasons
why many people like keeping their files
| | 02:21 | in this Native format is that then
they can actually process their files in
| | 02:25 | Adobe Camera Raw and also open them up
in the camera manufacturer's software.
| | 02:31 | And the argument goes that you can
then take advantage of some proprietary
| | 02:35 | information that the camera company
knows in order to process your image in
| | 02:39 | perhaps a more effective way. All right.
| | 02:41 | Well, how then does that
compare to the DNG format?
| | 02:44 | Well, the same thing
happens with the DNG format.
| | 02:47 | We start off by capturing our
image in the Native RAW format.
| | 02:50 | Then what we can do is convert
our image to this DNG format.
| | 02:54 | Now, when we do that, it's as if it puts
the RAW data, the file, and also all of
| | 03:00 | this XMP information in a little container.
| | 03:03 | The nice thing about this is we don't
really ever need to know that any kind of
| | 03:08 | XMP file actually exists,
because it puts it all in one location.
| | 03:13 | And not only that, this little container,
which contains RAW data and this XMP
| | 03:18 | data, has some compression.
| | 03:20 | In other words, it makes
our file a little bit smaller.
| | 03:23 | So the argument or the advantage goes
that what you can do is, when you move
| | 03:26 | this or if you move this to another hard
drive, all of this information travels together.
| | 03:31 | There's no chance that the
information will ever be lost or separated.
| | 03:35 | And the nice thing about this is it
gives us a little bit more of a safety net
| | 03:39 | so that we are not going to lose all
the work that we have invested into a
| | 03:42 | particular photograph. All right.
| | 03:44 | Well, let's take a look at this perhaps
in a little bit more particular terms.
| | 03:48 | So what exactly is this DNG format?
| | 03:51 | Well, really what it is it's Adobe's
way of saying, hey, let's have an open,
| | 03:55 | non-proprietary RAW format.
| | 03:57 | In other words, let's kind of lift the
lid on things, rather than keep secrets.
| | 04:01 | Let's say that this is a format
that anyone can access and understand.
| | 04:04 | Well, why would you want to do that?
| | 04:06 | Well, some of the pros for
this are we don't need XMP files.
| | 04:10 | It also contains some
previews. There's some compression.
| | 04:13 | In other words, the file
will be significantly smaller.
| | 04:16 | And also, it's going to
increase our archival confidence.
| | 04:20 | In other words, let's say 40 years from
now, the software manufacturer, which,
| | 04:24 | i.e., is the camera manufacturer, may
actually not support certain file types.
| | 04:29 | Well, in this case we have this
assurance that moving forward this DNG file
| | 04:34 | format will be more supported,
especially since Adobe is behind it, which is
| | 04:38 | a software company.
| | 04:40 | The other advantage is that it give
us a single RAW processing solution.
| | 04:44 | Rather than having to jump between
different applications, we can all process
| | 04:47 | our images in one context.
| | 04:49 | Now, the cons I have alluded to a little bit.
| | 04:52 | One of them is that we are converting our
proprietary RAW files to another format.
| | 04:56 | And also, once we do that, we can't
go backwards and then use our camera
| | 05:01 | manufacturer's software.
| | 05:03 | So then what's the conclusion?
| | 05:05 | Well, you need to make the decision
for yourself, but for my own work, I have
| | 05:09 | adopted a complete 100% DNG workflow.
| | 05:12 | And I have done so because of
these different advantages listed here.
| | 05:16 | Whenever I can get a smaller
file size, I am all about that.
| | 05:19 | Also, dropping the need for XMP
files, having the single RAW processing
| | 05:23 | solution, and also the confidence that
this brings, in regards to having these
| | 05:27 | images being able to be
accessed and opened in the future.
| | 05:30 | Now, of course, you are going to
need to make your own decision.
| | 05:33 | So if you want to learn more about this
DNG format, what you can do is go ahead
| | 05:37 | and navigate over to Adobe's site.
| | 05:39 | And if you navigate to Adobe.com/products
/dng, there you can read and learn more
| | 05:47 | about this DNG format.
| | 05:49 | I also want to highlight here that if
you do decide to adopt this DNG format,
| | 05:53 | here at the same location you can
actually download what's called the DNG
| | 05:57 | Converter, either for Windows or for
Mac, which allows you to convert your
| | 06:01 | Native RAW files into this format.
| | 06:04 | We will be talking a little bit more about
saving to DNG, or converting to DNG in the next movie.
| | 06:09 | So let's pick up this
conversation in the next one.
| | Collapse this transcript |
| Converting or saving to the DNG format | 00:00 | Now that we know a little bit about
the DNG format, let's go ahead and take a
| | 00:03 | look at how we can convert
our files to this format.
| | 00:07 | Now, one of the things that we might want to
do is download what's called the DNG Converter.
| | 00:11 | Let me go show you where you can find that.
| | 00:13 | If you navigate to Adobe.com/products/
dng, over on the right-hand side you can
| | 00:19 | download what's called the DNG Converter for
Mac or Windows Operating Systems. All right.
| | 00:23 | Well, I have already
downloaded this and installed it.
| | 00:27 | In order to use the DNG Converter, all
that I need to do is to simply click on a
| | 00:32 | file that I want to convert to DNG.
| | 00:35 | Here we can see that I have
this particular file selected here.
| | 00:38 | And on a Mac, what you can do is drag
this file onto this DNG Converter in order
| | 00:42 | to launch and open up the Converter.
| | 00:45 | On a Windows Operating System, you can,
of course, simply click on the icon
| | 00:49 | to launch it, and then select the images, or
folder of images that you want to convert here.
| | 00:55 | All right.
| | 00:55 | Well, once you have made a selection
of what you want to convert, you then
| | 00:58 | determine what location,
where you want to save this.
| | 01:00 | I will go ahead and Save
this in the Same Location.
| | 01:03 | I can modify its name as needed.
| | 01:05 | And I can also dial in a few
Preferences here. All right.
| | 01:09 | Well, all that I would need to do to
convert this to this format would be to
| | 01:12 | simply click Convert, and
we would be done. All right.
| | 01:15 | Well, just for the sake of a demo, I am
going to quit out of this and show you
| | 01:19 | another way you can save or convert to DNG.
| | 01:24 | Another technique that we can use is to
simply open up a RAW file in Adobe Camera Raw.
| | 01:30 | Let's do that by double-clicking on this image.
| | 01:32 | Now, once this opens up in Adobe Camera
Raw, you will notice that in the bottom
| | 01:36 | left-hand corner we have this
button, which says Save Image...
| | 01:42 | Let's click on that in order to
open up our Save Options dialog.
| | 01:47 | Once again, we can determine
where we want to save the file.
| | 01:49 | I will Save it in the Same Location.
| | 01:52 | We can give this File a new Name.
| | 01:54 | In this case, it's going to
have a new number attached to it.
| | 01:56 | Let me change that to something
like a letter, just so we can see it a
| | 02:00 | little bit more clearly.
| | 02:01 | We can choose our File Extension.
| | 02:03 | And I have chosen here DNG.
| | 02:06 | Once you make that selection, you have
the ability to choose your format and
| | 02:10 | also the different settings for the DNG file.
| | 02:12 | Now, this last option down
here I do want to comment on.
| | 02:15 | Some people are a little bit
concerned about converting the native format
| | 02:20 | into this DNG format.
| | 02:22 | Therefore, they choose to embed the
original RAW file inside of the DNG Container.
| | 02:28 | In other words, a Container will
actually contain two different RAW files:
| | 02:31 | one DNG and one Native, or Original, RAW format.
| | 02:35 | Now, they do that just to be on the safe side.
| | 02:38 | Now, some people really prefer that,
because they feel like that extra safety
| | 02:42 | net gives them a little bit more
confidence to be able to process their images
| | 02:46 | in the most effective way.
| | 02:48 | Yet the downside, of course, as you can
imagine, is it's going to increase your
| | 02:52 | file size significantly.
| | 02:53 | So in my own workflow, I don't choose
this option, although it may be something
| | 02:58 | you will want to consider. All right.
| | 02:59 | Well, here, all I need to do is
click Save, Adobe Camera Raw will give me
| | 03:04 | progress down here, telling me that it's
saving or converting this image to this
| | 03:08 | format, the DNG file. Let's click Done.
| | 03:12 | And go ahead and take a look at Adobe
Bridge, so that we can see this DNG file
| | 03:16 | over here in the background.
| | 03:18 | Now, here you can see I have a DNG file.
| | 03:21 | And one of the things that's
interesting is that as we click back and forth
| | 03:24 | between these files, we can
take a look at our file size.
| | 03:28 | In this case, the RAW file is 24 MB.
| | 03:30 | The new DNG file, well, it's 20 MB.
| | 03:33 | Again, there is that lossless compression.
| | 03:35 | What we can do is right-click or Ctrl+Click
on the image and then choose Reveal in Finder.
| | 03:41 | This will open up a Finder Window,
showing me these particular images.
| | 03:45 | Now, when I look at these images,
here we can see we have that RAW file.
| | 03:49 | The RAW file also has this XMP file
right next to it, which this then contains
| | 03:54 | all the instructions or the RAW
processing that we have applied to this image.
| | 03:59 | On the other hand, that DNG file
is just a file that lives by itself.
| | 04:03 | The XMP file is inside of
this DNG Container. All right.
| | 04:06 | Well, that wraps up our conversation
about working with native RAW formats and
| | 04:11 | also working with the DNG file format.
| | 04:14 | I hope that the information
in this movie was helpful.
| | 04:17 | And I hope that it will help you
decide which format will work best for your
| | 04:21 | own workflow.
| | Collapse this transcript |
|
|
3. The Camera Raw Workflow Project overview: Cover photo shoot| 00:00 | I found that there's no better way to
learn Adobe Camera Raw than to look at a
| | 00:04 | practical and a realistic example of how
we can use Adobe Camera Raw in order to
| | 00:10 | process some of our images.
| | 00:11 | And here in this chapter, I want to
provide you with a little bit of a bird's
| | 00:14 | eye view of an overview of a workflow in
regards to how we can use Adobe Camera Raw.
| | 00:20 | And the particular project that we are
going to work on has to do with a photo
| | 00:23 | shoot that I did recently.
| | 00:25 | Just a couple of weeks ago, I had the
privilege of doing a cover photo shoot for
| | 00:29 | Triathlete Magazine.
| | 00:30 | If you navigate to my site,
chrisorwig.com, from there, you can go to my blog,
| | 00:35 | where you can find a post which
includes a behind-the-scenes video of this
| | 00:38 | particular cover shoot.
| | 00:40 | What we are going to be doing is
working on a few images that are going to be
| | 00:43 | printed in the magazine.
| | 00:44 | Well, let's make our way over to Adobe
Bridge in order to take a look at these photos.
| | 00:49 | This first photo is going to be printed
full page, and they really liked this image.
| | 00:54 | Let's go ahead and take a look at how it looks.
| | 00:56 | We will press the Spacebar to take
this image to Full Screen View mode.
| | 00:59 | Now, it's a good photograph, it's
raining, it has some good emotion and I also
| | 01:03 | like the black and white conversion.
| | 01:05 | Well, how was this image created?
| | 01:06 | I will go ahead and press my Right Arrow
key and here you can see the original file.
| | 01:10 | Unfortunately, the image
is completely underexposed.
| | 01:14 | I thought this image would be a good
practical example of how we can use Adobe
| | 01:18 | Camera Raw in order to take this image
from looking like this, as captured, to
| | 01:23 | looking like something like this that
has a little bit more life and grit and
| | 01:26 | vibrance, much more
compelling and engaging photograph.
| | 01:30 | Now, Camera Raw doesn't only work when
you miss your Exposure, but I find that
| | 01:35 | working on an image like this, where I
did just completely miss my Exposure, can
| | 01:39 | illustrate how Adobe Camera
Raw really works. All right.
| | 01:42 | Well, I will press the Spacebar key
in order to exit out of this view.
| | 01:45 | I also want to highlight one other
image which we will be looking at, and
| | 01:48 | it's this one down here.
| | 01:50 | Here's another perspective of that same
moment in time, just a little bit more pulled back.
| | 01:55 | In this case, my Exposure is a little
bit better, yet I want to take a look at
| | 01:59 | how we can process both of these
images in order to get them ready for being
| | 02:04 | printed in the publication.
| | Collapse this transcript |
| Auto-toning and correcting white balance| 00:00 | One of the obvious advantages of
capturing images in the Raw format is that when
| | 00:04 | we capture images in this format,
we have a lot of information.
| | 00:08 | Therefore we can process the images in
a little bit more of an aggressive way.
| | 00:12 | Now, as I mentioned previously,
unfortunately I really underexposed this image,
| | 00:16 | but what I want to do is open this image
up in Adobe Camera Raw, as we have done
| | 00:20 | so here, and begin to take a look
at how I can make some improvements.
| | 00:24 | Now, before I make my make my
improvements, I want to analyze the histogram.
| | 00:28 | Now, visually this image looks
underexposed, but it also looks underexposed by
| | 00:32 | way of the histogram.
| | 00:33 | Here you can see that all the
data leans over to the left.
| | 00:37 | What we want to have is this data
typically equally distributed around the
| | 00:41 | entirety of this histogram.
| | 00:43 | So sometimes we may look
at an image and not be sure:
| | 00:45 | Is this off or not?
| | 00:47 | And the histogram helps to start us evaluate that.
| | 00:50 | Now, one of the first things we might
want to do with an image like this is
| | 00:54 | simply apply some autoadjustments
here to try to get this image at a
| | 00:58 | better starting point.
| | 01:00 | There are a couple of
different ways that we can do that.
| | 01:02 | One technique that we can use is to
simply click on the Auto button, or we
| | 01:06 | can press a shortcut.
| | 01:08 | This is one of those shortcuts, I think,
you want to write down, because it's a
| | 01:11 | significant one that can really help out.
| | 01:13 | Now, it's not going to make your image
perfect, but it can be a good starting point.
| | 01:17 | The shortcut on a Mac is Command+U, on
a PC that's Ctrl+U. Now, when you press
| | 01:23 | that, it's equivalent to clicking on Auto.
| | 01:26 | Now, right from the get-go we can see
that yes, you know what, this image does
| | 01:30 | have potential. Otherwise, when I first
looked at it, it didn't look very good.
| | 01:34 | I might have even have deleted that
file had I not really been thinking about
| | 01:38 | how I could tap into Adobe Camera Raw.
| | 01:41 | Now, of course, I also have to say that
not all of your images are going to need
| | 01:45 | to have this adjustment applied, but in
certain situations this autoadjustment
| | 01:49 | can really help out.
| | 01:50 | Well, now let's take a look at the histogram.
| | 01:52 | Well, here we can see that the tones are
evenly distributed, a much better exposure.
| | 01:57 | All right. Well, the next step is going
to be to White Balance this photograph.
| | 02:01 | We can do so by selecting our tool up
here in our Tools panel, which allows us
| | 02:05 | to click on a neutral point in the image
and then successfully White Balance it.
| | 02:09 | I will go ahead and select this Eyedropper tool.
| | 02:12 | Then I am going to hover over my image.
| | 02:14 | Now, I know that this jersey should
be white, or at least close to white, so
| | 02:18 | what I am going to do is go ahead and click
on an area of this jersey and see what happens.
| | 02:22 | Now, when I do that, you may
notice that it modified my overall White
| | 02:27 | Balance controls here.
| | 02:28 | I will press Command+Z on the
Mac, Ctrl+Z on PC to Undo that.
| | 02:32 | There is the before, and then I will go
ahead and click again, watch those controls.
| | 02:36 | There is the after.
| | 02:38 | So, so far the image is
already looking much better.
| | 02:41 | Now, a lot of times what you are going
to want to do is evaluate your before and
| | 02:45 | after as you make progress with the image.
| | 02:47 | Let's do that here.
| | 02:49 | This time, we are going to do this by
simply clicking on the Preview button
| | 02:52 | up top. Click on that.
| | 02:54 | There we have our before
and now our after. All right.
| | 02:57 | Step one is complete.
| | 02:59 | Let's move on to step two, and
we will do that in the next movie.
| | Collapse this transcript |
| Cropping and composing| 00:00 | The next thing I want to take a look at
here is how we can use the Crop tool in
| | 00:04 | order to improve the
overall composition of this image.
| | 00:07 | In order to select the Crop tool, we
can either click on it in the Tools panel,
| | 00:10 | or we can press the C key
in order to select the tool.
| | 00:14 | Now, what we need to do with this
tool is simply click and drag over the
| | 00:17 | entirety of the image.
| | 00:18 | We'll then notice that we have these
different handles which we can drag on.
| | 00:22 | Well, if we need to maintain the aspect
ratio, hold down the Shift key and then
| | 00:27 | click on one of the corner points and
click and drag, and here you can see it's
| | 00:30 | maintaining that aspect ratio.
| | 00:32 | Now, if we are not concerned with that,
we can simply click on one of these
| | 00:35 | corner points and go ahead and click and
drag in order to have a little bit more
| | 00:39 | of a Free Transform crop.
| | 00:41 | Let me go ahead and make a crop here.
| | 00:44 | I am going to click and drag and
bring these points in from each side.
| | 00:48 | Now, to apply this crop, I can either double-
click in this area, or press Enter, or Return.
| | 00:54 | All right. Well, now that I have this new
crop, let's say that I realize I don't actually
| | 00:58 | like this crop, I want to change it.
| | 01:00 | Well, what can I do?
| | 01:01 | Well, press the C key again.
| | 01:03 | That will reactivate the Crop tool.
| | 01:05 | Now, with the Crop tool selected or
activated, you can press the Escape key if
| | 01:10 | you want to remove the crop
altogether. Let's do that.
| | 01:14 | Here you can see that it
completely removed that crop.
| | 01:17 | Now, just as a word of caution, if you
press the Escape key when you don't have
| | 01:22 | the Crop tool activated, it
can actually close Camera Raw.
| | 01:24 | So just make sure you are in the Crop
tool when you press that key. All right.
| | 01:28 | Well, let's take a look at
a few other options here.
| | 01:31 | If we click and hold on the Crop tool,
you will notice that you also have some
| | 01:34 | different aspect ratios
that you can choose here.
| | 01:37 | One of the things that you can do is
say, choose something like 3:4 or 4:5.
| | 01:41 | I will go ahead and make one of those
selections and then click and drag out.
| | 01:45 | Now, here at this juncture, you can see
that what's happening is I am creating a
| | 01:48 | portrait, or a vertical orientation.
| | 01:50 | In this case, we can see how
the aspect ratio is working.
| | 01:54 | Now, if ever you want to change that,
simply modify how you click and drag, and
| | 01:58 | in this case you can see how I am
changing from vertical to horizontal as I make
| | 02:02 | those changes in order to
create a new crop area. All right.
| | 02:05 | Well, once again, I want to escape from
this crop, so I will press the good old
| | 02:10 | Escape key to exit out of that.
| | 02:12 | Well, let's navigate back our Crop tool,
click on this, and then choose Normal.
| | 02:17 | Here, I will go ahead and click and
drag across the image, and all that I want
| | 02:20 | to do is just take out a little bit of
the head room, which in turn will make
| | 02:24 | the athlete a little bit more prominent,
kind of bringing him up to the top of the frame.
| | 02:27 | Here I will go ahead and simply double-
click inside of this crop area, and now
| | 02:32 | we have successfully cropped this image.
| | Collapse this transcript |
| Enhancing color and tone| 00:00 | Here I want to begin to introduce how we
can work on the overall color and tone.
| | 00:05 | One of the best things about Camera
Raw is that it has a built-in workflow.
| | 00:09 | In other words, typically what we do
is we work from the top to the bottom.
| | 00:12 | Well, so far, we worked on our color
temperature, and we can modify this even further.
| | 00:18 | For example, let's say we want to warm
this image up more, simply click and drag
| | 00:21 | to the right in order to do so, or if
we prefer, we can cool this image off.
| | 00:27 | So, again, at this point, all that
we're doing here is making subjective edits
| | 00:31 | in order to modify the image one way or another.
| | 00:34 | And in my case, let's say, I'll
just warm the image up just a touch.
| | 00:37 | We can do the same thing with
Tint here as well. All right.
| | 00:40 | Well, let's move down to these
sliders that allow us to really get into the
| | 00:44 | overall tonal qualities of the image.
| | 00:46 | Now, here you can see that my image was
underexposed by quite a bit, almost two stops there.
| | 00:52 | Well, I don't necessarily
need to bring this up any more.
| | 00:54 | I think the Exposure is okay, but I may
want to work with some of my other controls.
| | 00:59 | For example, I might want to add a
little bit of brightness, just to brighten
| | 01:03 | this image up, give it a
little bit more life, or snap.
| | 01:06 | I also might want to bring some light
into some of the darker shadow areas,
| | 01:10 | like around the eyes.
| | 01:12 | So, if I go ahead and click and
drag my Fill Light up, you can see now
| | 01:15 | I'm bringing some light into some of those
areas where the shadows were a bit trapped.
| | 01:20 | Once I've done that, I then can
go ahead and add some contrast.
| | 01:24 | Typically, again, you want to work your
way through these controls, because as
| | 01:28 | you do that, you can then make
some changes that make sense.
| | 01:31 | Now, at this Brightness level that
I've already dialed in, I add Contrast.
| | 01:36 | So in this case, those areas that were
dark don't become too dark. All right.
| | 01:40 | Well, so far so good.
| | 01:42 | Down below, we also have the
ability to work on Clarity and Color.
| | 01:46 | Clarity, you can think
of like mid-tone contrast.
| | 01:49 | Typically, you have a relatively low
amount, but what it does is just adds a
| | 01:53 | bit of nice texture.
| | 01:54 | What about Vibrance and Saturation?
| | 01:57 | What Vibrance will do is really target
weaker tones. Sometimes it's fun to bring
| | 02:01 | this up to have a little bit more color variety.
| | 02:04 | Saturation, we can increase to saturate,
in this case over-saturate, or lower it
| | 02:09 | down to de-saturate, perhaps if we
want a little bit more of a muted look.
| | 02:13 | Now, in my case, I just want to
take out a little bit of the color.
| | 02:16 | It seemed to be a little bit too strong,
little bit too yellow for my liking.
| | 02:20 | I think that looks a touch
better there. All right.
| | 02:22 | Well, let's evaluate our
before and after at this juncture.
| | 02:27 | We can do so by pressing the P key
or by clicking on this check box here.
| | 02:32 | This time, let's simply press the P
key, here we have our before, and then
| | 02:36 | now, our after.
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| Removing distractions| 00:00 | The next thing I want to take a look at
is how we can begin to remove some small
| | 00:03 | blemishes or distractions in our image.
| | 00:06 | I'll go ahead and select the Zoom tool
by clicking on that in the tools panel.
| | 00:10 | Then I'm going to click and drag across
this area of the photograph in order to
| | 00:13 | zoom in on that area, and then I'll
click again to zoom in even further.
| | 00:18 | Now, we can keep zooming in, in order
to evaluate different types of detail.
| | 00:22 | Now, as I do that, I notice a few things
about the image that I'm going to need to work on.
| | 00:26 | In particular, there's a small little skin
variation right there that I want to remove.
| | 00:30 | In order to remove that, what we can do
is select this tool here that allows us
| | 00:35 | to quickly and easily remove or
reduce blemishes, or distractions.
| | 00:40 | So, go ahead and click on that tool.
| | 00:42 | Then all I'm going to do is simply click
and drag in order to change the size of
| | 00:47 | this particular selection.
| | 00:49 | So, as I drag out, it's a little bit
bigger, and now I have two circles.
| | 00:53 | What do these circles mean?
| | 00:54 | Well, red, we want over the blemish.
| | 00:57 | You can see I kind of missed it, so I'm
going to have to click and reposition that.
| | 01:01 | Now, green, that's saying this is
the good area, but I don't want this
| | 01:04 | highlight in the nose brought in over here.
| | 01:06 | So I'm going to go ahead and click and drag
this to another more healthy area of skin.
| | 01:11 | Now, a lot of times what you may want
to do is use this at full percentage;
| | 01:15 | other times, perhaps you simply want
to lower this down for a little bit more
| | 01:18 | of a subtle effect.
| | 01:20 | We also have a few options.
| | 01:22 | We can choose Heal or Clone.
| | 01:24 | Again, it's going to be dependent upon the
task at hand in regards to what works best.
| | 01:28 | All right. Well, now that we've made that
adjustment, what we can do is press the Spacebar key.
| | 01:33 | We can then pan around the image and just
look for any other slight blemish or variation.
| | 01:39 | I happened to have noticed that there
is this string over here that I want to
| | 01:42 | remove, so I'm going to
go ahead and remove that.
| | 01:45 | In order to do so, again, I'm going to
click and drag in order to have a nice,
| | 01:49 | big area for this removal.
| | 01:51 | Next, I'll reposition this,
so I'm right over that string.
| | 01:55 | Then what I need to do is I need to
figure out how I can sample an area in order
| | 01:59 | to take out this little
thread coming off of the garment?
| | 02:02 | I'm going to increase my Opacity,
so I can take it out all the way.
| | 02:06 | I'm going to look at some different
options between cloning and healing.
| | 02:09 | I'll notice that certain options
will work better in certain situations.
| | 02:13 | In this case, Heal is bleeding in all
of this content, yet if I move this over
| | 02:18 | to a similar area, what we
can have is less of a bleed.
| | 02:21 | We can see that's much
more cleaned up of a line.
| | 02:25 | That looks really good.
| | 02:26 | Let's go ahead and zoom out.
| | 02:27 | We can do so by clicking on our Zoom
tool, and then what we'll do here is hold
| | 02:31 | down Option or Alt and then click on
the image in order to zoom out, so that we
| | 02:35 | can see how this is looking.
| | 02:37 | Hold down the Spacebar key, click and
drag to pan around the image, and then
| | 02:41 | remove any other blemishes or
distractions that we need to deal with.
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| Sharpening and noise reduction| 00:00 | Let's take a look at how we can work
on and improve some of the small details
| | 00:04 | of this photograph.
| | 00:05 | In particular, I want to take a look
at how we can work with sharpening this
| | 00:08 | file and also reducing some of the noise.
| | 00:11 | Well, let's go ahead and make
our way up to these tabs here.
| | 00:13 | You can see that we're currently in Basic.
| | 00:15 | We're going to go ahead and click
on the next one, which is Tone Curve.
| | 00:19 | Well, we've already really worked on
the tonality of the image, so let's go
| | 00:22 | ahead and skip that, move to
the next one, which is Detail.
| | 00:25 | Now here, you can see we can work on
Sharpening and also Noise Reduction.
| | 00:30 | So, I need to zoom in to 100% in order to
really work on the sharpening of this image.
| | 00:35 | To do so, I'll double-click the Zoom
tool and then press the Spacebar key to
| | 00:39 | click and drag around so I can
see some important information.
| | 00:43 | What I want to do is have a view here of
the face and also a bit of the background.
| | 00:47 | Well, how then can I sharpen this?
| | 00:49 | What I can do is go
ahead and increase my Amount.
| | 00:52 | As I do that, we're going to see that
there is more and more of a sharpening
| | 00:55 | effect applied to the image. What about Radius?
| | 00:58 | Well, this is interesting.
| | 00:59 | A lower radius, we're going to see
that it's a smaller area of edge contrast.
| | 01:04 | A higher radius, we're going to see
that much higher, or more of a halo.
| | 01:08 | Typically, your Radius is going to
be pretty, low somewhere less than 3.
| | 01:12 | Now, Detail, what we can do is have less
Detail sharpen, which looks better for skin.
| | 01:17 | Masking, we'll go ahead and increase that
to limit the sharpening to particular areas.
| | 01:22 | All right! Well, what about Noise Reduction?
| | 01:24 | Well, here what I can do is increase
my Luminance Noise Reduction, making the
| | 01:27 | background looking much more smooth,
add a little bit of contrast back to
| | 01:31 | that so that the image isn't too soft,
and also bring up some of my Color
| | 01:36 | Noise Reduction and then work on the overall
color details by modifying this slider here.
| | 01:42 | Now, of course, we're going to dig
much deeper into these controls later.
| | 01:45 | All I'm trying to do here is simply
introduce how we could use these here. All right!
| | 01:49 | Well, let's click on the Preview check box,
here we have our before and then after.
| | 01:54 | Now, when we click on this check box,
you're seeing a difference only in this
| | 01:58 | particular panel, only for
Detail, and this is really handy.
| | 02:01 | What I want to do is zoom in on the
background so that we can actually see the
| | 02:05 | structure of the image here.
| | 02:07 | See how it's changed.
| | 02:08 | Again, here we have before, a lot of
Color Noise and Luminance Noise, and now
| | 02:12 | here we have after, the image
looks much better. All right!
| | 02:16 | Well, I've zoomed in too far.
| | 02:18 | If I want to zoom out to be able
to see the whole image, I'll simply
| | 02:21 | double-click on the Hand tool.
| | 02:23 | That will take this image to a view
that fits the entire image inside of
| | 02:28 | Camera Raw.
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| Converting to black and white| 00:00 | Let's continue to make our way through
these different panels, and this time
| | 00:03 | what we're going to do is focus in on
converting this image to black-and-white.
| | 00:07 | If we click on the next panel tab, we
can go ahead and choose HSL or Grayscale.
| | 00:12 | HSL stands for Hue, Saturation, Luminance.
| | 00:15 | Now we're not concerned with
those controls for this image.
| | 00:18 | We simply want to Convert to Grayscale.
| | 00:21 | Now when I convert to grayscale, I
say, all right the image looks okay,
| | 00:25 | but really, this skin is too dark.
I want to brighten that up.
| | 00:27 | But we know that skin has a lot of
reds and oranges and yellows in it,
| | 00:33 | especially because we warmed
this image up a little bit.
| | 00:36 | So all that I'm going to do here is
simply click and drag these amounts up, and
| | 00:39 | you can see how it's affecting the
different areas of the skin and also a bit of
| | 00:42 | the background as we have
some of that tone in it.
| | 00:45 | In this case, I think I am going to
preferred to have that Yellows slider a
| | 00:49 | little bit deeper darker there.
| | 00:51 | It adds a touch more separation
between the subject and the background and
| | 00:55 | again, what I can do is go through
and make some adjustments in all these
| | 00:58 | different controls, in
order to modify specific areas.
| | 01:02 | For example, we remember there
were some blue on the uniform.
| | 01:05 | We can use the Blues slider in order
to control what that area of the uniform
| | 01:09 | actually looks like in regard to this
black-and-white conversion. All right.
| | 01:13 | Well now that we've made this black-
and-white conversion, one of the things
| | 01:16 | that we might want to do is double-click
the Zoom tool to take this image back to 100%.
| | 01:23 | Next press the Spacebar key and
click and pan around the image.
| | 01:26 | We want to do this just to evaluate the
different things that we've done to the
| | 01:30 | photograph and take a look at what's happened.
| | 01:32 | And sometimes what can happen is when
you work with some of these adjustments,
| | 01:37 | you can add some additional noise.
| | 01:39 | For example, let's take a look if we
can add some noise here to the background.
| | 01:43 | You can notice that as I change my
yellows, it's changing the brightness
| | 01:46 | value of this background.
| | 01:47 | Well that's very different than
perhaps a lower amount over here.
| | 01:51 | So again, once I convert to black-and-
white, I just want to evaluate the noise
| | 01:56 | and the sharpness of the image and if
needed, I'm going to make my way back to
| | 02:00 | the Detail control here, and I'll go
ahead and perhaps reduce the Noise a
| | 02:03 | little bit more, if I've exaggerated
it in any negative way, or perhaps I'll
| | 02:07 | modify my Sharpening as well.
| | 02:09 | Well the case of this image,
I think it's looking fine.
| | 02:12 | So I'll simply double-click the Hand
tool to go back to my Fit in View mode.
| | 02:16 | And here I have a really
nice black-and-white conversion.
| | 02:19 | And we're ready for the next step in
our workflow, which we'll cover in the
| | 02:23 | next movie.
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| Adding a vignette| 00:00 | Let's take a look at how we can work
with the edges, or the corners, of our image.
| | 00:04 | I want to take a look at how we can
do that in a couple of different ways.
| | 00:08 | We're going to ahead and skip over
one of these tabs, which is Split Toning
| | 00:11 | because we don't want to apply that
affect to this image; rather, we're going to
| | 00:14 | go to Lens Corrections.
| | 00:16 | Lens Corrections, we can use in order
to make some enhancements or corrections
| | 00:20 | of photograph, or to add
some creative vignettes to it.
| | 00:23 | You'll notice we have
this Lens Vignetting control.
| | 00:26 | If I go and click and drag to the left,
you are going to notice primarily down
| | 00:29 | here becomes darker, also a
little bit up top becomes darker.
| | 00:33 | But it's not a one-to-one
connection because we've cropped the image.
| | 00:37 | We can also brighten up these edges if
we want to bring in a little bit more
| | 00:40 | light to that area of the image.
| | 00:42 | Now in this case I do want to bring in
just a touch of light there, just kind of
| | 00:46 | brightening up the lower portion,
also the upper portion of the image.
| | 00:49 | So I am going to go ahead and modify
this by adding a little bit of brightening
| | 00:53 | effect to the edge of the image. All right.
| | 00:55 | Well how else can we work with the edges?
| | 00:58 | We can also click on this fx tab.
| | 01:01 | And here we have some
options for Post Crop Vignetting.
| | 01:04 | In Post Crop Vignetting we can now
work with those edges in a way that really
| | 01:08 | relates to the way we crop the image.
| | 01:10 | For example, let me go ahead and brighten
this just so we can see what it looks like.
| | 01:15 | Here I can modify my
Midpoint, one way or another.
| | 01:18 | I can also change the overall
Roundness or not of this adjustment.
| | 01:21 | And we can change the Feather amount here too.
| | 01:23 | And you can see the as I have a
different Feather amount, it's going to then in
| | 01:26 | turn change the way that
this edge is actually looking.
| | 01:30 | Now you're going to, of course, have
to use all of these controls together in
| | 01:33 | order to come up with a particular
edge effect that you actually like.
| | 01:37 | Also I should point out that you can
either brighten, or of course darken,
| | 01:41 | the edges depending on what you're
interested in doing in regards to your overall effect.
| | 01:45 | Now a lot of times what you might do
is perhaps have a little bit more of a
| | 01:49 | diffused effect here, and then I'll go
ahead and do this, and then I'll modify
| | 01:53 | my amount so it's not so drastic,
just simply a subtle darkening around the
| | 01:58 | edges in order to keep the viewer's eye
focused in on the center of the frame.
| | 02:02 | And in this case, and I'm just going
to do this a little bit lower here just to
| | 02:07 | have a nice, subtle vignetting effect.
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| Making a localized correction| 00:00 | Now that we've made our way through
most of these different panels, the next
| | 00:03 | thing I want to do is paint in some
local adjustments and also correct the
| | 00:07 | overall tone of this image.
| | 00:09 | So I'm going to click back to the Basic
panel, and here one of the things that I
| | 00:12 | want to do is just add a little bit
more Brightness to the image and also a
| | 00:15 | little bit more Fill Light.
| | 00:17 | And I need to do that because I had
increased the density of the photograph in my
| | 00:21 | black-and-white conversion and
also in adding that vignette.
| | 00:24 | So sometimes, after you make your way
through all of these controls, you kind to
| | 00:29 | have to loop back around in order to
make some further adjustments. All right.
| | 00:32 | Let's select the Zoom tool, and let's
zoom in a little bit here on the face.
| | 00:37 | And one of the things that I'm noticing
here is that it's a little bit too dark
| | 00:40 | for my taste around the eyes.
| | 00:42 | Well I can change that by painting in
an adjustment to a particular area.
| | 00:46 | So what I'll do is I'll go ahead and
click on my Paintbrush tool, and here I'm
| | 00:50 | going to increase the Exposure just a touch.
| | 00:53 | I'll make the brush nice and soft,
and it has a low Flow amount.
| | 00:56 | I'll bring the Feathering down a
little bit as well. All right.
| | 00:59 | Well I decrease the brush even
further there, just looking to have a
| | 01:02 | pretty small brush.
| | 01:03 | And then I'm just going to start to
paint over this area of the image.
| | 01:07 | Now the nice thing about this is that
we can make these type of adjustments
| | 01:11 | here, and then if they're too strong all
that we need to do is to modify our slider.
| | 01:16 | Let's take a look.
| | 01:17 | This is going to be a negative
adjustment, but I'll do this just to illustrate.
| | 01:21 | What we'll see is it's going to darken
the eyes, which look like a raccoon eyes.
| | 01:24 | Again, a negative effect, but really
illustrates how much control you have here.
| | 01:29 | Now in my case, I'm just looking for a
little subtle brightening of the shadow.
| | 01:33 | So let's take a look at our
before and after. Here we have it.
| | 01:35 | Click on the Preview check box.
| | 01:37 | There is before, and there is after.
| | 01:39 | We painted in that subtle adjustment to
that particular area of the photograph.
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| Creating snapshots of memorable looks| 00:00 | At this juncture, my Adobe Camera Raw
work is really done, yet let's say that
| | 00:04 | what I want to do here is I want
to get a little bit more creative.
| | 00:07 | I just have and just have a
couple a different fun ways that could
| | 00:09 | potentially process this image.
| | 00:12 | Well how then can I do that?
| | 00:13 | One of the things that we can do is
click in this last tab icon here in order to
| | 00:18 | open up what are called Snapshots.
| | 00:20 | Now in this case I'm going to go ahead
and click to create a snapshot, and I'll
| | 00:24 | call this one bw-final and click OK.
| | 00:28 | The next thing that I'm going
to do is make another adjustment.
| | 00:31 | For example, I'll go ahead and
click on this option for Split Toning.
| | 00:35 | I'm going to simply add some yellows
into my highlights and then also some nice
| | 00:39 | blues over here into my shadows.
| | 00:41 | Now as I do that, I have a completely
different type of an effect, something
| | 00:45 | that is just really distinct and unique.
| | 00:48 | Let's say that I want to remember this effect.
| | 00:50 | To do so, navigate back to the Snapshots
panel, click on the New icon, and we'll
| | 00:55 | go ahead and call this split toning-blue/yellow.
| | 01:01 | Let's click OK in order to apply that.
| | 01:04 | Well now here at this juncture, we
have two different versions of the image.
| | 01:08 | To view these, simply click on a
snapshot name, and it will then take all the
| | 01:12 | Camera Raw settings to however
we process the image this way.
| | 01:16 | Let's create one more, just
for the sake of an example.
| | 01:19 | I'm going to go back to my Basic panel.
| | 01:21 | What I'm going to do is just
brighten up my Exposure a little bit more.
| | 01:24 | Next, I'm going to navigate over to
the option that allowed us to convert to
| | 01:28 | Grayscale, and I'm going
to turn off that option.
| | 01:30 | Well now here we a have a color
photograph that has all of these different
| | 01:34 | adjustments applied to it.
| | 01:35 | Well one of the adjustments that I want to
modify is this one here, which is our Split Toning.
| | 01:40 | I'm going to go ahead and lower the
Saturation of both of these amounts because
| | 01:44 | I am not finding that very compelling.
| | 01:46 | The blue saturation I kind of like.
It neutralizes things a little bit.
| | 01:50 | I think that's kind of fun.
| | 01:51 | All right. Well, let's go ahead and go
back to the Snapshot icon here and then
| | 01:56 | click on the New Snapshot one more
time, and this we will go ahead and call
| | 01:59 | color-creative and again, just kind of
a fun interesting color type of a look.
| | 02:05 | Well now here we have incredible
amounts of flexibility, because in order to
| | 02:09 | simply view an image with one of
these settings, all that we need to do is
| | 02:14 | to click on this name where it will then
take this image to these different options.
| | 02:18 | So you can kind of think of Snapshots
a little bit like layers in Photoshop,
| | 02:23 | where you have a new layer which then
modifies the image in a particular way and
| | 02:27 | at the same time you have something
completely different here, because every
| | 02:31 | time you target, or click on one of
the snapshots, what it's doing is it's
| | 02:34 | updating all of the different settings
throughout all of these different panels
| | 02:38 | and also all the different
ways you've used the tools.
| | 02:41 | All right. Well, now we've done our
creative work and we've decided,
| | 02:45 | you know what, I'm just going to
go back to the good old-fashioned
| | 02:47 | black-and-white image.
| | 02:48 | Last thing I want to do here is do to
my Basic panel and perhaps just add a
| | 02:52 | little bit more brightness to
the photograph, and I'm done.
| | 02:55 | So we'll go ahead and click Done in
order to apply all these settings.
| | 02:58 | When we do that, it will take us back to
Bridge, and then in Adobe Bridge, what's
| | 03:03 | going to happen is it will update
this DNG file so that we'll now see the
| | 03:07 | preview inside of Bridge
with these new settings applied.
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| Re-editing Camera Raw settings| 00:00 | Well now we've completed our work in
Adobe Camera Raw, now that we're back in
| | 00:03 | Adobe Bridge, we may look at the
image and say, you know what, this isn't
| | 00:07 | exactly how I want to work with this file.
| | 00:10 | Sometimes it's kind of helpful to exit
Camera Raw, look away, look back at the
| | 00:14 | image, and you'll realize you know
what I need to re-process this image or
| | 00:17 | re-edit it, modify some of my controls.
| | 00:19 | In order to do so, all that we need to
do is to double-click the file to re-open
| | 00:23 | this in Adobe Camera Raw.
| | 00:26 | Now from here we can make
any kind of change possible.
| | 00:29 | For example, press the C key to
select the Crop tool and press the Escape key
| | 00:33 | in order to reset the crop.
| | 00:35 | Or, if we want to add more contrast, we
can go ahead and do that here, crank up
| | 00:39 | our Contrast amount, or we can work with
our overall Exposure, and again, we can
| | 00:43 | continually make changes
to the photograph as needed.
| | 00:46 | And of course, once we're complete
with this, all that we need to do is
| | 00:50 | to simply click Done.
| | 00:51 | That will then apply those settings,
and we'll see the updated back in
| | 00:55 | Adobe Bridge.
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| Working with multiple adjustments| 00:00 | At this juncture, there really are only a
couple more things to do with the photograph.
| | 00:04 | One thing that we might want to do is
take a look at other photographs that
| | 00:07 | were shot in a similar context where we want
to have perhaps some similar process settings.
| | 00:12 | We can select the file that we've
worked on. We can right-click or Ctrl+click
| | 00:16 | that and navigate to Develop Settings.
| | 00:19 | Then we can actually copy all
of these Camera Raw settings.
| | 00:22 | I'll go ahead and do that here.
| | 00:24 | Next, I'll make my way to another
image, or to a set of images, and then
| | 00:29 | right-click or Ctrl+click, go down to
Develop Settings and then choose Paste Settings.
| | 00:33 | What this is going to do is
open up this Paste Settings dialog.
| | 00:37 | Now here it's going to allow me to
dial in all of these different controls.
| | 00:42 | Now let's say that one of things that I
want to do is kind of get the same look.
| | 00:45 | Well I know that for the most part
these two images are similar except the
| | 00:50 | Exposure setting was different.
| | 00:51 | So I am going to check this option
off, so it won't apply an Exposure
| | 00:56 | adjustment to this image.
| | 00:57 | All right. Well, now I'll go ahead
and click OK in order to apply this.
| | 01:01 | What we'll see here is that it will then
update the settings to this particular file.
| | 01:06 | It will then show me a new preview of
this file here right inside of Adobe Bridge.
| | 01:10 | Now if ever I want to make further
adjustments to this image, what I can do is go
| | 01:14 | ahead and double-click it to
open it up in Adobe Camera Raw.
| | 01:18 | And then here I'll customize my Exposure
amount, or for that matter my Brightness
| | 01:22 | or my Fill Light, in order to get
this image looking really good.
| | 01:26 | Now in this case I think this
photograph looks really nice. I'm good to go.
| | 01:30 | I'll click Done.
| | 01:31 | That will then take me back to Adobe Bridge.
| | 01:34 | And we'll see there, once again, it
will update those settings, and it'll show
| | 01:37 | me a new view of this particular image.
| | 01:40 | And now at this juncture, we've
wrapped up our look at this Adobe Camera
| | 01:44 | Raw workflow overview.
| | 01:46 | The only last thing that I want to say
here is that typically what I would do
| | 01:49 | after I've done all of my Camera Raw
work is I'd then take these images over
| | 01:54 | to Photoshop in order to finish them
off, in order to really sweeten them up
| | 01:58 | that last 10 or 15%.
| | 02:00 | Let's take a look at the comparison
here, just so we can see what I mean.
| | 02:03 | I'll go ahead and click on the image
that we worked on and press the Spacebar
| | 02:07 | key to view this in Full Screen mode.
| | 02:09 | For the most part, this image looks good.
| | 02:12 | I'll press the Left arrow key, and
there we can see the image with just a
| | 02:15 | little bit more depth and contrast in order to
apply all of those type of finishing touches.
| | 02:21 | We would, of course, need to open
this image up in Photoshop in order to
| | 02:25 | apply those changes,
| | 02:26 | yet Photoshop is outside the scope
of this course so I'll go ahead and press
| | 02:30 | the Spacebar key and go back to
Adobe Bridge, and here we have officially
| | 02:34 | completed this snapshot, or
overview, of an Adobe Camera Raw workflow.
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|
|
4. The Camera Raw InterfaceNavigating the interface and the toolbar| 00:00 | Here we are going to take a look at the
Adobe Camera Raw interface and Tools bar.
| | 00:04 | All right. Well, let's zoom on in on this
interface, and what I want to do is just
| | 00:08 | highlight a few of the
major elements of the interface.
| | 00:11 | We are going to start over here in the top
left-hand corner where we have the tools bar.
| | 00:15 | Here we are going to find a number of
different tools which allow us to zoom, or
| | 00:18 | move our images, or crop, or retouch.
| | 00:21 | Making our way around in a clockwise
fashion, next we have the Preview button
| | 00:25 | and if we click on this toggle switch
here, it will then toggle off and then on
| | 00:29 | the preview. You can also do
that by pressing the P key.
| | 00:32 | The next element that we have is the
Full Screen mode button, and you almost
| | 00:37 | always want to run Adobe
Camera Raw in Full Screen mode.
| | 00:40 | You can do so by clicking on
that or by pressing the F key.
| | 00:44 | Making our way around, we
have next the Histogram.
| | 00:47 | Histogram is actually really powerful
and quite important because it gives us a
| | 00:51 | visual display of the
information in our photographs.
| | 00:54 | It can also help us out when we have
some problems, like when we have some
| | 00:58 | clipping, which means we have loss of detail
perhaps in our highlights or in our shadows.
| | 01:02 | Next we have all of our different
panel controls, but we have these different
| | 01:06 | tabs which give us access to
different types of controls.
| | 01:10 | So we are going to spent most of our
time here in Adobe Camera Raw in this area.
| | 01:14 | Making our way all the way down to
the bottom, we have the ability to open
| | 01:18 | images from Camera Raw.
| | 01:19 | What that will do is it will then
launch this image in Photoshop, and it will
| | 01:23 | launch the image based on our workflow options.
| | 01:26 | And in workflow options, we can define
a color space, a bit depth and also the
| | 01:31 | overall dimensions for the file.
| | 01:33 | So this can be really handy.
| | 01:34 | In other words, we can select something
which is the native file format, or let's
| | 01:39 | say we simply want a prepare
an image for working on the Web.
| | 01:42 | We could go ahead and change our
workflow options so that every time we click
| | 01:45 | Open, it would then open a
smaller version of the file.
| | 01:49 | Making our way around to the next
element here, we have Save Image.
| | 01:53 | This gives us the ability to save
our images in different file formats:
| | 01:57 | TIFF, JPEG, DNG and so on.
| | 01:59 | Then we have the ability
to change our zoom rate.
| | 02:01 | We can do so by either clicking on Plus
or Minus, or by clicking on this pulldown
| | 02:06 | menu and then selecting a
new zoom rate. All right.
| | 02:09 | Well now that we've seen some of these
main elements, let's go ahead and zoom in
| | 02:13 | on the Tools panel up here, and let's
take a look at some of these different
| | 02:17 | tools and really get familiar with what
they are and what their shortcuts are so
| | 02:21 | that we can use them. All right.
| | 02:22 | Well the first tool here
is called the Zoom tool.
| | 02:25 | And the Zoom tool allows
us to zoom in and zoom out.
| | 02:29 | If you have this tool active, you can
simply click on the image to zoom in, hold
| | 02:33 | down Option or Alt and click, and
that will allow you to zoom out.
| | 02:37 | The next tool is the Hand tool.
| | 02:38 | Shortcut key is the H key, and that
allows you to click and pan around your
| | 02:43 | image when you've zoomed in.
| | 02:45 | The next tool is called the White Balance tool.
| | 02:47 | Shortcut key is the I key.
| | 02:50 | And this is a really strong tool,
which allows us to color correct and white
| | 02:53 | balance our photographs.
| | 02:55 | Right next to that is something
which is similar, yet different.
| | 02:58 | It's called the Color Sampler tool.
| | 03:01 | You notice that this icon here, it
looks pretty close, but there's something
| | 03:04 | else added to it, and what we can do
with the Color Sampler tool is we can set
| | 03:08 | a few points on our image and then
analyze the numbers, or the RGB values, of
| | 03:13 | those different points.
| | 03:15 | From there, we have what are
called the Target Adjustment tools.
| | 03:18 | There are actually a handful of these tools.
| | 03:21 | And what these tools allow us
to do is to select one of them,
| | 03:23 | say Hue/Saturation.
| | 03:25 | We can then click on the image and
drag one way or another to change the
| | 03:29 | overall saturation.
| | 03:31 | The next one here in the set is the Crop tool.
| | 03:33 | Shortcut key is the C key.
| | 03:35 | Next, the Straighten tool.
| | 03:37 | Shortcut key is the A key.
| | 03:39 | This next set of tools
are actually kind of unique.
| | 03:42 | The next tool we have is the Spot Removal tool.
| | 03:45 | This one allows us to click on areas
and retouch them, remove small spots and
| | 03:50 | blemishes, and clean up our
images in some pretty unique ways.
| | 03:53 | Next, we have the Red Eye tool.
| | 03:55 | Shortcut key is the E key.
| | 03:57 | The next tool we have is the Adjustment Brush.
| | 03:59 | Shortcut key is the K key.
| | 04:02 | And this is probably one of most
powerful tools that we have, because it allows
| | 04:06 | us to dial in a specific effect, whether
working on exposure, contrast or color.
| | 04:11 | We can then paint that effect into
a particular area of our photograph.
| | 04:15 | Moving along, we have something which
also allows us to control different types
| | 04:19 | of effects, whether it's contrast or color or
exposure, and it's called Graduated Filter.
| | 04:25 | The shortcut key here is the M key.
| | 04:27 | This works a little bit differently, though.
| | 04:29 | It allows us to click and drag
over an area and create gradiated, or
| | 04:32 | transitioned effect.
| | 04:35 | Next one is our Preferences, and
the nice thing about the shortcut for
| | 04:38 | Preferences is that we can access this
with the same shortcut that we use in
| | 04:43 | Bridge or in Photoshop.
| | 04:45 | On a Mac it's Command+K, on Windows
that's Ctrl+K. And the final two icons here
| | 04:50 | that we have allow us to rotate the
image to the left or to the right.
| | 04:55 | We can also press the
respective shortcut keys, left or right.
| | 04:58 | All right. Well, that wraps up our
initial look at the Adobe Camera Raw
| | 05:02 | interface and Tool bar.
| | Collapse this transcript |
| Image adjustment tabs and panels| 00:00 | Before we begin to work with Adobe
Camera Raw, I thought it would be helpful to step back
| | 00:03 | for a couple minutes and talk about how
we can navigate to the different panels.
| | 00:08 | And you know we are going to spend
the majority of our time working with
| | 00:11 | these different panels over here in
order to make corrections or enhancements
| | 00:15 | to our photographs.
| | 00:16 | And so again, what I want to do is
zoom in on the Camera Raw interface, and I
| | 00:20 | really want to focus in on these
different panel tabs, because one of the
| | 00:24 | ways that we can navigate to these different
areas is simply by clicking on the tab icon.
| | 00:29 | We can also navigate to these by way
of a shortcut, and I want to share that
| | 00:32 | shortcut with you simply
because it's such a powerful one.
| | 00:36 | Here is what it is.
| | 00:37 | On a Mac, you can press Option+Command, on
Windows you press Alt+Ctrl and then a number.
| | 00:43 | For example, if you press the shortcut
with the number 2, it takes you to the
| | 00:47 | second panel, or the Tone Curve panel.
| | 00:49 | If you press 3, it takes you to the
Detail panel, and so what I want to do here
| | 00:53 | is simply walk through these panels, so
that we can build up our familiarity with
| | 00:57 | these different panels, so that we know
what's there, and also so that we know how
| | 01:01 | to get there so that eventually we can
use these different controls in order to
| | 01:05 | enhance and improve our photographs.
| | 01:08 | Let's go ahead and walk
through these different options.
| | 01:10 | The first one, panel one
here is the Basic panel.
| | 01:13 | This is where we are going to work
on Color Temperature, Exposure, Tone,
| | 01:16 | contrasts and also make some
other type of color adjustments.
| | 01:21 | The next panel is Tone Curve, and
here is where we are able to modify the
| | 01:25 | tonality of our image in
some pretty unique ways.
| | 01:28 | Moving on, we then have the ability to
work with Sharpening and Noise Reduction,
| | 01:32 | and it's worth pointing out here that
these two are grouped together because
| | 01:36 | really they work incredibly well together.
| | 01:39 | Let me tell you what I mean.
| | 01:40 | For example, if I reduce the noise
of my image, it becomes soft, so I then
| | 01:44 | need to sharpen it.
| | 01:45 | If I sharpen my image, I
then sometimes exaggerate noise.
| | 01:49 | So I then need to soften it a little
bit, or reduce the noise that I brought in.
| | 01:53 | So again, these two groups of
sliders work really well together.
| | 01:57 | The fourth one here is HSL and
Grayscale, and basically these set of controls
| | 02:03 | allow us to make adjustments based on
the overall colors in our photographs.
| | 02:08 | Sometimes the adjustments are just
simply brighten an area or to change a color
| | 02:12 | or to shift saturation, other times
it may be that we convert to Grayscale.
| | 02:17 | Let's say we have an image with a blue sky.
| | 02:19 | We could then control the luminance
value, or the brightness of that blue, even
| | 02:23 | though that blue has been removed by
using these different controls, really
| | 02:27 | fascinating set of controls here.
| | 02:29 | The next one, number five is Split Toning.
| | 02:32 | This allows us to bring a tone or color
into the brighter tones or Highlights,
| | 02:36 | and also a color into the deeper
tones or Shadows, and here we can kind of
| | 02:41 | create these unique split tone effects.
| | 02:44 | The next option, number six, Lens Correction.
| | 02:46 | This is where we can correct some
common occurrences which happen with certain
| | 02:50 | lenses, like wide-angle lenses.
| | 02:52 | That's Chromatic Aberration or other
things we can do here are correct or to
| | 02:57 | enhance our images by
working with Lens Vignetting.
| | 03:00 | The next panel is called Effects, and this
whole panel is actually new in Camera Raw.
| | 03:05 | And here we have the ability to do
something brand-new, which is add film
| | 03:08 | grain and also take advantage of something
we've seen before, which is Post Crop Vignetting.
| | 03:13 | In other words, once we've cropped an
image we could work on the edges of it,
| | 03:16 | either brightening those or
darkening them, and we have a few different
| | 03:20 | styles which are new to Camera Raw, which
help us dial in just the right Post Crop Vignette.
| | 03:25 | Moving right along, the next option we
have is Camera Calibration, and here what
| | 03:29 | we can do is tap in a different
profiles for our cameras in order to create a
| | 03:34 | more accurate, or correct look of color.
| | 03:36 | We can also use this tab in order to come
up with some creative color effects as well.
| | 03:41 | The next one we have is Presets, and
this is where we can create, or load, or save
| | 03:46 | our own presets in order to
speed up our Camera Raw workflow.
| | 03:50 | The last one that we have here
is called Snapshots, number 10.
| | 03:52 | This is where we have the ability to build
in a little bit of history into our file.
| | 03:58 | In other words, we can process our
file and take a snapshot, process it a new
| | 04:02 | way, take another snapshot.
| | 04:03 | And we can have these two different
snapshots that we can then target and click
| | 04:07 | or highlight in order process our
images in some unique ways. All right.
| | 04:11 | Well in summary, the intent of this
movie was to simply build up a little bit of
| | 04:15 | familiarity with these different panels
and also to highlight the shortcuts that
| | 04:20 | we have that allow us to quickly
navigate to these different panels.
| | 04:24 | Now if you don't like shortcuts or if this
is a little bit overwhelming, no big deal,
| | 04:28 | because we can simply click on these
tabs here in order to navigate to these
| | 04:32 | different locations as well.
| | 04:34 | And I thought it would be helpful to at
least expose you to the shortcut so that you
| | 04:38 | can jot it down and perhaps as you get
better and better at Camera Raw, you can
| | 04:42 | refer back to that and then slowly
integrate it into your own workflow.
| | 04:46 | The other thing that I want to point
out here is you don't actually need to
| | 04:49 | memorize the shortcut.
| | 04:50 | All you need to memorize is these two
keys plus a number, because what you can
| | 04:54 | do is press those two keys and then
click on the different numbers and
| | 04:58 | eventually you'll find the right panel.
| | 04:59 | All right. Well, that wraps up our
conversation here about Adobe Camera Raw and
| | 05:04 | how we can work with and
navigate to the various panels.
| | Collapse this transcript |
| Using the histogram| 00:00 | Here I want to take a look at
another important aspect of the Camera Raw
| | 00:03 | interface, and that is the Histogram.
| | 00:06 | Now, what I want to focus in on here in
regards to histogram are these two icons
| | 00:10 | that you can see in the top left in
the right-hand corners of the Histogram.
| | 00:14 | Now, these two icons can
help us in regards to clipping.
| | 00:17 | What clipping is is it shows
where we have a loss of detail.
| | 00:21 | Let me show you what I mean.
| | 00:22 | Well, for example, here I have this
wonderful photograph of my daughter and a
| | 00:26 | couple of her good friends.
| | 00:27 | They are up on a hike in
the hills behind our house.
| | 00:30 | What I want to do is, let's
say, increase the Exposure.
| | 00:32 | Well, as I increase the Exposure, I don't
necessarily know when I've gone too far.
| | 00:37 | Now, visually it does look like I've
gone too far, but I'm not quite sure.
| | 00:41 | Well, if I analyze the Histogram I can
see that yes, it looks like I have some
| | 00:45 | information which is being clipped, or lost.
| | 00:48 | Well, what I can do is I can
actually click on this little triangle icon.
| | 00:52 | That will then show me yes, indeed,
this highlight here is telling me that
| | 00:56 | this is a problem area.
| | 00:57 | Well, in this case, now with that
triangle clicked, I can simply click and drag
| | 01:01 | to the left in order to bring that back down.
| | 01:04 | The same goes for the Shadows.
| | 01:06 | If I click on this triangle icon here
and go ahead and bring up my Blacks, we
| | 01:10 | are going to see that that's showing
me that I have an indicator of problem
| | 01:13 | areas in these deeper black tones.
| | 01:15 | In order to correct that, I can simply
bring this down to where that indicator
| | 01:19 | is no longer visible, showing me
that I don't have any problems in these
| | 01:23 | deeper shadow areas.
| | 01:24 | Now, the other thing that we can do in
regards to these two clipping indicator
| | 01:28 | icons is we can press a shortcut.
| | 01:30 | If we press the O key, it will toggle
on or off the Clipping indicator, in this
| | 01:36 | case for the highlights.
| | 01:37 | Let's go ahead and mess up this image a little
bit and make an adjustment, which isn't good.
| | 01:42 | I'll press the O key.
| | 01:43 | You can see that it's toggling that on and off.
| | 01:46 | The shortcut for the Shadows is the U
key, press that, and there you can see I
| | 01:50 | can toggle that one on and off as well.
| | 01:53 | You can also press both keys at once.
| | 01:55 | Then go ahead and make your adjustments to
get the image in a little bit of a better place.
| | 02:00 | That wraps up our
conversation about the Histogram.
| | Collapse this transcript |
| Previewing before and after different adjustments| 00:00 | As I mentioned previously, one of the
important elements of the Adobe Camera
| | 00:04 | Raw interface is this little
teeny Preview button up here.
| | 00:07 | Now, while that Preview button is
small, it's actually pretty important,
| | 00:10 | because as we process images, it's
really helpful to have a before and after
| | 00:15 | view of what we've done.
| | 00:16 | What I want to do here is focus in on
how we can preview the different types of
| | 00:20 | adjustments that we are
going to make our photographs.
| | 00:23 | Let's say, for example, that here
what I want to do is convert this image
| | 00:27 | the black-and-white.
| | 00:28 | I want to add a little bit of a tone to
the image, so I am going to go ahead and
| | 00:31 | desaturate the file here
by lowering my Saturation.
| | 00:35 | Then I'll increase my
Contrast, bring up some Fill Light.
| | 00:38 | I am just going to modify the overall
Exposure a little bit here as well, and
| | 00:42 | I'll change the Contrast too. All right.
| | 00:43 | Well, so far I've just
worked in the Basic panel.
| | 00:47 | Click on the Preview
check box, or press the P key.
| | 00:49 | Here is our before and then after.
| | 00:51 | Well, my next step is going to be
to move over here to my Split Toning.
| | 00:55 | What I am simply going to do is add
some tone here, say in the Highlights.
| | 00:59 | Then I'll add another tone in my Shadows.
| | 01:01 | I'll just look to try to find something
that perhaps looks a little interesting,
| | 01:04 | or for that matter I could get kind of
creative and create some kind of a Split
| | 01:08 | Tone effects, say like this.
| | 01:09 | Well, at this juncture if I want to
view my before and after, you'd think I
| | 01:14 | would press the P or click
on this Toggle switch here.
| | 01:17 | But when I do that, you notice that it's
just toggling the preview of Split Toning.
| | 01:22 | It's not showing me the entire before and after.
| | 01:25 | In other words, it's not showing me
the before and after of what I've done in
| | 01:29 | all of the different panels here.
| | 01:30 | Well, if ever you want to see the entire
before and after, well all that you need to
| | 01:35 | do is to navigate over to this panel Presets.
| | 01:37 | Go ahead and click on the Presets tab.
| | 01:40 | Now when we press the P key, it will
show us all the different adjustments that
| | 01:43 | we've made here in all of these various panels.
| | 01:46 | In this way, we can now see
our overall before and after.
| | 01:48 | Now, you won't always want to
see the overall before and after.
| | 01:52 | If you don't, you simply want to look
at one particular aspect of what you've
| | 01:56 | done, click on that panel of course,
and then press the P key to view your
| | 02:00 | before, and then click again to view your after.
| | Collapse this transcript |
| Working with multiple files | 00:00 | Let's go ahead and take a look at how
the Adobe Camera Raw interface changes
| | 00:04 | when we work with multiple images.
| | 00:06 | Here you can see I have three images
that were all captured at the same time.
| | 00:10 | Therefore, what I want to do is
process these images in identical ways.
| | 00:14 | So, I'll go ahead and click on one,
hold down the Shift key and then click on
| | 00:17 | the last one here in this set.
| | 00:19 | Then I'll navigate to the File
pulldown menu, and here we are going to
| | 00:23 | select Open in Camera Raw.
| | 00:25 | Once it opens these images, we'll
notice that they're now located over here on
| | 00:29 | the left-hand side as thumbnails.
| | 00:31 | We can see the various images.
| | 00:33 | We can click on those
images in order to target them.
| | 00:36 | Now, what we can do, of course, is
select one image, and then make a change to
| | 00:40 | that particular image.
| | 00:41 | Click on another one, and then
make a change to that image as well.
| | 00:44 | But what if we want to
work on all three at once?
| | 00:48 | All we have to do is click.
| | 00:49 | Hold down the Shift key.
| | 00:50 | Click again, so they are all selected.
| | 00:52 | Now, what I am going to do
is go ahead and desaturate.
| | 00:55 | I'll do this just so we can really see a
nice big visual effect in regards to the change.
| | 01:00 | So, you can see that if you
target or select all the images,
| | 01:04 | you can then make adjustments
which move across the board.
| | 01:07 | You can also do something else.
| | 01:08 | Let me to go ahead and click on one image.
| | 01:10 | With this image, I want to
bring this back to color.
| | 01:13 | So, I'll bring my Saturation
slider back to normal here.
| | 01:16 | I am going to increase the Contrast
and a little bit of Fill Light, and I am
| | 01:20 | going to go ahead and lower my Exposure down.
| | 01:22 | Now, that I have processed one image,
what I can do in order to process multiple
| | 01:27 | is click Select All.
| | 01:29 | Then simply choose Synchronize here.
| | 01:31 | This will open up the Synchronize dialog,
asking us, hey, what do you want to synchronize?
| | 01:36 | In this case, basically everything.
| | 01:37 | So, we'll simply click OK.
| | 01:39 | It will then apply all those
settings to the other images.
| | 01:43 | To view those changes, you can
press your Arrow key to scroll through
| | 01:46 | these different images and to see
how those different settings work with
| | 01:50 | these different files.
| | Collapse this transcript |
|
|
5. Opening and Saving FilesOpening raw files in Bridge| 00:00 | Here we going to focus in on and take a
look at a number of different ways that
| | 00:04 | we can open up our files in Adobe
Camera Raw, and then eventually open up those
| | 00:08 | images inside of Photoshop.
| | 00:10 | Yet before we actually begin to work
with Adobe Camera Raw, what I want to do is
| | 00:14 | share with you a few open shortcuts.
| | 00:16 | Now in most scenarios, what we're
going to do is use Adobe Bridge in order to
| | 00:20 | view and access our files.
| | 00:21 | We'll then open those images up from
Adobe Bridge into Adobe Camera Raw.
| | 00:26 | Well, there is a couple of
different ways that we can do this.
| | 00:29 | What I want to do here is just
highlight one really nice shortcut that we can
| | 00:33 | use, which will help out in our
overall photographic workflow.
| | 00:37 | What you can do is press Command on
a Mac, Ctrl on Windows, plus a couple
| | 00:41 | of different letters.
| | 00:43 | Press Command+O or Ctrl+O, and you can
open up a Raw file into Adobe Camera Raw,
| | 00:47 | hosted by Photoshop.
| | 00:49 | Press Command+R or Ctrl+R, and you can
open up a Raw file in Adobe Camera Raw
| | 00:54 | hosted by Adobe Bridge.
| | 00:56 | Now, you may be thinking, okay, what's so
big deal and what does all of this mean?
| | 01:00 | Well, we'll talk about this in a few minutes,
but for now, just jot down these shortcuts.
| | 01:04 | We'll take a look at how we can use
these and what this means, again in just
| | 01:08 | a couple of minutes.
| | 01:09 | All right well, the other shortcut that I
want to share with you has to do with workflow.
| | 01:13 | A lot of times what you'll do is
process an image and then click Done.
| | 01:17 | You'll then go back to that image
later and want to open it up in Photoshop.
| | 01:21 | In other words, you will want to
completely skip Adobe Camera Raw.
| | 01:25 | Well in order to do that, all that
you need to do is Shift+Double-Click on
| | 01:29 | one of your Raw files. All right.
| | 01:31 | Well, now that we've been introduced
these shortcuts, let's go ahead and take a
| | 01:35 | look at a number of different techniques
that we can use in order to open up our
| | 01:39 | images inside of Adobe Camera Raw.
| | 01:42 | Let's navigate back to the Adobe Bridge, and
here what we'll do is select one of our Raw files.
| | 01:47 | I have selected this file, annika,
which is in the Chapter 5 folder.
| | 01:51 | Now, there are a number of
different ways to open this image up.
| | 01:54 | And what I am going to do is just
show you the different techniques.
| | 01:56 | Well, perhaps one of the easiest is
to simply double-click on the image.
| | 02:01 | Now when I do that, it recognizes
that this is a Raw file, and opens it up
| | 02:05 | in Adobe Camera Raw. All right.
| | 02:06 | Well, let's go ahead and click Cancel
or Done to exit out of this and then go
| | 02:10 | back to the Adobe Bridge.
| | 02:12 | Well, how else can I open the same file up?
| | 02:14 | Well I can also navigate to the File
pulldown menu and then choose Open in Camera Raw.
| | 02:20 | And when I do that, once again, the image is
opened up inside of Adobe Camera Raw. All right.
| | 02:25 | Well, let's click Done.
| | 02:27 | One more technique I want to show you
here before our shortcut, and that is you
| | 02:30 | can Ctrl+Click or Right+Click and in
this case you can also select from this
| | 02:35 | contextual menu open in Camera Raw. All right.
| | 02:38 | Well, what about those shortcuts that I
mentioned, Command+R Ctrl+R or Command+O
| | 02:43 | or Ctrl+O? Well, what we can do is press
Command+O or Ctrl+O. That will then open
| | 02:49 | the image up in Adobe
Camera Raw hosted by Photoshop.
| | 02:53 | Let's click down here, back to Bridge.
| | 02:56 | Now, we're going to press Command+R or
Ctrl+R. That will then open the image up
| | 03:00 | in Adobe Camera Raw
hosted by Bridge. All right.
| | 03:02 | So you must be thinking well what's
so big deal and why would I want to do
| | 03:06 | one way or not another?
| | 03:08 | Well, let's consider a realistic scenario.
| | 03:10 | One of the things that I'll do a lot
times is work on layered files in Photoshop.
| | 03:15 | At one time, I was working on a layered
file that was 500 megabytes. It was huge.
| | 03:19 | And I wantED to save the file out, so I
press Command+S. Well, when I did that, I
| | 03:24 | knew it's going to take literally
two or three minutes to save the file.
| | 03:28 | So in other words, Photoshop
couldn't do anything at that point.
| | 03:31 | It was hung up saving the document.
| | 03:33 | Well, all that I did at that point was
then switch over to Bridge, I selected a
| | 03:37 | Raw file and I opened that Raw file
in Adobe Camera Raw hosted by Bridge.
| | 03:42 | You see I couldn't open up the Raw file
in Adobe Camera Raw hosted by Photoshop,
| | 03:47 | because Photoshop was hung up, it was busy.
| | 03:48 | It was doing something.
| | 03:50 | So in this way, what you can do is
you can open up your Raw files to kind
| | 03:54 | of expedite your workflow depending on which
application is most free or most available.
| | 03:59 | All right.
| | 04:00 | Well, let's say that what we want to do here
is simply open this image now up in Photoshop.
| | 04:04 | We're just going about
this in a regular workflow.
| | 04:07 | We have this file open in
Adobe Camera Raw, in Bridge.
| | 04:10 | All I need to do is simply click
Open Image with whatever raw processing
| | 04:14 | settings we've dialed in, and it will
open that image up inside of Photoshop.
| | 04:19 | Now, here in Photoshop this
file hasn't been saved yet.
| | 04:23 | If we want to save this file out, all
we need to do is to navigate to our file
| | 04:26 | pulldown menu and then choose File > Save As.
| | 04:30 | At that juncture, we can choose a
number of different file formats for
| | 04:33 | saving this document.
| | 04:34 | All right. Well, let's take a
look at one more scenario here.
| | 04:38 | I am going to go ahead and close
this file, and click Don't Save for now.
| | 04:42 | And I'll go back to Adobe Bridge.
| | 04:44 | Let's consider this
particular workflow scenario.
| | 04:47 | Let's say that I simply
want to open this file up.
| | 04:49 | So I double-click it.
| | 04:50 | When I double-click it, I say you
know what, I want to try converting this
| | 04:53 | to black and white.
| | 04:54 | I'll modify its Exposure, maybe a
little Fill light and Contrast, just making
| | 04:58 | some visual adjustments here.
| | 05:00 | I'll like the processing at this point.
| | 05:02 | So I simply click Done to apply
all of these Camera Raw settings.
| | 05:06 | Well back here in Adobe Bridge, my
thumbnail and my preview have now been updated.
| | 05:12 | And let's say I make my way to some
of my other images, and I go on my way.
| | 05:16 | But then I decide to go back to this
photograph and say, you know what, I
| | 05:19 | really want to open this image up inside of
Photoshop, well, we know how to do that, right?
| | 05:24 | What we do is we hold down the Shift key.
| | 05:26 | We then double-click on the image. That
will skip Adobe Camera Raw completely and
| | 05:31 | open this image up with whatever
settings we previously dialed in using Adobe
| | 05:36 | Camera Raw, and it will then open that
image up directly inside of Photoshop.
| | 05:41 | Now, I'm aware that I've shared with
you quite a bit of breadth and depth
| | 05:44 | on this topic, yet my intent here is to
expose you to some of these different options.
| | 05:49 | Now, what you need to do is to determine
which options and which techniques will
| | 05:53 | work best for your own
workflow and then just use those.
| | 05:56 | You obviously don't have to
use all of these techniques;
| | 05:58 | rather, just use the ones that will
be most helpful and valuable for you.
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| Opening JPGs and TIFFs in Bridge| 00:00 | One of the advantages of using Adobe
Camera Raw is you can actually raw process
| | 00:04 | other file formats like JPEGs or TIFFs.
| | 00:07 | What we're going to do here is take a
look at how we can open up these different
| | 00:10 | file formats and work on
them inside of Adobe Camera Raw.
| | 00:14 | Well, the first image we'll work on is my_
girl.jpg, a photograph of my daughter here.
| | 00:19 | And just as a side note, I have
got to say, one of my life's hugest
| | 00:22 | privileges and great delights is being
a dad. Look at those bright blue eyes
| | 00:26 | and that smiling face.
| | 00:27 | There is nothing better. All right.
| | 00:28 | Well, let's say that we want to
open this image up in Camera Raw.
| | 00:32 | Now, we may remember that with RAW files,
we can double-click them to open them
| | 00:36 | up inside of Camera Raw, but with JPEGs
and TIFFs double-clicking will actually
| | 00:41 | bring them straight into
Photoshop unless we change a preference.
| | 00:44 | Let me show you what I mean.
| | 00:46 | If we navigate to the Adobe Bridge pulldown
menu, here we can select Camera Raw Preferences.
| | 00:51 | Now at the base of this dialog, we
have a couple of options for handling or
| | 00:55 | opening JPEG and TIFF files.
| | 00:57 | Now, what we can do is automatically
open JPEGs and TIFFs that have already been
| | 01:02 | previously modified with Camera Raw,
and that's the default option.
| | 01:06 | And in my opinion, that's the best option.
| | 01:08 | Yet there are a couple of other options here.
| | 01:10 | We can choose to Disable JPEG
support, meaning if we don't want to take
| | 01:14 | advantage of Adobe Camera Raw,
we could select that option.
| | 01:17 | Not a very good idea, in my opinion.
| | 01:19 | Or what we can do simply
automatically open all supported JPEGs.
| | 01:24 | In other words, if it's a supported file
format, and we double-click it, it will
| | 01:28 | then open up in Adobe Camera Raw.
| | 01:30 | Now, I typically don't want to do that
because I don't always want to open my
| | 01:34 | JPEGs inside of Adobe Camera Raw.
| | 01:36 | It's more a special
circumstance when I want to do that.
| | 01:39 | So again, I leave this on this
Automatically open the ones with those
| | 01:43 | settings as needed.
| | 01:45 | Same thing for my TIFF files. Okay.
| | 01:47 | Well, let's go ahead and click OK here.
| | 01:49 | Next, make our way back to Bridge.
| | 01:51 | Well, how then can we get
this open in Camera Raw?
| | 01:53 | Well, there are a couple
of techniques we can use.
| | 01:55 | We can either right-click or Ctrl+Click
and select Open in Raw, or we can go to
| | 02:00 | our File pulldown menu and choose Open
in Raw, or we can use this shortcut that
| | 02:05 | we've already learned.
| | 02:07 | And this is the best way, right?
| | 02:08 | The shortcut is Command on a Mac, Ctrl
on Windows, plus the letter R for RAW.
| | 02:13 | So what we can do there is simply
select the image, press Command+R or Ctrl+R.
| | 02:18 | That will then open that image
up inside of Adobe Camera Raw.
| | 02:22 | Here we can make some changes.
| | 02:23 | Let's say we want to increase the
Contrast a little bit, perhaps a little bit of
| | 02:27 | the Color Temperature and a little bit
of Fill Light and Clarity. All right.
| | 02:31 | Once we've done that, we simply click Done.
| | 02:33 | It will then apply those settings to
the image and update the Thumbnail and
| | 02:38 | Preview here in Adobe Bridge.
| | 02:40 | Okay, well what about TIFF files?
| | 02:42 | Well, the same thing goes for TIFF files.
| | 02:44 | What we can do here is simply press
Command+R or Ctrl+R. That will then open
| | 02:48 | this image up inside of Adobe Camera Raw.
| | 02:51 | So we'll click Cancel or Done.
| | 02:53 | And let's say that we want to open
up all three of these images at once.
| | 02:57 | Let's go ahead and click on one, hold
down the Shift key and click on another.
| | 03:01 | So here we have a RAW file,
a JPEG file and a TIFF file.
| | 03:05 | How can we get all of these images open
inside of Adobe Camera Raw at one time?
| | 03:09 | Well again, we're going to use that
power shortcut, which is Command+R or Ctrl+R.
| | 03:15 | And always remember that, thinking R for RAW.
| | 03:18 | So we'll go ahead and press that.
| | 03:19 | And here you can see, I have all of
these different file formats opened inside
| | 03:23 | of Adobe Camera Raw.
| | 03:25 | I could then process them
and work on them as needed.
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| Accessing Camera Raw from Mini Bridge| 00:00 | While Adobe Bridge is quite a powerful tool,
| | 00:02 | one of the downsides of using Adobe
Bridge is you kind have to jump back and
| | 00:06 | forth between Bridge and Photoshop quite a bit.
| | 00:09 | Well the folks at Adobe
took note of this and said, "Hey!
| | 00:11 | What we do to solve this problem?"
| | 00:13 | They've come up with
something is really quite fascinating.
| | 00:16 | It's called Mini Bridge, and it's
located directly inside of Photoshop CS5.
| | 00:21 | This is a new feature.
| | 00:23 | What we can do with this new feature
is we can open Mini Bridge by clicking
| | 00:27 | on this icon here, or we can always
navigate to our File pulldown menu and
| | 00:31 | then select Browse in Mini Bridge, or
we can simply click on the icon over
| | 00:35 | here in this panels group.
| | 00:37 | Now, when you click on this,
it open this up at home.
| | 00:40 | What we want to do is start to browse files
so we'll go ahead and click on Browse Files.
| | 00:44 | Here you can see I'm
navigating to my exercise_files folder.
| | 00:47 | Now go ahead just scroll down a
little bit until I can get to this folder
| | 00:51 | here, chapter 05_opening.
| | 00:53 | I'll double-click that folder
to view the images inside of it.
| | 00:56 | Now in this case, my thumbnails
I can't really see all of them.
| | 01:00 | So I hover over the edge of Mini
Bridge. I'll extend this out now I can see
| | 01:05 | all of these files.
| | 01:06 | If I want bigger images, simply
click and drag on this thumbnail slider.
| | 01:10 | Now, here we can see we have the same
files that we viewed previously in Bridge.
| | 01:15 | And the nice thing about this is that Bridge
and Mini Bridge are really closely connected.
| | 01:19 | This is just a little bit more of a
lightweight version of the full Bridge. All right.
| | 01:24 | Well, here let's go ahead and take a
look at how we can open up of Raw files
| | 01:29 | from Mini Bridge straight into Photoshop.
| | 01:31 | Well, the nice thing about this is all
that we need to do is simply double-click
| | 01:36 | and if we double-click that image from
Mini Bridge, it will open up Camera Raw.
| | 01:39 | Here, we simply click Open Image, and that
will then open the image up inside of Photoshop.
| | 01:45 | All right. Well, how else can we do that?
| | 01:47 | Let's go ahead and close this file
for now, and we don't want to save that.
| | 01:51 | We'll go back to Mini Bridge.
| | 01:52 | Well another technique that we can
use is to right-click or Ctrl+Click and
| | 01:57 | here we can simply choose Open in
Camera Raw. That will then open up the image
| | 02:02 | in Adobe Camera Raw.
| | 02:03 | The last technique that I want to show
here, you can also Shift+Double Click on
| | 02:07 | the image. That will then skip Adobe Camera
Raw and open it up directly inside of Photoshop.
| | 02:13 | All right. Well, let's go ahead and close this
file here for a moment, and what about those
| | 02:17 | JPEG and TIFF files that we have over here?
| | 02:19 | What we can do is select one of these files.
| | 02:22 | Now, if we double-click one of these
images what's going to happen is it'll open
| | 02:26 | it up in Photoshop just as a JPEG.
| | 02:28 | Well, we don't want to do that.
| | 02:30 | We want to open this up in Adobe Camera Raw.
| | 02:33 | Now, our shortcuts, which we used
in Bridge, don't actually work here.
| | 02:36 | But there is one technique that
we can use, which works really well.
| | 02:40 | And that is to right-click or Ctrl+
Click on that JPEG or TIFF and then
| | 02:44 | choose Open in Camera Raw.
| | 02:46 | We can do this same thing down
here with this TIFF file again.
| | 02:49 | Right-click or Ctrl+Click, Open in Camera Raw.
| | 02:51 | That will then open that image up
directly inside of Adobe Camera Raw.
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| Resizing in Camera Raw with workflow options| 00:00 | One of the things that we know about
the Raw format is that when we capture
| | 00:03 | Raw files, we are actually not working in a
color space, which is really quite fascinating.
| | 00:08 | You know the color space is
applied after we exit Adobe Camera Raw.
| | 00:13 | We also know about Raw files that
they have a native file format or file size
| | 00:18 | in a particular dimension that
comes off of the sensor of your camera.
| | 00:22 | We can change that as well, and we can
change that by tapping into our Workflow Options.
| | 00:27 | You can open up your Workflow Options
dialog by clicking on this link down here,
| | 00:32 | and in this dialog you'll see that we
have a handful of different options.
| | 00:35 | We can choose a color space like this
standard Adobe RGB 1998, or a better
| | 00:40 | color space like ProPhoto, or for simply going
to post this image online, we could choose sRGB.
| | 00:46 | We also have an option for Bit Depth,
8 Bits or 16 Bits/Channel, again, if we
| | 00:50 | want more Bit Depth or more
information in order to process the image in
| | 00:54 | perhaps a better way.
| | 00:56 | Then in regards to Size,
this is quite fascinating.
| | 00:59 | If we click on this pulldown menu
you'll see that there are few options.
| | 01:02 | Some of the options show you that you're
going to resize down, the negative sign
| | 01:06 | is highlighting that, or you
can also resample or resize up.
| | 01:10 | Well, in this case, it's
currently just a native file format.
| | 01:13 | What's interesting about this is if we
select one of these Workflow Options for
| | 01:18 | our size and click OK, and then if we
double-click the Zoom tool, press the
| | 01:24 | Spacebar key and then click and drag
to pan, we can see this image at 100%.
| | 01:29 | Notice the zoom rate down below.
| | 01:30 | Well, if I reopen my Workflow Options
and if I change these particular size
| | 01:36 | dimensions to something much smaller and
click OK, well now, this is the view of 100%.
| | 01:43 | So this is really nice because it's
showing us an actual size, which is going to
| | 01:47 | relate to how it will open
this up inside a Photoshop.
| | 01:51 | So that can really help us out, say,
if we are going to simply work with a
| | 01:54 | smaller file, well we can dial that in
here, and then modify our Sharpness and
| | 01:58 | our Contrast and all those things based
on whatever dimension we've selected in
| | 02:03 | our Workflow Options, in order
to have a little bit more accurate
| | 02:05 | postproduction work. All right.
| | 02:07 | Well, let's go ahead and take this back
to that native size, and take a look at
| | 02:11 | our last few options here.
| | 02:12 | We have Resolution, which
is pretty straightforward.
| | 02:15 | Then we also have, new in Adobe Camera
Raw, is the ability to sharpen the file.
| | 02:19 | Now while these options look pretty
simple, they are actually incredibly strong.
| | 02:23 | There is a lot of math happening here
in the background, and what we can do is
| | 02:27 | select an option, say, a paper type like
Glossy Paper and then dial in an amount
| | 02:32 | of sharpening for that.
| | 02:33 | We can choose Low, Standard or High.
| | 02:35 | And again, while these particular
dialogs look simple, don't underestimate
| | 02:39 | the power of those.
| | 02:40 | They are really quite strong. All right.
| | 02:42 | Well once we've dialed in some
Workflow Options, we can click OK.
| | 02:46 | Here you can see those settings down below.
| | 02:48 | And now let's go ahead and
say we're done with this image.
| | 02:51 | Let's click Cancel or Done.
| | 02:53 | Well what will happen is every time
you reopen Adobe Camera Raw, it will then
| | 02:58 | remember those Workflow Options.
| | 03:00 | So here let's double-click the
image to open it up in Adobe Camera Raw.
| | 03:04 | You'll notice that it remembered
those particular Workflow Options.
| | 03:07 | And I should also point out that it
will remember those Workflow Options
| | 03:12 | settings regardless of the image you open.
| | 03:14 | So this is kind of nice because what you
can do is set up some standard Workflow
| | 03:19 | Options, so that then whenever you open
an image up inside of Adobe Camera Raw,
| | 03:23 | it will then take advantage of those
settings that you've dialed in there, and
| | 03:27 | then you can go from there. All right.
| | 03:28 | Well, that wraps up our
conversation about Workflow Options.
| | 03:32 | I hope that this movie was helpful.
| | Collapse this transcript |
| Saving from Camera Raw| 00:00 | After we finish processing our image
in Adobe Camera Raw, we may be ready to
| | 00:04 | simply save this file out.
| | 00:07 | Now in order to do that, all that we
need to do is to click on the Save button
| | 00:10 | down here in the lower left-hand corner.
| | 00:12 | That will open up our Save Options.
| | 00:15 | You'll notice that these options are
grouped into a few different areas:
| | 00:18 | Destination, File Naming, and then Format.
| | 00:21 | Let's take a look at each
of these different areas.
| | 00:24 | Well, Destination allows us to determine
where we actually want to save the file.
| | 00:29 | I should also point out that this works
if you're working with one or more files.
| | 00:33 | In this case, just one image, so
we'll select that same location.
| | 00:36 | We can see that over here.
| | 00:38 | Next, what about File Naming?
| | 00:40 | Well, here we have a number of
different options that we can choose.
| | 00:42 | I'll go and select Document Name, and
then I am going to append to this just a
| | 00:46 | 1 Digit Serial Number, and that example will
update with this new file naming convention.
| | 00:51 | What about my Format?
| | 00:53 | Well, down here if I click on
this option, we have four options:
| | 00:56 | Digital Negative, JPEG, TIFF or Photoshop.
| | 00:58 | In my case, I just want to save a
JPEG file, and I can then change the
| | 01:02 | Quality from 0 to 10.
| | 01:04 | If you are not exactly sure what to do,
click on this pulldown menu, and here
| | 01:08 | you can make a selection between
these different options. All right.
| | 01:11 | Well, once we've done that, all that we need
to do is to simply click on the Save button.
| | 01:16 | That will then save or create this JPEG.
| | 01:19 | Let's go ahead and do that.
| | 01:21 | You'll see in Adobe Camera Raw, it's
giving me a progress update here telling me
| | 01:24 | it's saving that image.
| | 01:25 | Once that update disappears, I know
that it's been successfully saved.
| | 01:30 | Let's click Cancel to exit out of this or Done.
| | 01:34 | And then when we go back to this
particular folder, we will see that we do
| | 01:37 | indeed now have this new
JPEG file. All right, great!
| | 01:40 | Let's take a look at one
more thing that we can do here.
| | 01:44 | If we go back to this particular file,
and if we press Command+R or Ctrl+R to
| | 01:49 | open it up inside of Camera Raw, we can
also save our images a little bit more quickly.
| | 01:56 | Let's say that what we want to do
is use this exact same saved settings
| | 02:00 | that we've dialed in.
| | 02:01 | Click on this option here. It remembers
all of the different settings that we've
| | 02:05 | previously dialed in.
| | 02:06 | Well, what we can then do is if we
click Cancel, you can hold down the Option
| | 02:11 | key on a Mac, Alt key on Windows.
| | 02:14 | It then changes this button
to save without those dots.
| | 02:18 | In other words, it's telling you it's
not going to open up that dialog.
| | 02:22 | By clicking now while holding Option or
Alt, it's simply going to save the file
| | 02:26 | as we can see so here.
| | 02:28 | So in other words, it may be
a good idea to click Save...
| | 02:32 | Just dial in some of your typical
preferences here, and then once you've done
| | 02:36 | that, you won't need to work with that
dialog as frequently, simply by pressing
| | 02:40 | Option or Alt and then
clicking on that button. All right.
| | 02:43 | Well, let's go ahead and click Done here.
| | 02:45 | Let's go back to Adobe Bridge, and here
you can see that it added a new file for me.
| | 02:51 | In this case, it named it annika2, and
now we've saved a couple of JPEGs from
| | 02:55 | our original Raw file.
| | 02:58 | I should also point out that we can
do the same thing with our other file
| | 03:01 | formats, for example,
JPEG or TIFF files as well.
| | Collapse this transcript |
| Opening an image as a Smart Object| 00:00 | There will be occasions in your
Workflow where you want to open up your Raw
| | 00:04 | files as Smart Objects, and Smart Objects are
great, because they give you so much flexibility.
| | 00:09 | They maintain their connection to the original
file, so that you have this extra safety net.
| | 00:14 | You have this flexibility in regards
to working on files inside of Photoshop.
| | 00:18 | Well, to do that in Adobe Camera Raw,
it's actually incredibly simple.
| | 00:22 | All that you need to do
is to press the Shift key.
| | 00:25 | You notice that when you do that, it changes
the Open button from Open Image to Open Object.
| | 00:31 | So I'll go ahead and Shift+
click on this Open Object button.
| | 00:34 | Now what this will do then is it will
open this image up inside of Photoshop,
| | 00:39 | and you can see now on the Layer icon
there is that Smart Object icon there on
| | 00:44 | top of the image thumbnail.
| | 00:46 | Now, all that we need to do to reopen the
original file is to double-click that icon.
| | 00:51 | What that will then do is open up Camera Raw.
| | 00:54 | Here I can make a change, for
example, let's say, desaturating.
| | 00:57 | I'll click OK at this juncture.
| | 01:00 | What that will then do is
update my Photoshop document.
| | 01:04 | And the nice thing about this is
we have this continual flexibility.
| | 01:08 | Let's say we don't like the
black-and-white conversion.
| | 01:11 | We can still tap into Adobe Camera Raw
simply by double-clicking on this icon here.
| | 01:16 | Again, it reopens Adobe Camera Raw.
| | 01:18 | We click OK to apply those settings.
| | 01:20 | And here you can see how Smart Objects
can really help you out in regards to
| | 01:25 | giving you that extra added flexibility.
| | 01:27 | I should point out a quick word of
caution, and that is that when you do work
| | 01:32 | with Smart Objects, it does, of
course, increase your file size.
| | 01:35 | That being said, sometimes it's worth it
because of the extra added flexibility.
| | Collapse this transcript |
| Creating a duplicate file| 00:00 | Here I want to share with you
an extra bonus workflow tip.
| | 00:03 | Now this tip doesn't relate
directly to Adobe Camera Raw.
| | 00:07 | In other words, you can use this tip
if you are not working with Camera Raw.
| | 00:10 | But I thought I would include it here
just to show you how you have some extra
| | 00:14 | added flexibility when working with
Adobe Bridge and also Adobe Camera Raw.
| | 00:20 | Now, there may be situations where you
are processing your images, whether they
| | 00:23 | are RAW files, JPEG or TIFFs, and
where you'd really like to have another
| | 00:28 | version of the image, or a different treatment of
the file and be able to compare those two images.
| | 00:34 | What you can do is actually navigate
through Edit pulldown menu in Adobe Bridge
| | 00:38 | and select Duplicate.
| | 00:40 | If we duplicate this file, what's
going to happen is is we'll have another
| | 00:43 | version of the file.
| | 00:45 | Now, I should point out, of course,
that we also have twice the file size now.
| | 00:49 | This file is about 12 MB, and so is this file,
| | 00:52 | yet the nice thing about this is what
we can do is press Command+R or Ctrl+R
| | 00:57 | in order to open this up in Camera Raw.
| | 00:58 | Well, for that matter we can
use any of our open techniques.
| | 01:02 | We can then process the image.
| | 01:03 | Let's say we'll convert it to black-and-
white, add a bit of Contrast, click Done.
| | 01:08 | Now, we have these two images side-by-side.
| | 01:11 | Sometimes by having these two
different treatments, it can help us find, or
| | 01:15 | discover, the best way to process an image.
| | 01:18 | What we can do, of course, is then compare
these two files in a couple of different ways.
| | 01:24 | We could hold down Command on a Mac,
Ctrl on Windows and click on both images.
| | 01:28 | Here, can see those two, side-
by-side, in the Preview panel.
| | 01:32 | Or we can press the Spacebar key.
| | 01:34 | That will take our images
to Full Screen View mode.
| | 01:37 | Then what we can do is press the Arrow keys.
| | 01:39 | As I press those Arrow keys to the
left or to the right, I can view these
| | 01:43 | two different images,
| | 01:45 | again, have a nice way to compare and
contrast these two different types of processing.
| | 01:50 | Now with this image, one of things that I
have determined is I like it better in color.
| | 01:54 | So, I'll press the Spacebar key
to exit full screen view mode.
| | 01:58 | I am not ready to get rid of this duplicate.
| | 02:00 | It's not very useful for me.
| | 02:02 | It was helpful in comparing these
different options, but now I am going to go
| | 02:06 | ahead and get rid of it.
| | 02:07 | In order to do that, you
can right-click or Ctrl+Click.
| | 02:10 | Then here, I'll select Move to
Trash in order to delete that file.
| | 02:14 | Am I sure I want to do that? Oh, sure.
| | 02:16 | Now of course, you don't
always have to delete your files.
| | 02:19 | It is just I wanted to kind of
complete the circle in regards to how you can
| | 02:22 | begin to work with duplicate files
while working with Adobe Bridge and
| | 02:27 | Camera Raw.
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|
|
6. Crop, Compose, and StraightenUsing the Crop and Straighten tools| 00:00 | One of the ways that we can take
advantage of Camera Raw, and how we can apply
| | 00:03 | some nondestructive editing is to
crop and straighten our photographs.
| | 00:08 | This is really nice, because we can
always undo this if we make any kind of a
| | 00:12 | mistake, or if we change our mind later.
| | 00:15 | Now, the nice thing about this is we
can straighten our images if they are
| | 00:19 | just a little bit off.
| | 00:20 | Here, you can see that with this image,
because it was handheld, there is a
| | 00:24 | little bit of lean to the file.
| | 00:26 | What I can do is I can
select the Straighten tool.
| | 00:29 | With the Straighten tool, I can then
click and drag across something that
| | 00:32 | should be straight.
| | 00:33 | For example, I can go ahead and
click and drag along this area here.
| | 00:38 | Then when I do that, when I
position this line along the bottom edge,
| | 00:42 | which should be straight,
| | 00:43 | it will then create a Crop,
which is rotated for me.
| | 00:47 | Now, to apply the Crop, simply press Enter or
Return, and the image has now been straightened.
| | 00:53 | All right. Well, let's undo that by
pressing Command+Z on a Mac, Ctrl+Z on Windows.
| | 00:59 | Another way that we can use this tool,
again, is by clicking on it, and clicking
| | 01:03 | and dragging on something that
should be straight vertically.
| | 01:05 | So this works well vertically or horizontally.
| | 01:08 | Again, we can either double-click
inside of this area, or press Enter or Return
| | 01:13 | in order to apply that particular correction.
| | 01:15 | Well, another way that we can modify
this even further, press the C key, and
| | 01:20 | that will reactivate your Crop tool.
| | 01:22 | Now, let's say that here what we want
to do is we want to rotate this perhaps a
| | 01:26 | little bit one way or another.
| | 01:28 | Hover over that corner point, and
you can make some fine-tune adjustments
| | 01:32 | by doing this as well. All right.
| | 01:34 | Well let's say we want to remove the crop.
| | 01:37 | Hit the Escape key.
| | 01:38 | Now in my own workflow I actually don't use
the Straighten tool at all. Well, why is that?
| | 01:43 | Do I not need to
straighten my photos? Not at all.
| | 01:46 | What I always use is the Crop tool.
| | 01:48 | Because the Crop tool, the shortcut,
it's easy to remember. It's a C key.
| | 01:52 | You can actually access the Straighten
tool from right inside of the Crop tool.
| | 01:56 | Here's how.
| | 01:57 | What you do is you select the Crop
tool, either by clicking on the icon or
| | 02:01 | by pressing the C key.
| | 02:02 | Next, on a Mac hold down
Command, on Windows hold down Ctrl.
| | 02:06 | Then you'll see that you
have the Straighten tool.
| | 02:08 | Simply click and drag over
something that you know should be straight.
| | 02:12 | It will then create a crop, which
is rotated a bit to correct that.
| | 02:16 | Then press Enter or Return, and
now we've successfully straightened
| | 02:21 | our photograph.
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| Working with the Crop tool| 00:00 | Let's take a look at how we can use
the Crop tool in order to improve the
| | 00:03 | composition of our photographs.
| | 00:05 | In order to select the Crop tool, you
can click on it in the Toolbar, or you can
| | 00:09 | press the shortcut key.
| | 00:11 | You remember that one, right?
| | 00:12 | It's the C key for Crop. All right.
| | 00:14 | Well, all that we need to do here to
apply a crop is to simply position the
| | 00:18 | cursor over the image.
| | 00:19 | In this case, I am going to go ahead,
and let's start in the top left-hand
| | 00:23 | corner, and I'll click and drag
across the entirety of the photograph here.
| | 00:27 | I am going to send this out, just to make
sure this crop is on the edge of the image.
| | 00:31 | Next, if I hold down the Shift key right now,
| | 00:35 | I can click and drag, and it
will constrain the proportions.
| | 00:38 | Notice that it's constraining the
proportions based on that original crop size.
| | 00:43 | If I let go of the Shift key, well,
then I can do a bit of a more free-form
| | 00:46 | crop, and I can change this as needed.
| | 00:49 | Well, here you can see that as I change
this - let's say that I want to go for a
| | 00:52 | crop that's perhaps a little bit
more square, something like this.
| | 00:56 | Well, if I choose that and then hold
down the Shift key, it's going to constrain
| | 01:01 | the proportions based on however I left off.
| | 01:04 | Here, you can see again,
this is a bit more of a square.
| | 01:07 | So I just want to point out that you can work
with this crop in a couple of different ways.
| | 01:11 | All right. Well, let's cancel out
of the crop and hit the Escape key.
| | 01:15 | Now that we know about how this Crop
tool works, let's use this in a little bit
| | 01:19 | more of a realistic way.
| | 01:20 | A lot of times what I'd
like to do is zoom out a bit.
| | 01:24 | So, we'll go ahead and zoom out just so
we can see all the edges of our photograph.
| | 01:28 | Next, start outside of your image area,
click and then drag across the image.
| | 01:34 | That way you'll be sure to select a crop
which goes to the full edge of your photograph.
| | 01:39 | Next, what we can do now
is hold down the Shift key.
| | 01:42 | We'll go ahead and click and
drag one of our corner points.
| | 01:45 | Then we'll hover over the middle
area and click to reposition the crop.
| | 01:50 | Now, at this juncture, I
want to zoom in a little bit.
| | 01:52 | I'll do so by pressing Command on Mac,
Ctrl on Windows, plus the Plus key in
| | 01:59 | order to zoom in here.
| | 02:00 | I'll press the Spacebar key
and click and drag to reposition.
| | 02:03 | I just want to get a feel for
this new particular type of crop.
| | 02:06 | Well, in this case I am really liking this,
because I took out a lot of that headroom.
| | 02:11 | It's going to make this portrait of
this world champion surfer here feel a
| | 02:15 | little bit stronger.
| | 02:16 | To apply the crop, you can either double
-click inside of the crop area, or you
| | 02:21 | can press Enter or Return.
| | 02:24 | Now, once you've done that, you can
always go back and change your crop later.
| | 02:28 | Let me show you what I mean.
| | 02:29 | Let's click Done in order to apply this.
| | 02:33 | Now, back here in Adobe Bridge we can see it
updated our thumbnail and also our Preview.
| | 02:37 | Well, let's say that we
want to change this crop.
| | 02:41 | To do so, all that we need to do now is
to double-click the image, because it's
| | 02:45 | already been processed in Camera Raw.
| | 02:47 | When we do that it will remember, yes,
this was processed in Camera Raw based on
| | 02:52 | our settings, it will then
open it up in Adobe Camera Raw,
| | 02:55 | Here, what we can do is press is
the C key to access the Crop tool.
| | 02:58 | So, the nice thing about this with JPEG,
TIFFS or RAW files is it's not going to
| | 03:03 | lose any information.
| | 03:05 | In other words, this is
completely nondestructive.
| | 03:07 | Here what we could do is hold down the
Shift key, say open this up perhaps
| | 03:11 | just a little bit more.
| | 03:13 | Then change the overall perspective
here on this crop as far as its position.
| | 03:17 | Then let's say we want to do
something a bit more free-form.
| | 03:20 | Let go off the Shift key.
| | 03:22 | Then click and drag one of these
anchor points in order to make a change.
| | 03:26 | We can also rotate a bit.
| | 03:27 | If we simply want to do a custom
rotation to change the overall lean of the
| | 03:31 | photograph, press Enter or Return to apply that.
| | 03:35 | Now, we've successfully cropped this photograph.
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| Cropping with an aspect ratio| 00:00 | Here I want to focus in on how we can
use the Crop tool in order to compose our
| | 00:04 | photographs, and in particular, I
want to focus in on aspect ratio.
| | 00:08 | Let's go ahead and double-click on this file.
| | 00:10 | It's titled joe_curren.dng.
| | 00:11 | That will then open this one
up inside of Adobe Camera Raw.
| | 00:16 | This particular image was captured
for this professional surfer and for
| | 00:20 | his surfboard sponsor.
| | 00:22 | So, the surfboard here in the
foreground I really like it,
| | 00:24 | yet there is a little bit of a tilt.
So, I want to correct the tilt.
| | 00:27 | And I also know that I
need a particular crop ratio.
| | 00:31 | So, here is what we can do.
| | 00:32 | We can actually click on the Crop tool.
| | 00:34 | Underneath the Crop tool, you'll see
that you have some different aspect ratios.
| | 00:38 | Well, the aspect ratio that I
need to work with is 3 to 4,
| | 00:41 | because that's what the client has told me.
| | 00:44 | So, I'll go ahead and select that option.
| | 00:46 | Then now I am going to simply
click and drag across the image.
| | 00:50 | Now, it's always going to maintain that
same aspect ratio as I click and drag here.
| | 00:55 | I'll go ahead and expand
this a little bit further.
| | 00:57 | Well, now I also said that
I want to correct the lean.
| | 01:01 | To do so, I am going to simply rotate
this crop area, so that it's a little bit closer
| | 01:06 | to the line of this railroad tie here.
| | 01:08 | Just to make that a little bit more straight,
| | 01:10 | I'll click and drag to reposition this.
| | 01:13 | Then press Enter or Return
in order to apply that crop.
| | 01:16 | Now, let's say that I create this
image and realize, you know what, that was
| | 01:20 | the wrong aspect ratio.
| | 01:22 | Well, how could I change it?
| | 01:23 | Well, one of the ways that I could
change this is to press the C key in order to
| | 01:27 | reactivate the crop.
| | 01:29 | Then what you can do is right-click
or Ctrl+Click inside of your crop area.
| | 01:34 | You can do this really at any time.
| | 01:37 | And here what we can do is
choose a different aspect ratio.
| | 01:39 | For example, let's say 4 to 5.
| | 01:41 | You'll see that it will update my crop.
| | 01:43 | Let me choose one which is a little
bit more dramatic, so you can actually
| | 01:46 | see how that works.
| | 01:47 | I'll choose 1 to 1.
| | 01:49 | There you can see it's
giving me a different crop ratio.
| | 01:51 | Well, if I ever make a mistake, I can
always change that by right-clicking or
| | 01:56 | Ctrl+Clicking, and choosing the correct option.
| | 01:58 | Or for that matter, I can click on the
Crop tool icon here, and also make the
| | 02:03 | same selection this way as well. All right.
| | 02:06 | Well, I am back to my 3 to 4 crop.
| | 02:08 | That actually is what I need to do
after looking over my notes again, let's
| | 02:12 | say, and I'll reposition
this and just modify that.
| | 02:15 | Press Enter or Return to apply the crop,
and now we have significantly improved
| | 02:19 | the composition of the photograph,
and in addition, we've added the specific
| | 02:24 | crop ratio.
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| Composing with the Crop tool| 00:00 | Let's go ahead and take a look at how
we can use the Crop tool when we're really
| | 00:04 | thinking about our final output.
| | 00:06 | Let's see with this particular portrait
here of yet another professional surfer.
| | 00:09 | I really like the image, but what I want
to do is improve the composition, but I
| | 00:13 | also know that client's going to need
this image in a particular dimension.
| | 00:18 | So we can use the Crop tool to
really change our overall dimensions.
| | 00:22 | Let me show you what I mean.
| | 00:23 | We'll go ahead and click on the Crop
tool, and I'm going to click and hold on
| | 00:25 | this and then select Normal, just to
make sure I am going to apply a Normal
| | 00:28 | Crop, and I'll click and
drag across the image here.
| | 00:32 | Then I'll hold down the Shift Key, and
I'll click and drag this and again, I'm
| | 00:35 | just looking to try to improve the
composition here initially, rotate this a
| | 00:39 | little bit and just reposition this a touch
more and then press Enter or Return. All right.
| | 00:44 | Well now the photograph feels a little
bit more prominent, feels a little bit
| | 00:47 | stronger in regards to a marketing perspective.
| | 00:50 | Now what I want to do is take a look at
how it can create perhaps a custom crop.
| | 00:54 | Well if we press the C key to
reactivate our Crop tool, we can either
| | 00:59 | right-click or Control+Click on this
area and choose Custom, or we can do
| | 01:04 | the same thing by clicking on the Crop
tool up top and then by selecting Custom here.
| | 01:08 | Now what we can do is choose a
particular Custom Crop Ratio.
| | 01:13 | We also have a few other options
here, say, for example, Pixels or Inches.
| | 01:18 | Now when we select Pixels, what we can
do is say you know what, we want to have
| | 01:21 | a particular Pixel dimension, or for that
matter we can go to our inches as well.
| | 01:27 | Now with Inches what I know I need to
do is have an image which is 4 Inches
| | 01:31 | across by 5 Inches tall.
| | 01:34 | I'll go ahead and click OK. Now once
I've done that it's going to then change my
| | 01:39 | Crop to give me something
which will fit in this 4 x 5 area.
| | 01:43 | Well now that I see this, I realize the
Crop is a little bit too tight. Hold down
| | 01:47 | the Shift Key. Click on these corner
points to expand them a touch more.
| | 01:51 | I need just a little bit more breathing
room right here just to make this image
| | 01:54 | looked a little bit nicer.
| | 01:55 | You'll also notice that has
changed my workflow options.
| | 01:59 | Take a look down below. Here we can
see our bit depth and whatnot, now this
| | 02:03 | image is 4 by 5 inches, and we
also have our resolution here.
| | 02:08 | All right. Well, at this point press
Enter or Return to apply that crop and if we
| | 02:13 | were to simply open this image up
inside of Photoshop, it would now open up as
| | 02:17 | an image at 4" x 5" at 240 pixels per inch.
| | 02:23 | So as you can see here, you can use
this Crop tool to really speed up your
| | 02:27 | overall workflow, especially when it
comes to resizing our photographs.
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| Creative cropping| 00:00 | Many times when we use the Crop tool
we're using it to correct our photographs,
| | 00:04 | or to enhance or improve
the overall composition,
| | 00:07 | yet there are times when you can use
a Crop tool just to have a little bit
| | 00:11 | of fun, and that's what we're going to do
here, simply to get creative with our cropping.
| | 00:15 | And here we have this portrait of
Russell Brown. He is a Senior Creative
| | 00:19 | Director at Adobe, and if I've learned
anything from Russell about creativity it
| | 00:23 | is that creativity should be
something that you have so much fun doing.
| | 00:27 | And when we work on images, we always
need to remind yourself to bring back
| | 00:31 | in some of this fun.
| | 00:32 | All right. Well, let's start off by doing
something normal. Then we'll get a creative here.
| | 00:36 | Let me go ahead and select the Crop
tool by clicking on it, and I'll hold down
| | 00:39 | the Command Key or the Ctrl Key.
| | 00:41 | I'll click and drag across
something that should be straight.
| | 00:44 | That will then give me a new
crop area, press Enter or Return.
| | 00:48 | Now at this point I
think the photograph is good.
| | 00:50 | It stands alone, it works well, but
let's say that we want to have a little bit
| | 00:54 | more fun with our cropping.
| | 00:55 | What we can do is press the C Key in
order to reactivate our Crop tool. What I
| | 01:01 | am interested in doing here is
perhaps changing my Crop Ratio.
| | 01:04 | I'll do so by right-clicking or Ctrl+
clicking, now I want to do is choose one to
| | 01:08 | one, and then I'm going to go ahead and
make this smaller by holding the Shift
| | 01:12 | Key and clicking and dragging in, and
then I'm going to rotate this, and I can
| | 01:16 | rotate this really significantly.
| | 01:18 | You can see how far I'm
going with different Crop.
| | 01:20 | Once I have a new Crop area, I can press
Enter or Return and here you can see we
| | 01:25 | have just a completely different
emotion in the image, and for that matter
| | 01:29 | a completely different photograph.
| | 01:30 | Well to make further changes, press
the C Key, reactivate the Crop tool.
| | 01:35 | I'm going to hold down the Shift key,
and then I want to bring this in perhaps
| | 01:38 | a little bit tighter around here and
reposition that a touch more there, press
| | 01:43 | Enter or Return and again, just a little bit
more subtle effect of something we did previously.
| | 01:49 | So as you can see, you can kind of go
back and forth between pressing the C Key,
| | 01:53 | between rotating one way or another,
pressing Enter or Return and getting a feel
| | 01:58 | for how this image might look
when it was cropped different ways.
| | 02:01 | And one of the things that I found in
regards to doing this is it can really
| | 02:05 | teach you a lot about composition.
| | 02:08 | You know a lot of times what I'll do
is I'll crop my images, get a little
| | 02:11 | creative with it say something like this.
| | 02:13 | nothing really big, but then when I go
back and shoot the next time it kind of
| | 02:17 | informs the way that I shoot. It makes
me think gosh, I wish it would have taken
| | 02:21 | one more frame where I had tilted my
camera a little bit, or I wish I would have
| | 02:26 | taken a frame where I would have
recomposed and cropped out this particular
| | 02:29 | aspect of the image.
| | 02:31 | So don't underestimate the power of
cropping in Camera Raw. Yes, it's a
| | 02:35 | functional tool, and yes we can use it
to make corrections, but also spend some
| | 02:39 | time really having some fun getting
creative with this tool, because I think this
| | 02:43 | tool, more than many of the other tools,
can really help you improve your overall
| | 02:48 | photographic composition, and in turn
this has a potential to really help you
| | 02:52 | grow as a photographer.
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|
|
7. White BalanceImproving color balance| 00:00 | Here we're going to take a look at how
we can begin to Color Correct and White
| | 00:03 | Balance our photographs.
| | 00:05 | We'll be working on this
portrait here of Jeff Johnson.
| | 00:08 | Jeff's an amazing photographer,
surfer, climber, writer, just all-around
| | 00:12 | fascinating person, and so what I want to
do here is I want to get this image right.
| | 00:17 | So I'm going to use these two
tools: the White Balance tool and the
| | 00:20 | Color Sampler tool.
| | 00:22 | Press the S key first to
select the Color Sampler.
| | 00:25 | We're going to set down two points:
one on the camera and also one on
| | 00:29 | the garment over here.
| | 00:30 | Now we don't exactly know for sure if
these two items should be neutral, but
| | 00:35 | yet I'm guessing they probably were.
For example, I know that Leica cameras are
| | 00:39 | black so what I should see on this first point
is that these RGB values should be really close.
| | 00:45 | In this case, they're not. The Blue
channel is really high there or the Blue value.
| | 00:50 | That's showing me there's
some kind of a color shift.
| | 00:52 | Now that makes sense with what I
see. This image feels really cool.
| | 00:56 | Now this other point has
that same shift as well.
| | 00:59 | Again, I don't know for certain that
this should be neutral, but that's what
| | 01:02 | I'm going to guess.
| | 01:03 | So next what I'll do is press the I key
in order to select the White Balance tool.
| | 01:08 | What I'm going to do is simply click
on this area of the camera in order to
| | 01:12 | color correct the photograph.
| | 01:14 | Now when I do that I'm also going to
valuate my numbers. These numbers are
| | 01:18 | showing me that yes, these
are really close to neutral.
| | 01:22 | If we have equal amounts of red,
green and blue, that means neutrality.
| | 01:27 | So in this case, both points,
one and two are now much better.
| | 01:30 | Well let's take a look at
our overall before and after.
| | 01:33 | We can do so by pressing the P key.
Here is before our color correction, and
| | 01:38 | then here's our after.
| | 01:40 | Now the only thing that you might want
to do after you've color corrected your
| | 01:43 | files is you make your way over to
the Temperature and Tint sliders.
| | 01:48 | I find that for the most part
while this tool works really well,
| | 01:51 | there will occasion where I
may want to modify this a bit.
| | 01:55 | Let's say that I like this image perhaps
just a touch cooler, felt a little bit too warm.
| | 01:59 | Sure I have a little bit of a color shift,
but subjectively, I'm liking that color.
| | 02:05 | Now of course, if objective color is
most important you for whatever the task is
| | 02:09 | at hand you can always simply use that
White Balance tool, but keep in mind,
| | 02:13 | even with using this tool, sometimes you
need to modify it or sweeten it up a bit
| | 02:18 | by using these two sliders in
combination with the White Balance tool.
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| Using the White Balance tool and controls| 00:00 | In other situations, you may be simply
interested in modifying the overall color
| | 00:04 | temperature of your photographs.
| | 00:06 | Let's say, for example, you have an
image and you don't really know if
| | 00:10 | something is neutral, or for that matter you just
want to make a subjective edit to the photograph.
| | 00:14 | Well you can do so by using
these Temperature and Tint sliders.
| | 00:19 | Like say, for example, with this
portrait here. All that I want to do is I
| | 00:22 | want to warm this image up, so I'm
going to click and drag to the right to add
| | 00:26 | some nice warmth there.
| | 00:27 | I can also work on the Tint. Going to the
left isn't got to be flattering because
| | 00:31 | it's a portrait of a person.
| | 00:33 | Going to the right, adding just a
touch of that magenta sometimes can help
| | 00:36 | out, and now I'll go ahead and add a little
bit more yellow there just to warm this image up.
| | 00:41 | Now this is completely a subjective edit,
yet I'm liking the way the image looks.
| | 00:46 | I'll press the P key. Here's my before,
press the P key again, and there's after.
| | 00:52 | And the other thing that I want to
point out here is that sometimes what you
| | 00:55 | might want to do when working with
Temperature and Tint is make your way down to
| | 00:59 | Vibrance and Saturation, and
sometimes I find its kind of fun to lower the
| | 01:03 | Saturation a bit, especially if
you are going to push the color shift
| | 01:07 | subjectively one particular way.
And just a subtle little de-saturation here
| | 01:13 | really helps out because I warm the
image up by increasing the Temperature
| | 01:17 | amount, and that made the image nice
and warm and yellow also brought in some
| | 01:21 | magenta, yet that was just a little bit
too much for this image, so I then went
| | 01:25 | down to Saturation, brought that down
just a bit there Now let's take a
| | 01:29 | look at our before and after. Here we
have it: the before, and then now the after.
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| Color correcting with white balance cards| 00:00 | Of course, if you're interested in
really accurate color, what you want to do is
| | 00:04 | you want to photograph something in a
particular lighting situation that you
| | 00:08 | know is Neutral, and that's what I've done here.
| | 00:11 | In this particular case, this athlete
is holding this color checker chart.
| | 00:15 | He just came in off a bike ride in the
rain. You can see some of the rain and sweat
| | 00:19 | on him still, and I kind of like this.
| | 00:20 | I want to capture a bit of that moment.
| | 00:22 | And so he's holding this color
checker chart, which is called a passport.
| | 00:27 | It's put out by the folks at x-Rite.
| | 00:29 | If you navigate to their site,
xrite.com, you can learn more about this color
| | 00:33 | checker chart, and this one's actually
pretty powerful because you can create
| | 00:37 | profiles from it, and it's a color
checker chart that I used exclusively.
| | 00:41 | All right well you see that I now have
another image without the chart and what
| | 00:45 | I want to do is I want to White
Balance this image based on neutrality here
| | 00:49 | that I have in this chart. To do so,
we'll press the I key in order to select
| | 00:55 | the White Balance tool.
| | 00:56 | Next, we're going to hover over the
image and simply click on something that we
| | 01:00 | know should be neutral. That has
now color corrected the photo.
| | 01:04 | Let's look at our before and after,
here we have the before and then the after.
| | 01:09 | Next up, we'll go ahead and choose Select All,
and then we're to click on Synchronized...
| | 01:15 | Whenever you see those dots, it
means its going to open up a dialog.
| | 01:19 | Here what we want to select is from
our pulldown menu, we'll go ahead and
| | 01:23 | choose White Balance, just
synchronizing the White Balance settings there.
| | 01:27 | We'll click OK, and what we'll see is
that if we target this other image,
| | 01:31 | it has now been color corrected.
| | 01:34 | Here we have it, our before and then our after.
| | 01:37 | The other thing that I do want to
highlight is let's say that if we make this
| | 01:41 | color correction and realize you know
what, while that's neutral I would like
| | 01:45 | to perhaps warm this up just a little
bit, and then we decide we want to apply
| | 01:49 | this to the other image.
| | 01:50 | Well if we click Select All, we can
also synchronize this without opening up
| | 01:56 | the synchronize dialog.
| | 01:58 | We can do so by holding down option on a Mac,
Alt on Windows and those dots disappear.
| | 02:04 | Now when we click on this what's going
to happen is it's going to synchronize
| | 02:07 | those White Balance settings
without opening up the dialog.
| | 02:11 | So just know that and just be sure to
take note that when you do do that, you
| | 02:15 | also obviously have to remember what
you did most recently, because Adobe Camera
| | 02:20 | Raw will remember whatever check boxes
you have checked most recently, and then
| | 02:25 | when you go ahead and Option+Click
or Alt+Click that button, it will then
| | 02:28 | synchronize just those settings.
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| White balance vision and creativity| 00:00 | Here we are going to focus in on our
White Balance technique, which worked
| | 00:03 | incredibly well when you have a higher volume
of photographs that you need to White Balance.
| | 00:08 | Now, for the sake of the demo, I
am just going to work on two images.
| | 00:11 | But keep in mind that this technique is
all about speeding up your workflow when
| | 00:15 | you have a high volume of photographs.
| | 00:17 | Well, what you can do is you can
open up one of the photographs from a
| | 00:21 | particular lighting situation.
| | 00:23 | And let's do that here.
| | 00:24 | We will double-click this
image to open it up in Camera Raw.
| | 00:27 | Next, we will press the I key
to select the White Balance tool.
| | 00:31 | We will click on
something that might be neutral.
| | 00:33 | This background might be neutral.
| | 00:35 | It does a decent job, but
perhaps warms the image up too much.
| | 00:39 | So I'll go ahead and lower my
Temperature slider to get this just a little bit
| | 00:42 | more realistic there.
| | 00:44 | Click on the Preview check box.
| | 00:46 | There is before, and then there is after.
| | 00:48 | Little bit more flattering
look, in regards to the color.
| | 00:51 | Well next, once we've color corrected the
photograph, all that we need to do is click Done.
| | 00:57 | The next step is going to be
to go back to Adobe Bridge.
| | 01:01 | And here in Adobe Bridge, what we can
do is right-click or Ctrl+Click, and then
| | 01:06 | select Develop Settings and
then choose Copy Settings.
| | 01:11 | And what we want to do is copy this
White Balance that we've just applied here.
| | 01:15 | So I'll go ahead and copy that.
| | 01:16 | Next, we will choose one or more images.
| | 01:19 | And keep in mind, this works
really well with high volumes of images.
| | 01:22 | For example, I recently
photographed a friend's wedding.
| | 01:26 | And I photographed a ton of images
outdoors in a similar lighting situation.
| | 01:30 | I had a few hundred photographs.
| | 01:32 | Well, I color corrected one.
| | 01:34 | I then copied that color correction and
pasted it onto the other 199 photographs.
| | 01:40 | And in that way, it really
sped up my overall workflow.
| | 01:43 | Well, to paste those settings all we
do is select one or more photographs,
| | 01:48 | right-click or Ctrl+Click.
| | 01:50 | And then here choose
Develop Settings once again.
| | 01:52 | And this time we are going
to select Paste Settings.
| | 01:55 | And you'll notice that it says Paste
Settings... telling us it's going to open up a dialog.
| | 02:01 | When we see that dialog, you
know where we are going, right?
| | 02:03 | We are going to go ahead and
choose White Balance just to apply that
| | 02:07 | particular setting.
| | 02:08 | Click OK, and now we have
two color correct images.
| | 02:11 | And of course, keep in mind that this
works incredibly well, even when you have a
| | 02:15 | higher volume of photographs.
| | 02:17 | It can really help you expedite
and speed up your overall workflow.
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| Color balance resources| 00:00 | Typically, when we're working with
Color Correction or White Balance, we are
| | 00:04 | thinking a little bit more in functional terms,
| | 00:06 | yet here what I want to do is simply
briefly talk about how we can use these
| | 00:10 | same controls for some creative output as well.
| | 00:13 | Well, one of the things that we know is we
have these sliders, Temperature and Tint.
| | 00:16 | And in this particular photograph that
I took of this dandelion, I just set it
| | 00:22 | on top of my kitchen stove and
turned on the light from above and put a
| | 00:25 | little book behind it.
| | 00:26 | And the light, of course,
has this huge yellow shift.
| | 00:30 | That looks really dingy, not very interesting.
| | 00:32 | Yet what we can do is we can use some of
these controls in order to change the color.
| | 00:37 | If there is too much yellow in it, I
know that if I simply add quite a bit of
| | 00:40 | blue here, I can change the
overall look to the image.
| | 00:44 | I can also modify the Tint here and
swing this one way or another in order to
| | 00:48 | get just a nice color combination.
| | 00:50 | Next, I might want to add some
Clarity and also some Contrast, maybe even a
| | 00:54 | little bit of Vibrance and Color Saturation.
| | 00:57 | Well here, I have completely,
vividly changed the photograph.
| | 01:01 | Let's take a look at our before and after.
| | 01:03 | We can click on the Preview
check box or press the P key.
| | 01:06 | Here is before, probably an
image that I would have deleted.
| | 01:10 | Here is the after, an
image that I actually like.
| | 01:12 | I think it's really interesting and engaging.
| | 01:15 | It's unique and distinct in
regards to its color composition and to the
| | 01:19 | overall impact of the photograph.
| | 01:21 | So I bring this up just to get you
begin to think about how you can use these
| | 01:25 | controls sometimes for creative purposes.
| | 01:28 | Sometimes these controls can convince
you to not give up on an image, but to
| | 01:32 | perhaps experiment a little bit,
because sometimes you never know what you
| | 01:36 | might come up with.
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|
|
8. Using Basic AdjustmentsDeconstructing the basic adjustments | 00:00 | Here we are going to spend a couple of
minutes deconstructing some of the most
| | 00:03 | important controls inside of the Basic panel.
| | 00:07 | And you are going to spend the
majority of your time in the Basic panel.
| | 00:10 | This is where a lot of our work in
Adobe Camera Raw will take place.
| | 00:13 | And for that matter, it's
where all of our work will begin.
| | 00:16 | Over here in the Basic panel,
which is the first panel in the set,
| | 00:20 | we have some controls.
| | 00:21 | Now, what I want to do is
deconstruct how these works so that we can gain
| | 00:25 | some knowledge, and so that we can then apply
that knowledge to work in on your photographs.
| | 00:29 | You can see that we have this demo
file here, basically a grayscale.
| | 00:33 | Let's go ahead and work with these
controls on this grayscale demo file in order
| | 00:38 | to learn how they work.
| | 00:39 | Well, the first control we have is Exposure.
| | 00:41 | I like to think of that as a
control with a really big reach.
| | 00:45 | For example, click and drag to the left to
darken, or click and drag to the right to brighten.
| | 00:50 | And it makes really dramatic effects.
| | 00:53 | So that can be good.
| | 00:54 | It also can be bad.
| | 00:55 | You can have some problems that result
from over using this slider. All right.
| | 00:59 | Well, if ever you need to reset any of
these sliders, double-click the little
| | 01:03 | triangle icon, and it will take it
back to the default setting. All right.
| | 01:07 | Well, what about this next
option down here, Recovery?
| | 01:10 | Well it's helpful to see how Recovery
works by turning on what are called the
| | 01:14 | clipping indicators.
| | 01:16 | You can do so by clicking on these icons here.
| | 01:19 | Now what that will do for us, it will
show us areas in our image where we have
| | 01:23 | loss of detail, where tones are clipped.
| | 01:26 | For example, if I go ahead and increase
my Exposure, you can see that now I have
| | 01:30 | some loss of detail over here.
| | 01:33 | You can also see that I have some
Shadow loss of detail over here as well.
| | 01:36 | Well how does Recovery fit into this equation?
| | 01:40 | What Recovery does for us is it
primarily works on these brighter tones.
| | 01:44 | And you can see that as I click and
drag this up, it's bringing down just the
| | 01:49 | brightness amount of this area
of the grayscale. All right.
| | 01:53 | Well, let's turn off these clipping
indicators, and let's take a look at how
| | 01:56 | this works without those turned on.
| | 01:58 | And here we can see it's darkening
this upper portion of the photograph.
| | 02:02 | Yet you will also notice it is reaching
into some of these other tones as well.
| | 02:06 | So it primarily targets that top 5% or
10% of the brightest tones here in our
| | 02:11 | image, bringing those down. All right.
| | 02:12 | I'll double-click that
slider to take it back to normal.
| | 02:16 | What about Fill Light?
| | 02:17 | Well Fill Light is really going to
focus in on these three-quarter tones.
| | 02:21 | It's going to primarily try to bring these up.
| | 02:24 | Now, of course, it's going to have
a reach both into our Shadows, our
| | 02:26 | Midtones and brighter.
| | 02:28 | And let's take a look at how this one works.
| | 02:30 | As I click and drag this up, you can
see how it's really focusing in on those
| | 02:34 | three-quarter tones.
| | 02:35 | I like to think of Fill Light photographically.
| | 02:38 | In other words, if you have a fill card, what
that does is it bounces light into the shadows.
| | 02:43 | And that's exactly what this slider likes to do.
| | 02:46 | Now, one of the things you do have to
be careful about with this slider is that
| | 02:49 | if you overexaggerate this amount,
your image can look a low but surreal.
| | 02:54 | And I like to think of Fill Light and
Blacks as really working well together.
| | 02:58 | Let me show you what I mean.
| | 02:59 | Well, Blacks if we click and drag
that up, we can see we are increasing the
| | 03:03 | density and the amount of our
deepest and darkest tones here.
| | 03:07 | Well how then do these two work together?
| | 03:09 | Well a lot of times what you'll do is
you'll add Fill Light, but then you will
| | 03:12 | also add some Blacks.
| | 03:14 | And you can see that how as these
travel together, I am essentially
| | 03:18 | moving my deepest darkest tones up together so I
have a similar kind of range of tonality there.
| | 03:25 | So just keep in mind that these
two kind of like to hold hands.
| | 03:28 | They like to travel together.
| | 03:29 | Not always, but many times
that can help out. All right.
| | 03:31 | Well, what about Brightness?
| | 03:33 | Brightness will focus in on these
brighter tones here, the quarter tones and the
| | 03:36 | Highlights, also some of the Midtones.
| | 03:39 | And again, as we click and drag this, we
can see that this has a reach, but it's
| | 03:42 | not as dramatic of a
reach as Exposure. All right.
| | 03:45 | Well, then the next option we
have is Contrast. Increase Contrast,
| | 03:50 | we are going to make our White
whiter and our Blacks blacker.
| | 03:53 | Decrease Contrast, and we're going to
even out the tonal range of our image.
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| Recovering highlights | 00:00 | Now that we know a little bit about
some of our basic controls, let's take a
| | 00:03 | look at how we can apply this
knowledge in a realistic scenario.
| | 00:07 | Well, you have this photograph that was
captured on a surf trip down in Baja, California.
| | 00:12 | One of the things that I am noticing
here is that it seems like the front of the
| | 00:14 | car is a little bit too bright.
| | 00:17 | Well, I can determine if that's too
bright by turning on what are called my
| | 00:20 | clipping indicators.
| | 00:22 | I can do so by pressing a shortcut
key of U and O, or I can simply click on
| | 00:28 | these triangle icons.
| | 00:30 | When I click on these what it'll do is it
will show me areas where I have loss of detail,
| | 00:34 | here in my Shadows, and
then here in my Highlights.
| | 00:37 | In this case, it's definitely showing me
you have problem area on the front of the car.
| | 00:41 | What I want to do is I want
to recover those Highlights.
| | 00:44 | The only thing I need to do in order
to do that is to simply click and drag
| | 00:49 | on my Recovery slider.
| | 00:50 | And you can see that as I do that I am
bringing back detail into that area of the image.
| | 00:56 | Take a look at another way that
we can work with this as well.
| | 01:00 | I'll reset this by double-clicking the
Recovery slider, Triangle icon there.
| | 01:04 | Next, let's press U and O to
turn off the Clipping Indicator.
| | 01:08 | Let's say that we don't want to turn on
those indicators or have them always on,
| | 01:12 | because that's a little bit distracting.
| | 01:13 | Well what we can do?
| | 01:15 | Well, we can press a great shortcut.
| | 01:18 | It's the Option key on a Mac, Alt key on a PC.
| | 01:21 | And that's a shortcut that says, "Hey!
| | 01:23 | Do something a little bit differently."
| | 01:25 | And when we press that key and then
click and drag on the Recovery slider, we
| | 01:29 | now see a different view of our image.
| | 01:31 | The brighter area is
showing us that problem area.
| | 01:34 | So now I can click and drag
until that all becomes dark.
| | 01:38 | Once that becomes dark, I let go, and
there we have the same exact recovery
| | 01:43 | or tone correction.
| | 01:45 | Now, I can also press Option or Alt
while working with my Exposure slider.
| | 01:49 | For example, I'll go ahead and press
that key and then click and drag on this to
| | 01:53 | increase my Exposure.
| | 01:55 | Now, as I do that, I'm also
noticing I'm adding more clipping.
| | 01:59 | Well, I can fix that right by going
down to the Recovery slider, Option on a
| | 02:03 | Mac, Alt on Windows, and then
click and drag and increase this more.
| | 02:08 | So I just wanted to highlight that
that at certain times you going to want to
| | 02:11 | turn on these indicators here.
| | 02:14 | At other times, what you might want to
do is simply access that same information
| | 02:19 | while Option+Clicking or Alt+Clicking
on these different controls.
| | 02:22 | And this can be a nice way to find
the exact Exposure which will work best
| | 02:27 | for your photograph.
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| Making basic exposure enhancements| 00:00 | Let's take a look at how we can use the
basic controls in order to improve this
| | 00:04 | portrait which is for this
particular athlete's sponsor.
| | 00:07 | Now, what I want to do is I want to
make this image come to life a little bit.
| | 00:10 | It feels a little bit muddy.
| | 00:11 | Well, the first thing we need
to do is evaluate the Histogram.
| | 00:15 | And in the Histogram, we can see that yes, the
image is leaning to the left. It's underexposed.
| | 00:20 | We need to bring this image up.
| | 00:22 | So we'll go ahead and make
our way down to these controls.
| | 00:24 | One of the first things that we might
want to do is increase the Exposure.
| | 00:28 | And as we do that, we want to pay
attention to the image, also kind of noting
| | 00:32 | the Histogram here. That's looking good.
| | 00:33 | Well visually this looks nice, but
we're not really sure if we've applied any
| | 00:38 | clipping or whatnot.
| | 00:39 | So what we can do is we can hold down
the Option key on the Mac, Alt key on a PC
| | 00:44 | and then simply click on this.
| | 00:45 | Now, when I do that, I see that, yeah
you know what, I have a little bit of
| | 00:48 | clipping on the glasses
here and also on the shirt.
| | 00:51 | Well, I'll then go down to my Recovery
slider, hold down Option or Alt, and then
| | 00:55 | I am going to click and drag this in
order to remove that clipping. There.
| | 00:59 | Okay. Well, that's good.
| | 01:00 | Next step, I want to add a little to Fill Light.
| | 01:03 | That's going to really help the
shadowy areas that are just too dark.
| | 01:06 | So I'll go ahead and bring that up,
adding some brightening effect there.
| | 01:09 | Now, my Blacks I don't need to change
much at all, because I have a lot of
| | 01:13 | really nice deep Blacks there.
| | 01:15 | Add a little bit of Brightness.
| | 01:16 | And then I'm also going to increase my Contrast.
| | 01:19 | All right well, once I've done all of
this I realize that, the forehead is a
| | 01:24 | touch too bright for me.
| | 01:26 | So I'm going to go ahead and
crank up my Recovery amount.
| | 01:28 | You can see how it's darkening that
area of the image, those brighter tones,
| | 01:32 | just bringing those down a touch. All right.
| | 01:34 | Well we've now successfully
corrected the Exposure here.
| | 01:37 | Let's take a look at our before and after.
| | 01:40 | We can do so by pressing the P key.
| | 01:41 | Here we have our before and then now our after.
| | 01:46 | The only thing I think I want to do here
is just modify my Exposure a little bit.
| | 01:49 | It feels a little bit too
bright for my liking there.
| | 01:52 | And I think that's much better.
| | 01:53 | Here we have it, press the P key,
our overall before and then after.
| | Collapse this transcript |
| Making basic adjustments more quickly | 00:00 | Now that we know a little bit about
our basic controls, I want to share with
| | 00:03 | you just a couple of tips here, which can
help you get even more out of these controls.
| | 00:08 | Well, for starters, we have this
wonderful photo of my daughter, Sophia, with
| | 00:11 | this big toothless smile.
| | 00:13 | Let's say we want to work on the Exposure.
| | 00:15 | Well, we know that we can click and
drag this to the right or to the left, but
| | 00:19 | we can also hover over the name of this
control, or for that matter, we can hover
| | 00:24 | over any of these names.
| | 00:25 | Now once we do that, we can click and
drag to change the amount there, or we can
| | 00:30 | hold down the Shift key and do this as
well and here you can see it makes it
| | 00:33 | really kind of slippery.
| | 00:34 | I can do this really quickly.
| | 00:36 | I can also hold down Command on the Mac,
Ctrl on Windows and click and drag for
| | 00:40 | a little bit more precision,
and that's really nice.
| | 00:43 | Now once you have one of these fields
selected, you can also use the Arrow
| | 00:47 | keys on your keyboard.
| | 00:49 | Now, this can be incredibly helpful in
normal workflow situations, or if you're
| | 00:53 | traveling; sometimes this can work
really well if you're on an airplane and have
| | 00:56 | a laptop or whatnot. Here I can
simply click on the Up Arrow to increase my
| | 01:00 | Exposure; Down Arrow in order to decrease it.
| | 01:03 | Now wouldn't it be nice, of course, if
there was some way with a keyboard to go
| | 01:08 | through these different controls.
| | 01:09 | Well, of course, there is. It's the Tab key.
| | 01:12 | Press the Tab key, and you'll move down
through these different list of controls
| | 01:16 | here, and then go ahead and press my
Up Arrow key to increase the recovery
| | 01:20 | amount, or I can type out a
number, like 2-0 for twenty.
| | 01:25 | I'll press the Tab key
again to go to Fill Light.
| | 01:27 | I'm going to increase the Fill Light,
and here you can see I can continue to
| | 01:31 | press Tab to make my way through all
of these controls and then simply modify
| | 01:35 | the amounts by pressing
the Up or Down Arrow keys.
| | 01:38 | What if we're at the bottom of this?
| | 01:40 | We're here at Contrast, and
we want to go back to Exposure.
| | 01:43 | Well, one of the ways that we could do
this is to press the Tab key multiple
| | 01:47 | times and in this way, we can cycle
through all of these controls, or what we
| | 01:51 | can do, let's say, we're down here at Contrast.
| | 01:53 | If we want to just move up, we can press
Shift+Tab. That will then move backwards
| | 01:58 | between these fields.
| | 02:00 | We can go back to Exposure there and
then simply click the Up Arrow in order to
| | 02:04 | increase our Exposure.
| | 02:06 | And then of course, at this
juncture, we would want to see the
| | 02:09 | before and after preview here.
| | 02:11 | Simply press the P key. Here we have
it, the before, press the P key again,
| | 02:15 | and then the after.
| | Collapse this transcript |
| The relationship between tone and color| 00:00 | You want to think of this movie as more
of a demo than it is actually of making
| | 00:04 | an enhancement to the photograph, and
what I want to demonstrate in particular is
| | 00:08 | how we can work with Tone and
how that then affects color.
| | 00:12 | Let's go ahead and focus in on our
basic controls, and so far we've really been
| | 00:16 | just zeroing in on how
this can correct tonality.
| | 00:19 | Well, what's happening to color along the way?
| | 00:22 | Well, when we work with Exposure,
let's say we brighten the image up, it
| | 00:26 | becomes much brighter and whiter.
| | 00:28 | We can see that in these different
colors, say, the red on the door.
| | 00:31 | Well, if we do the opposite, say,
darken, we're going to see that this red is
| | 00:35 | now this deep, or darker, or blacker red.
| | 00:39 | Let's double-click this control to
set this back to normal. All right.
| | 00:41 | Well, what about some of these other controls?
| | 00:44 | Well, Fill Light is pretty interesting.
| | 00:46 | It works on the lower tones in our
grayscale, and as we brighten this up, we can
| | 00:50 | see that what's happening is that
it's kind of muting out our color a bit.
| | 00:54 | It's brightening it up, but not too much.
| | 00:56 | Well, if I want a deeper red there,
I can simply bring up my Blacks.
| | 01:01 | Now as I do that, I'm coming and
bringing back that nice, deep red.
| | 01:05 | So I not only brighten the image, but I
also darken or deepen my Blacks to kind
| | 01:10 | of bring back the color.
| | 01:12 | That's why these two
sliders like to travel together.
| | 01:15 | Now, Blacks is almost always trailing
behind Fill Light, but again, I kind of
| | 01:19 | like to move those in unison. All right.
| | 01:22 | Well let's look at our Preview now.
| | 01:23 | If we click on our Preview, here is
before, and then here is after. All right.
| | 01:27 | Well, let's make our way down to Contrast, say.
| | 01:30 | When we increase Contrast, we're
going to increase Color Saturation.
| | 01:35 | You can see that this red is
now more of a candy apple red.
| | 01:38 | Well, let's decrease Contrast and
see what happens to that same red.
| | 01:42 | Now it's a much more pale
and much more muted red.
| | 01:45 | So one of the things we have to start
to pay attention to, especially with
| | 01:49 | Contrast, is that Contrast is great.
| | 01:51 | It makes images look good, but
what can happen occasionally is we can
| | 01:56 | oversaturate our images, especially
with photographs of people, and their skin
| | 02:00 | tone can look a little bit strange.
| | 02:02 | So we just want to pay attention to
that and take note of that when we are
| | 02:06 | making these adjustments, we are
in turn affecting color as well.
| | 02:10 | Now, a lot of times, in order to get
good color, what we're going to do is
| | 02:14 | modify all of these sliders together,
changing our Brightness, or Exposure, or our
| | 02:18 | Recovery in order to get
this exactly where we want it.
| | 02:21 | Of course, we can also make our way
down to some of the other controls, like
| | 02:25 | Vibrance and Saturation, which
we'll be talking about later.
| | 02:29 | But again, the intent here of this
whole movie is simply to get you to begin to
| | 02:33 | think about how when we modify tone,
at the same time, we are also affecting
| | 02:37 | the colors in our photograph.
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| Enhancing color and tone | 00:00 | Here I want to provide just a simple
example of how we can work with Color and Tone.
| | 00:05 | A lot of times in the Basic panel,
we'll begin to work with our Exposure,
| | 00:08 | perhaps add some Fill Light and
Brightness and maybe a little bit of Contrast.
| | 00:12 | We'll make our ways through these controls
just looking to try to improve the image.
| | 00:16 | Now, in this case, we did indeed improve the
Contrast and Tone and a little bit of Saturation.
| | 00:21 | Here we have our before and then after.
| | 00:24 | One of the things that we want to do a
lot of times is after we've dialed in
| | 00:27 | these settings, is to then go back to
some of our other controls like, for
| | 00:31 | example, Temperature and Tint.
| | 00:33 | Here if I go ahead and simply just
bring in a little bit of warmth to the file,
| | 00:37 | it can really change the
overall mood to this particular image.
| | 00:41 | Now once I've done that, I of course,
can go back and perhaps brighten it even
| | 00:45 | more, add a little bit more Contrast, or
perhaps a little bit less in this case
| | 00:49 | might look actually better now
that I'm looking at it. All right.
| | 00:52 | Well, I think that looks pretty good.
| | 00:53 | Let's look at our before and after now.
| | 00:55 | Here we have a before and then after.
| | 00:58 | A really simple example, but
nonetheless an example which shows how we can
| | 01:02 | start to put together these different
pieces in order to come up with even
| | 01:07 | better Color and Tone.
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| Demystifying clarity | 00:00 | One of the things that distinguishes
an average photographer from a great
| | 00:04 | photographer is the attention, or the
noticing of small little details, and
| | 00:09 | that's exactly what Clarity helps us do.
| | 00:11 | What it does is it adds
just a little bit of a snap.
| | 00:14 | It adds some midtone contrast to our image.
| | 00:17 | So I want to deconstruct what Clarity
actually is so that we can learn how to
| | 00:21 | use this effectively.
| | 00:23 | Well, here you can see that I have this
gradient that I've posterized, and I did
| | 00:26 | this in Photoshop, and I did this just
to create a demo file, which will help us
| | 00:31 | deconstruct what Clarity is.
| | 00:33 | Now, Clarity is a tool which allows us
to add Contrast, and how Adobe Camera Raw
| | 00:38 | defines Contrast is light
pixels next to dark pixels.
| | 00:42 | So if we go ahead and zoom in on the
shape for a second, one of the things that
| | 00:46 | we can do is increase Clarity.
| | 00:48 | Now as I increase the Clarity, you're
seeing that wherever we have these little ridges,
| | 00:52 | it's as if they become a little bit more bumpy.
| | 00:55 | If we are to brush our finger across
that, it would feel like the ridge was
| | 00:58 | a little bit taller.
| | 00:59 | The white side is a little bit more white,
and the dark side is a little bit more dark.
| | 01:04 | Let's look at our before and after.
| | 01:05 | Here he have it before and then after.
| | 01:08 | We'll zoom out a touch too so we can see
this as well, again, before and then also after.
| | 01:13 | Well, if we apply a negative Clarity
amount what's going to happen there is
| | 01:17 | we're going to see that the
image now looks much softer.
| | 01:19 | Let's zoom in so we can see this one as well.
| | 01:22 | Here again, we have our
before and then our after.
| | 01:26 | It's especially noticeable in
this area right here. All right.
| | 01:29 | Well, let's double-click the Clarity
slider to take this back to normal, and
| | 01:33 | then let's crank up our Contrast.
| | 01:35 | So now when I increase my Contrast,
and I'm going to really go for it here.
| | 01:39 | Press the Spacebar key, and I'll click
to pan around just a touch here so we can
| | 01:42 | see a darker part of the image as well.
| | 01:45 | Well, now with more Contrast, when I
increase my Clarity, we're going to see
| | 01:48 | that those ridges are even more intense.
| | 01:50 | So Contrast and Clarity
really work well together.
| | 01:54 | Let's decrease the Clarity amount.
| | 01:56 | You can see it's not quite as soft as it
was when we go ahead and lower Contrast,
| | 02:00 | or for that matter, take
Contrast all the way up.
| | 02:03 | So with no Contrast or negative Contrast
and negative Clarity, this just becomes
| | 02:08 | kind of a big, soft area.
| | 02:10 | So what I'm trying to illustrate here
is just that Contrast and Clarity will
| | 02:14 | work really well together. Okay.
| | 02:16 | Well, let's double-click these
triangles icons to set them back to normal.
| | 02:19 | How then are we're going to use Clarity?
| | 02:21 | Well typically, what we're going to
do is increase Clarity just a bit.
| | 02:24 | We don't want to add too much.
| | 02:26 | It's going to really target the middle
range tones in here, not the super bright
| | 02:30 | tones, not the super dark ones,
but more of the middle range.
| | 02:33 | I kind of like to think of
Clarity in regards to woodworking.
| | 02:37 | For example, I love to build things with
wood, and if ever I'm building something
| | 02:42 | where it doesn't matter what I'm doing,
I'll use a big hammer, and that hammer
| | 02:45 | is going to leave marks.
| | 02:47 | On the other hand, if I'm
working on a project like a bookcase,
| | 02:50 | I'm going to use a finishing hammer.
| | 02:51 | That hammer isn't going to leave a
trace of what I've done, and that's exactly
| | 02:55 | what Clarity is like.
| | 02:56 | It's like the finishing hammer, whereas
Contrast is like that big, huge sledgehammer.
| | 03:01 | It gets the job done.
| | 03:02 | It can work really quickly,
but it's not as delicate.
| | 03:04 | It's not as precise.
| | 03:06 | So again, with Contrast, of course, we
need to be careful because we can do more.
| | 03:09 | With Clarity because this tool is a
little bit more precise, we're going to
| | 03:13 | think of using it in more incremental ways.
| | 03:15 | In other words, it's very, very rare
that you're going to have a super-high
| | 03:18 | amount of Clarity, or it's also pretty
rare that you are going to have a really
| | 03:22 | low amount of Clarity.
| | 03:23 | Typically, it's going to be pretty close
to zero, somewhere right within this range.
| | 03:27 | All right. Well now that we've been
introduced to this topic of Clarity, let's go ahead and
| | 03:32 | take a look at how we can use this,
and we'll do that in the next movie.
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| Increasing clarity | 00:00 | Now that we know a little bit about
Clarity, let's go ahead and take a look at
| | 00:04 | how we can use this in order to
improve our photographs. All right.
| | 00:08 | Well here we have this really
interesting portrait of this professional surfer.
| | 00:11 | What I want to do is double-click the
Zoom tool in order to zoom in on the image.
| | 00:16 | Next, I want to really
deconstruct what Clarity is doing.
| | 00:20 | I want to compare this to how Contrast works.
| | 00:23 | In order to do that, I am going to go
ahead and select this particular tool
| | 00:26 | here, which allows us to
set a few sample points.
| | 00:29 | Click on it, and then I want to go
ahead and click on the eye because that's a
| | 00:32 | nice bright white area.
| | 00:34 | I am also going to click on
this area over the hair over here.
| | 00:37 | Here we can see these RGB values
of #1 the eye and #2 that hair.
| | 00:42 | Now if I go ahead and increase my
Contrast, let's take a note of what's
| | 00:46 | happening here with a really
exaggerated amount of Contrast.
| | 00:49 | Well, in this case we can see that
these blacks became blacker, the whites
| | 00:53 | became whiter, and there is a huge
color shift, a really unnatural and
| | 00:57 | strange color shift.
| | 00:58 | Here we have our before,
| | 00:59 | look at those numbers - #1 and #2, and then after.
| | 01:03 | Again, you can see that there is a big
variance when we look at our before and then after.
| | 01:08 | So it's not only affecting the middle
range of the tones, but it's affecting
| | 01:11 | those deeper tones as well,
those blacks and those whites.
| | 01:15 | The same thing is going to be the case
if we have a negative amount of Contrast.
| | 01:18 | Here you can see I am also affecting
those areas, before and then after.
| | 01:24 | With Contrast, we are really seeing
that Contrast does indeed affect color
| | 01:28 | saturation pretty closely. All right.
| | 01:30 | Well let's double-click this,
and let's take a look at Clarity.
| | 01:34 | Well, Clarity on the other hand, if we
crank this all the way up to 100 there, we
| | 01:38 | are going to see that the
image actually still looks okay.
| | 01:42 | If we look at our numbers up top and
look at our before and then our after, what
| | 01:46 | we are seeing is it's not even
really affecting the hair at all.
| | 01:49 | It's affecting the eye a little bit,
the brighter tones, not very much.
| | 01:53 | We can also see that this is being
really applied to more on these middle-range
| | 01:56 | tones, and there isn't a huge color
problem here at the image as well.
| | 02:01 | Yes, there is a color shift but not as
drastic as there was with Contrast. All right.
| | 02:06 | Well what about Negative Clarity?
| | 02:08 | Well, Negative Clarity is going
to go a little bit interesting.
| | 02:10 | What's going to happen is as we decrease
Clarity it's going to soften everything up.
| | 02:15 | As we go too far, the image
is just going to look horrible.
| | 02:18 | So let's decrease this all the way.
| | 02:20 | But here, again, you can see that what
it's doing is it's really working on the
| | 02:23 | midtone contrast areas.
| | 02:25 | And in this case, kind of flattening
the image out and mucking up its color.
| | 02:29 | It's kind of horrible.
| | 02:31 | So, Negative Clarity can be used a lot
of times in a more shallow result just to
| | 02:35 | soften the image a touch, or sometimes
what we'll look at later so we can paint
| | 02:40 | in Negative Clarity to
particular areas. All right.
| | 02:42 | Well let's reset that.
| | 02:44 | How then can we realistically
work with these two controls?
| | 02:47 | Well, let's clear our Samples.
| | 02:48 | What we typically want to do is dial
in our appropriate amount of Contrast
| | 02:52 | first, because that's kind of the bigger tool,
gets the overall contrast on the right spot.
| | 02:58 | Next, we'll go into Clarity.
| | 03:00 | With Clarity, all that we are looking,
again, to do is to add a little bit of
| | 03:04 | that mid-tone snap to our image.
| | 03:06 | A lot of times what this will do is will
add just a bit more dimension to the file.
| | 03:11 | What we are going to see here isn't
going to be huge, at least on the monitor.
| | 03:14 | Here we have our before and then our after.
| | 03:18 | But keep in mind, with Clarity we
are not looking for huge results.
| | 03:21 | Unless, of course you are
interested in creating a little bit more of a
| | 03:24 | specialized or distinct look, like we
could create by really cranking this up,
| | 03:29 | now we have, again, a much more dominant or
prominent aesthetic, or look, based on Clarity.
| | 03:34 | So, do just keep in mind that you can
set this amount to what works for you.
| | 03:39 | But typically with most images you
are going to find that adding just a
| | 03:42 | little bit of clarity or really add
just a bit of snap or bit a pop to your
| | 03:46 | photographs.
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| Understanding Vibrance and Saturation | 00:00 | Before we begin to work with our
Vibrance and Saturation Controls, I want to
| | 00:04 | spend a couple of minutes in
demystifying how these controls actually work.
| | 00:09 | Now one of the controls that we
typically know about is Saturation.
| | 00:12 | That makes sense, right?
| | 00:13 | If we increase the
Saturation amount, we have more color.
| | 00:16 | If we decrease, we have less color.
| | 00:19 | What's actually happening here?
| | 00:21 | Well, if we step back for a second and
take a look at the color that we have in
| | 00:25 | this demo file, you'll notice that
these colors are muted, and they become
| | 00:28 | more and more colorful, or
bright and saturated there.
| | 00:31 | As I click and drag this to the right, it's
a uniform increase in the color saturation.
| | 00:38 | In other words, this color bar here was
saturated as was this one, and it kind
| | 00:42 | of paid attention to where the color
was and then boosted that from there.
| | 00:46 | In other words, this is linear, and it
adds color in a uniform way across the file.
| | 00:51 | Okay. Well let's double-click this
slider here to take it back to 0.
| | 00:55 | What about Vibrance?
| | 00:56 | Well, Vibrance does something
which is completely different.
| | 01:00 | It's a nonlinear adjustment.
| | 01:02 | What Vibrance does is it analyzes a
color and says okay what are the strong
| | 01:06 | colors, what are the weak colors, how can I
then modify or change those areas of the image?
| | 01:10 | For example, let's increase Vibrance to 100.
| | 01:14 | Now, when I do that, when I look at my
before and after, here's before and here's after,
| | 01:19 | it primarily helped out the weaker colors.
| | 01:22 | Vibrance kind of has a lean
towards the weaker tones. It says, hey!
| | 01:25 | what's happening with the weak ones.
| | 01:27 | Let me see if I can help those
out or perhaps pull those out.
| | 01:30 | So in this case it really
brought up these weaker tones.
| | 01:33 | It didn't make that much
of a difference over here.
| | 01:35 | Now, if we go ahead and reduce Vibrance,
what's going to happen is, again, it's
| | 01:39 | primarily focusing in on the weaker colors.
| | 01:42 | It pulled the color all the way out there.
| | 01:45 | Well, with the brighter or more saturated
colors there's still a little bit remaining.
| | 01:49 | So, what Vibrance does is it gives
us the ability to make some pretty
| | 01:53 | interesting color adjustments.
| | 01:55 | For example, let's say we have a portrait.
| | 01:58 | Well, portrait we know is going to have
a lot of reds and yellows in the face.
| | 02:02 | Well, if we increase the
Vibrance it's going to say, hey!
| | 02:05 | Let's not change those too much, but
let's help out some of the weaker colors so
| | 02:09 | we can increase saturation without
over-saturating colors that already have
| | 02:14 | quite a bit of color saturation in them.
| | 02:16 | So as you can see, these two
controls are very distinct.
| | 02:19 | At the same time, we can use them together to
come up with some good results. All right.
| | 02:24 | Well let's take a look at how we can
use these on an image, and we'll do that
| | 02:27 | in the next movie.
| | Collapse this transcript |
| Improving color with Vibrance | 00:00 | Let's take a look at how we can work with
Vibrance and Saturation on a photograph.
| | 00:05 | Here we have this portrait of
one of my photographic mentors.
| | 00:08 | What I want to do is first
warm up this image a little bit.
| | 00:11 | So on the Temperature slider here I am
just going to click and drag to the right
| | 00:14 | to have a little bit more warmth.
| | 00:16 | Next, I want to make my way down to
Vibrance and Saturation and first, I want to
| | 00:20 | deconstruct what each of these controls do.
| | 00:23 | Now if I go ahead and increase the
Saturation we are going to see that
| | 00:27 | eventually the image is going
to look horrible, over-saturated.
| | 00:30 | If I decrease that, it's going
to convert it to a grayscale or
| | 00:33 | black-and-white image.
| | 00:34 | Well, double-click this
control to set it back to normal.
| | 00:38 | What about Vibrance?
| | 00:39 | Again, let's exaggerate.
| | 00:41 | Increase the Vibrance all the way.
| | 00:43 | Here what we can see is that
the image still looks okay.
| | 00:46 | Yes, it's definitely over the top,
but it didn't over-exaggerate the
| | 00:50 | saturation as did Saturation.
| | 00:53 | So let's go ahead and see what the
opposite does when we decrease Vibrance.
| | 00:57 | Again, we are just going to be left
with some of the brightest tones here.
| | 01:00 | There is just a shade of color in
there, and we can see that slowly that
| | 01:03 | will bring back just the brightest color
first and then some of the lower colors later.
| | 01:08 | So one of the things that we can do
here is we can increase the Vibrance in
| | 01:12 | order to have a little bit more life
and vitality in regards to color, and the
| | 01:16 | toning and people photographs.
| | 01:18 | We can do so without a lot of detriment.
| | 01:21 | Now, occasionally what I'll
do with Vibrance Controls,
| | 01:24 | whether the photographs of people or
landscapes, is I'll increase that Vibrance,
| | 01:28 | and then I'll de-saturate a little bit as well.
| | 01:30 | Sometimes those two together can
really equal some interesting results.
| | 01:34 | Now that's not always the case, but
just keep in mind you can use these two
| | 01:37 | controls together as well. All right.
| | 01:39 | Well I am going to go ahead in this case
actually saturate it, just a touch there.
| | 01:44 | I think that looks kind of nice.
| | 01:45 | And then let's go ahead and look at
our before and after. Here we have it,
| | 01:48 | before and then after.
| | 01:50 | Let me zoom in a little bit closer
so we can see that. Here we have our
| | 01:53 | before and then after.
| | 01:55 | It's still a natural-looking color, but
it's just a little bit more flattering and
| | 01:59 | compelling because of those
nice, soft, and warm tones.
| | Collapse this transcript |
| Using Vibrance and Saturation together | 00:00 | We're going to take a look at one more
example of how we can use Vibrance and
| | 00:03 | Saturation in some unique ways.
| | 00:06 | We have this wonderful portrait
of this kid peering over the wall.
| | 00:09 | I always kind of think this photo kind
of looks like it's a sunshine kind of
| | 00:12 | coming up over the wall.
| | 00:14 | One of the things that we can do here is,
of course, saturate the image. As we
| | 00:17 | do that, the image will become over-saturated.
| | 00:19 | Eventually the colors will just look
unnatural and not very interesting.
| | 00:24 | So let's double-click
that slider to take it down.
| | 00:27 | What about Vibrance?
| | 00:28 | Well, here we can do the same thing
as we've seen previously is that we can
| | 00:31 | increase this Vibrance.
| | 00:32 | So we have quite a bit of leverage here in
regards to really adding in some nice tones.
| | 00:36 | Press the P key. Here is our before,
and then there is our after, really just
| | 00:41 | targeting this area of the image.
| | 00:43 | Now another way that we can work with
these controls is if we go ahead and reset
| | 00:47 | this, we can actually add a lot of Saturation.
| | 00:51 | And as we add Saturation and find where
we like it, we can then lower our Vibrance.
| | 00:57 | In this case, I am going to lower
the Vibrance so there isn't quite so
| | 01:00 | much color in the face.
| | 01:01 | I am just going to bring that
down, increase my Saturation here.
| | 01:05 | Let's look at our before and after.
| | 01:07 | I'll click on the Preview button.
| | 01:08 | There is before, and there is after.
| | 01:11 | We are able to protect some of
the more saturated tones by having a
| | 01:15 | lower Vibrance amount.
| | 01:17 | So just keep in mind that there are
different combinations that you can use with
| | 01:21 | Vibrance and Saturation, and it will
really be contingent upon the colors in the
| | 01:25 | image, the type of photograph you're working on.
| | 01:28 | But most importantly what I want to
illustrate here is just the relationship
| | 01:32 | between these two controls,
| | 01:34 | how you can use them together to
come up with some pretty good results.
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| Color creativity| 00:00 | So far we've really looked at using
Vibrance and Saturation for more typical outcomes.
| | 00:05 | What if we want to do
something kind of creative with color?
| | 00:08 | One of the things we can do is use our
White Balance controls in combination
| | 00:12 | with Vibrance and Saturation to come up
with some really exaggerated or sometimes
| | 00:16 | interesting results.
| | 00:18 | For example, let's say that what I
want to do is cool this image off, so I'm
| | 00:21 | going to go ahead and color
temperature so that the image is now really blue.
| | 00:26 | Well, from there what I could do is
then modify the overall Vibrance and try to
| | 00:30 | bring up some of the weaker tones.
| | 00:32 | You can also change the
overall color saturation.
| | 00:35 | So again, I'm just looking to kind of
mix these together until I get this kind
| | 00:38 | of blue-yellow type of a look.
| | 00:40 | Well, if we press the P key, here's
our Before and then now our After.
| | 00:46 | Now, this is just one example of many.
| | 00:48 | The whole point here is that you can
really experiment with these controls, and
| | 00:53 | sometimes using these controls in a way
that they weren't intended to be used
| | 00:57 | can leave you just some interesting results.
| | 01:00 | And of course, don't neglect that Tint slider.
| | 01:02 | And here what we can do with the Tint
slider is we can change the overall Tint
| | 01:05 | of the photograph, and when we combine
this with some of these other settings,
| | 01:09 | again, sometimes it can lead us to just
changing the color in some distinct and
| | 01:13 | perhaps interesting ways.
| | 01:15 | Now, whenever you make adjustments like
this, what you'll want to do is try to
| | 01:19 | swing a slider one way or another,
and just try to find that sweet spot.
| | 01:23 | And sometimes I think of using the
controls this way is kind of like cooking,
| | 01:28 | adding a little bit more salt, a
little bit more sugar, a few more chocolate
| | 01:31 | chips, and again, it's constantly
mixing this up together in order to see
| | 01:36 | what you come up with.
| | 01:37 | And also, as a side-note, one of the
great ways to really learn how these
| | 01:41 | controls work, I mean, to actually
truly deconstruct them, and know how they
| | 01:45 | work is to play with them.
| | 01:46 | So if you haven't experimented with
these controls and created some surreal
| | 01:50 | images that you'll never print or
never use, you probably need to do so,
| | 01:55 | because simply by pushing these tools
to their limits, sometimes it can help
| | 01:59 | you really understand them, so
that when it comes to more functional
| | 02:02 | corrections you can then apply those,
or if needed you can also come up with
| | 02:06 | some creative results as well.
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|
|
9. Tone CurvesLearning about the parametric and point tone curves| 00:00 | Here I want to introduce
you to the Tone Curve panel.
| | 00:03 | Now we can navigate to this panel
either by clicking on the icon up here, or we
| | 00:08 | can press our shortcut.
| | 00:09 | On a Mac, it's Command+Option+2.
| | 00:12 | On Windows, that's Ctrl+Alt+2.
| | 00:14 | That will then take us to the Tone Curve panel.
| | 00:18 | Now for starters, you'll notice that we
have two options, either Parametric or Point.
| | 00:22 | Let's start off with Parametric, and
let's make some changes to this demo file
| | 00:27 | in order to deconstruct how this actually works.
| | 00:29 | Now you'll notice that we
have these different sliders:
| | 00:31 | Highlights, Lights, Darks, and Shadows.
| | 00:34 | What we can do is click and drag
this to either brighten or darken one
| | 00:38 | particular area of our photograph.
| | 00:40 | You can see that as I make that
adjustment it primarily affects this area, but
| | 00:45 | of course, there is a little bit of a reach.
| | 00:47 | The interesting thing is that this
curve kind of snaps back to the line, and
| | 00:51 | then it protects or saves the rest of the image.
| | 00:54 | Now, if I want to work on another area
of the image, say the Shadows, I could go
| | 00:57 | ahead and make an adjustment there, and
here you can see how I can control that
| | 01:01 | particular area of the image, or
in this case, of the grayscale.
| | 01:05 | What about those Darks?
| | 01:06 | So again, that's going to be that
intermediary area, of course, it's connected
| | 01:11 | to those other points, but in this
sense the Parametric Tone Curve provides a
| | 01:15 | little bit of a safety net.
| | 01:17 | We can't really go wild here and make
any changes that will affect the image in
| | 01:20 | really drastic or negative ways. Okay.
| | 01:23 | Well, let's reset all of this.
| | 01:25 | We can do so by holding down the
Option key on Mac, Alt key on Windows.
| | 01:29 | That will change Cancel to Reset.
| | 01:31 | Let's reset this back to normal. Okay.
| | 01:32 | Well, let's focus in on
one area, say the Shadows.
| | 01:36 | Now, when I make an adjustment to
the Shadows area either to brighten or
| | 01:39 | darken it, we can see that that adjustment kind
of spikes right about here and then tapers off.
| | 01:44 | I can control that spike area, or the
area where it reaches most intensity, and I
| | 01:50 | can do so by clicking and dragging this icon.
| | 01:53 | You can see that as I do that I'm
pushing that to the left, or for that matter
| | 01:57 | all the way over here to the right.
| | 01:59 | Essentially, I have the ability to
dial in, or control the reach, of this
| | 02:04 | particular adjustment.
| | 02:05 | And I can do the same thing
with the other adjustments as well.
| | 02:08 | For example, go ahead and double-click
this little triangle icons to take them
| | 02:12 | back to normal, and we'll
make a Highlight adjustment.
| | 02:14 | Well, same thing with the Highlights,
I could extend that out this way, or I
| | 02:18 | could push it back over here.
| | 02:20 | I can also do the same with my other
adjustments, and here we can see how we can
| | 02:23 | work with our Lights and our Darks,
and how it creates for us this nice, fluid
| | 02:27 | line, which in turn has the potential
to help us make some tone and exposure
| | 02:32 | improvements to our photographs.
| | 02:34 | All right, once again, let's reset this,
hold down Option or Alt and then click
| | 02:38 | on the Cancel button, which now becomes Reset.
| | 02:41 | Let's go to our Point Curve.
| | 02:44 | Now currently we can see a Curve dialog,
which looks very similar to the Curve
| | 02:48 | dialog in Photoshop.
| | 02:49 | To add a point here, there are a
couple of different things that we can do.
| | 02:52 | We can either click right on this
line and drag up, you can see I'm now
| | 02:56 | brightening the image, just like I
would do inside of Photoshop, or I can
| | 03:00 | hover over the image.
| | 03:02 | Hold down the Command key on Mac,
Ctrl key on Windows and then click.
| | 03:06 | And when I do that it will then set a point.
| | 03:08 | We can see that point down here.
| | 03:11 | Now, if I want to select one of these
points, I can either click on it, as I have
| | 03:15 | done so here and make a change, or
click on this one and make a change here.
| | 03:19 | But there's also a faster way to
navigate between the different points that we
| | 03:23 | have here, whether it's our endpoints,
or whether it's points that we've
| | 03:27 | actually added to this particular curve.
| | 03:29 | What you can do is press Ctrl+Tab, and that's a
same shortcut in both platforms: Windows and Mac.
| | 03:35 | So when I press Ctrl+Tab, you'll see
that different points are highlighted.
| | 03:39 | Now, once I've highlighted one of those or
targeted a point, I can use my Arrow keys.
| | 03:44 | And here I can click Up or click Down in
order to increase or decrease the value
| | 03:48 | of that particular area of my photograph.
| | 03:51 | Once again, Ctrl+Tab, then I'll go
ahead and click and drag up to affect
| | 03:55 | that particular area.
| | 03:57 | It's also worth pointing out that like
in curves in Photoshop we can also click
| | 04:01 | on our endpoints and drag this down.
| | 04:03 | I'm going to make an adjustment which
is a little bit extreme, but I'm going to
| | 04:06 | do so to illustrate a point.
| | 04:08 | Take a look at the histogram here.
| | 04:10 | Here you can see that what I've done is
I've reduced the area where I have these
| | 04:14 | deep blacks over here.
| | 04:16 | In a sense I've brought up my blacks,
also my whites, and sometimes these type
| | 04:20 | of adjustments are helpful.
| | 04:22 | If you have a little bit of an over
exposure, you can just bring that down to
| | 04:25 | bring your histograms back into a
bit of a better range. All right.
| | 04:29 | You can also remove points by
clicking on one and then dragging off to the
| | 04:33 | side, and that will then
successfully remove a point, again, clicking and
| | 04:37 | dragging off to the side.
| | 04:38 | And now we're almost back to normal.
| | 04:40 | Let's just go ahead and
bring this one back to the top.
| | 04:42 | And now that we know a little bit
about the Tone Curve panel, let's see if we
| | 04:47 | can apply some of this knowledge while
working on a few images, and we'll do
| | 04:51 | that in the subsequent movies.
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| Using the parametric curve | 00:00 | Now that we've been introduced to the
Tone Curve panel, let's take a look at
| | 00:03 | how we can use these different types of
adjustments in order to improve our photographs,
| | 00:08 | like this photograph here of my
daughter in Annika peering into our bedroom.
| | 00:12 | What I want to do is I
want to improve the exposure.
| | 00:15 | The problem with this image
obviously is that it's really bright in the
| | 00:18 | background, but the subject is a bit too dark.
| | 00:22 | So, I want to go ahead and
work on a couple of areas.
| | 00:24 | I want to primarily begin to work on
these darker tones, so I'll go ahead and
| | 00:28 | click and drag these up.
| | 00:29 | In order to increase the values here,
I'll work on my Lights just a little
| | 00:33 | bit, also the Shadows.
| | 00:34 | And then for the Highlights I want to
bring those down, so I'm going to go ahead
| | 00:38 | and bring these way down.
| | 00:39 | I'm just looking and try to find a
sweet spot with these different tones.
| | 00:43 | A lot of times what you'll do
is you'll mix these together.
| | 00:45 | You'll make one adjustment and then
another, and then go back and forth.
| | 00:49 | Well, now here at this juncture
the image is looking much better.
| | 00:53 | Let's click on the Preview icon,
here's our Before, and now here's our After.
| | 00:58 | Yet, one of the issues that I'm
noticing with this image is that it still
| | 01:02 | feels a little bit flat.
| | 01:03 | Now keep in mind that while working in
the Tone Curve, you can always go back to
| | 01:08 | the Basic panel, and back in the Basic
panel we could say, add a little bit of
| | 01:11 | Contrast and Clarity, and perhaps even
a little bit more Fill Light, just to
| | 01:14 | fill in some of those shadow areas.
| | 01:16 | And let's take a look at what
these Basic adjustments did for us.
| | 01:20 | Here we have our Before and then After.
| | 01:22 | Again, just adding a little bit of snap
back to that image, I want to add even a
| | 01:26 | little bit more contrast here.
| | 01:27 | I think that will look really nice.
| | 01:29 | Again, here's our Before and
then After in the Basic panel.
| | 01:33 | Let's go to the Tone Curve panel and
then click on our Before and then After.
| | 01:38 | And all right, we can see here that the
combination of these two panels together
| | 01:42 | has given us some good results.
| | 01:44 | In order to view the overall Before and
After, what we're going to do is we're
| | 01:48 | going to click all the way
over here into our Presets.
| | 01:51 | Now once in Presets,
| | 01:53 | we can simply click on our Preview button,
and this will give us the overall Before.
| | 01:57 | Click again.
| | 01:59 | This is the after, with all the
adjustments we've made inside of the Tone Curve
| | 02:03 | panel, and also inside of the Basic panel.
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| Using the point curve | 00:00 | Let's take a look at how we can
take advantage of the Point Tone Curve.
| | 00:04 | Now, one of the things that I noticed
here in this image is that it'd be kind of
| | 00:08 | nice to add a bit of contrast, brighten
up the face a touch, and I also noticed
| | 00:12 | that there's a color shift, because I
know that this sweatshirt here is gray.
| | 00:16 | I'm seeing a lot of blue in this.
| | 00:18 | Well, we've already talked about how
we can hover the image, and we can hold
| | 00:23 | down the Command key, and with the
Command held down on the Mac, Ctrl key held
| | 00:27 | down on a PC, we can then click
to add a point here on our curve.
| | 00:31 | Well, there's another shortcut that
we can take advantage of, and that's
| | 00:35 | by pressing the Shift key, what we
can do is temporarily toggle to the
| | 00:39 | White Balance tool.
| | 00:41 | Here we can go ahead and click on
something that we know should be neutral.
| | 00:44 | In this case, I'm just clicking on
this area of the sweatshirt right here,
| | 00:48 | and that now color corrected the image in
regards to its color temperature in the Basic panel.
| | 00:54 | So that was a really nice
and important improvement.
| | 00:56 | Well, now here how much do I
need to brighten up the face?
| | 00:59 | Well, not that much.
| | 01:01 | So I'll simply go ahead and click and drag
this point up in order to brighten up that area.
| | 01:05 | If I want to add some contrast here
or darken up this area, I'll click and
| | 01:09 | create a lower point just like I could do
in curves creating a little subtle "S" curve.
| | 01:14 | In this case, I boosted the
contrast in that way. All right.
| | 01:17 | Well, the image is already looking much better.
| | 01:20 | The only thing I might want to do
is try to bring back a little bit of
| | 01:23 | detail here in the whites.
| | 01:24 | So, I'm going to create a
couple of points up top.
| | 01:26 | I want to kind of lock that in.
| | 01:28 | At the very top point I'll just bring
that down to bring back a little bit
| | 01:31 | of tonality up here, so that there's not
complete loss of detail in this area of the image.
| | 01:37 | All right.
| | 01:37 | Well, to see our Before and After,
we have to go over to our Presets tab.
| | 01:42 | Next, press the P key. Here we have it,
Before and then After, some simple, yet
| | 01:48 | nonetheless important improvements to
this photograph simply by using that
| | 01:53 | Point Tone Curve.
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|
|
10. Retouching BlemishesRemoving blemishes on a face| 00:00 | It used to be that we did all of our
image cleanup and retouching in Photoshop.
| | 00:05 | Well now that's completely changed
because of a new tool, which is located
| | 00:08 | inside of Adobe Camera Raw.
| | 00:10 | One of the advantages of working on
your images in regards to cleaning them up
| | 00:14 | or doing some retouching work is that
it doesn't increase your file size, and
| | 00:18 | there is no render time, and
it's completely nondestructive.
| | 00:22 | In other words, you can undo this at any time.
| | 00:24 | Well, let's say that we want
to clean up this portrait here.
| | 00:27 | Well, let's first zoom in to 100%.
| | 00:29 | We are going to do that by way of a shortcut.
| | 00:32 | The shortcut on a Mac is
Command+Option+0. On a Windows
| | 00:38 | operating system it's Ctrl+Alt+0.
| | 00:41 | Next, press the Spacebar key and click and
drag to reposition your photograph. All right.
| | 00:47 | Well, here we can see that this image
was captured with a really shallow depth
| | 00:50 | of field, and I'd like to shoot that way.
| | 00:52 | I like the look that it gives.
| | 00:54 | Our near eye is in focus, which is really good.
| | 00:57 | That's what you always want.
| | 00:58 | Yet we have some small little skin
variations that we can see, because this is
| | 01:02 | such a close-up shot.
| | 01:04 | So we want to reduce or remove those, so
we can really focus in on the eyes, and
| | 01:07 | we are not distracted by anything else.
| | 01:10 | What we are going to do is
use the Spot Removal tool.
| | 01:12 | You can select that tool by pressing the B
key or by clicking on it here in the toolbar.
| | 01:17 | Next thing you want to do is find a
blemish that you want to retouch, say this
| | 01:20 | little one right here.
| | 01:21 | What we will do is we will click in the
middle of this, and then click and drag
| | 01:26 | out in order to extend that
beyond the edge of the blemish.
| | 01:30 | Next, we'll have this checkered circle,
the green and white one, that is the
| | 01:34 | sample area, so we want to position
that over some good skin there, and here we
| | 01:38 | have a nice correction.
| | 01:40 | It's also possible to see with
all of these little circle overlays.
| | 01:43 | Well, to toggle the visibility of those
on and off, you simply press the V key.
| | 01:49 | So those circles are now gone.
| | 01:51 | Next, press the P key.
| | 01:53 | That's our before and then our after.
| | 01:55 | Press V one more time, and then
it will show those overlay circles.
| | 02:00 | Well, all that we need to do now is to
make our way through and to work on a
| | 02:03 | couple of other little areas.
| | 02:04 | And so I am just going to go
ahead and sample this area.
| | 02:08 | Next, to change the size of the sample area, I
am going to hover over the edge of the circle.
| | 02:12 | And you can see that I can do that here.
| | 02:14 | I am just going to go ahead and click
this time, and simply clicking on these
| | 02:18 | blemishes in order to
find a nice area to retouch.
| | 02:21 | So sometimes you are going to click
and drag, other times you may just simply
| | 02:25 | click in order to sample a
little area and to retouch that up.
| | 02:29 | Now one of the things that's kind of
nice to do occasionally is to zoom in
| | 02:32 | really close to your photograph, because that
can help you find all those little blemishes.
| | 02:37 | So I'll do so now.
| | 02:38 | I am going to press the right
bracket key to increase the size of that
| | 02:41 | correction area, left
bracket key to decrease that size.
| | 02:45 | I'll go ahead and click
on this. That's too small.
| | 02:48 | Again, right bracket key increases
it, left bracket key decreases it.
| | 02:52 | The nice thing about that, of course,
is it's the same shortcut that we have
| | 02:55 | inside of Photoshop for changing our brush size.
| | 02:58 | All right so, so far so good.
| | 03:01 | We are making some nice
little improvements here.
| | 03:03 | If you ever want to just simple click
and drag to make your brush the exact
| | 03:07 | size that you need,
| | 03:08 | press the Spacebar key and pan around
your image, and we are just looking to try
| | 03:13 | and reduce a lot of these little tiny
skin variations that we are noticing here.
| | 03:17 | All right, just kind of move that one
over a bit and make our way through this.
| | 03:23 | That needs to be a little bit bigger.
| | 03:26 | Also should point out that you can always
overlap your retouching that you're doing here.
| | 03:30 | If you ever find that you need to kind
of double up something that you've done,
| | 03:34 | you can always do that. All right.
| | 03:35 | Well, I think that's looking pretty good.
| | 03:36 | I am going to zoom out a little bit.
| | 03:37 | Now that we have all these little
circles, it's kind of hard to see if our
| | 03:41 | work is any good at all.
| | 03:42 | We press the V key to hide all those,
and then we press the P key that toggles
| | 03:48 | our Preview on and off.
| | 03:49 | Here is before, and then here is after.
| | 03:52 | Let me zoom in a little bit more so you
can see some of the areas we've worked on.
| | 03:55 | How about right up here?
| | 03:57 | Here we have before and then after. All right.
| | 04:00 | You know that's looking great.
| | 04:01 | I'll zoom out a little bit just to make
sure we are in a good spot, and I think we are.
| | 04:05 | And the beauty of this is that here we
successfully cleaned up this image, and
| | 04:09 | it didn't take a lot of work.
| | 04:11 | And again, it didn't increase our file size,
and it was a really seamless and easy process.
| | 04:16 | And then finally to apply or to save
all that we've done here, we don't really
| | 04:21 | need to do anything.
| | 04:22 | We simply can move on to another tool,
and then from there we can continue
| | 04:25 | to work on the image.
| | 04:27 | Or if we've completed with the file,
all that we need to do is to simply click
| | 04:31 | Done, and all of those settings and
improvements will be saved with this file.
| | Collapse this transcript |
| Cloning away small background distractions| 00:00 | Here we are going to continue to take a
look at how we can use the Spot Removal tool.
| | 00:04 | In particular, we are going to take a
look at how we can clean up the background.
| | 00:07 | So let's go ahead and press the B key
in order to select the Spot Removal tool.
| | 00:11 | And then as you remember, what we do
here is we simply hover over an area that
| | 00:16 | we want to work on.
| | 00:17 | We click and drag to extend out from the
middle. That will then create an auto sample point.
| | 00:22 | In this case, I need to reposition this,
kind of line that up to remove that little spot.
| | 00:27 | All right. We are going to go ahead and do the
same thing over here, click and drag to
| | 00:30 | remove this little spot, and just
slowly make my way through removing some of
| | 00:33 | these smaller spots.
| | 00:35 | Now once I've gotten through some of
the smaller spots, I want to go big.
| | 00:38 | And I want to deal with this issue right here.
| | 00:41 | At first almost always you have to
start small, because you want make sure you
| | 00:45 | have some good clean sample areas to work on.
| | 00:48 | So again, just clicking and
dragging and then repositioning the area
| | 00:52 | that's selecting from.
| | 00:53 | Press the V key to hide all
those circles. That looks good.
| | 00:56 | Press to V key again to bring them back,
and only a couple of more areas that I
| | 00:59 | want to work on here.
| | 01:01 | And I am almost ready to work on
the bigger issue. I will go up here.
| | 01:05 | This is a bigger problem.
| | 01:07 | How I'll do this is click
and drag from the middle.
| | 01:09 | You're noticing that I am
hovering over that line.
| | 01:12 | Then I am going to reposition that, so
that that line starts to straighten up.
| | 01:16 | What I need to do is to raise this up
and keep raising it up until I see that
| | 01:21 | right there on that line there.
| | 01:23 | And I'm just going to go back and forth
until I find just the right spot for that.
| | 01:27 | I can also move this one as well, as needed.
| | 01:30 | That will sometimes help bring it right
into the correct spot there. All right.
| | 01:34 | That looks good. Press
the V key to hide all that.
| | 01:36 | So far so good. Press the P key. Here is
our before, now here is our after. All right.
| | 01:43 | Well, that's easy, but what about some of
these bigger issues, like this guy right here.
| | 01:48 | Well, I could try to click and drag out from
the middle point and select the whole thing.
| | 01:53 | If I did that, what would happen is I
would need to have a really good sample area.
| | 01:56 | For example, the default of
sampling him doesn't work, let's say this
| | 02:00 | concrete wall over here.
| | 02:02 | When I try that, I'm now introducing a
new line, because it's sampling that line
| | 02:07 | and bringing it over.
| | 02:08 | Well, maybe if I try cloning,
that will work. Well, it doesn't.
| | 02:11 | It just kind of fades it out.
| | 02:12 | I'll need to make this area even bigger.
| | 02:14 | Well, how then can I tackle this?
| | 02:16 | But what I can do is with
this retouching area selected,
| | 02:19 | I'll hit the Delete key in order to
delete that particular adjustment.
| | 02:23 | Next I am going to go ahead and click
and drag over this, and I am going to work
| | 02:27 | on one part of this right here.
| | 02:29 | I am going to go ahead and choose Heal.
| | 02:31 | That will bring this out a little bit more.
| | 02:33 | And I'll sample over here, again
just paying attention to this line.
| | 02:37 | I am going to get those to line up,
so I have that continuity right there.
| | 02:41 | And I can, of course, increase my
size of that area, if I need to.
| | 02:44 | Hover over the edge and make that even
bigger, just to remove a bit more of that.
| | 02:49 | Next, I'm going to work on
the bottom hallf, down here.
| | 02:51 | Again, click and drag
out from that center point.
| | 02:54 | And I want to sample a nice, big, huge
area there, and then bring this sample
| | 02:59 | area over this area.
| | 03:01 | Because I retouched that one blemish out,
this is going to look a little bit more clean.
| | 03:05 | It's already looking much better. All right.
| | 03:07 | Well, let's take a look at how we are doing.
| | 03:09 | You can go ahead and press
the V key to hide all of those.
| | 03:12 | And for the most part, we did a pretty good job.
| | 03:15 | There is a little bit of a problem area,
little bit of a darkening effect there.
| | 03:18 | But we could then correct that with
another tool like the Adjustment Brush.
| | 03:22 | For the most part, I think we got this out.
| | 03:24 | Let's take a look at this,
press the P key, here is our before.
| | 03:28 | And then press the P again.
| | 03:29 | There is our after.
| | 03:31 | So as you can see, you can really use
this Spot Removal tool to clean up your
| | 03:35 | images in some unique ways.
| | Collapse this transcript |
| Removing distracting background elements| 00:00 | Because working with the Spot
Removal tool can be a little bit tricky, I
| | 00:04 | thought it'll be helpful to show at
least one more example with cleaning up
| | 00:07 | something in the background.
| | 00:09 | I'll go ahead and zoom in on
my background a little bit.
| | 00:11 | And as I zoom in on this, we can see that
there are two people in the background.
| | 00:14 | I want to remove those people, so
that it makes it look like the beach
| | 00:19 | is absolutely empty.
| | 00:20 | So we can really focus in on this family.
| | 00:22 | Well, let's press the B key to
select the Spot Removal tool.
| | 00:26 | Now what we are going to do
is simply click and drag out.
| | 00:29 | We are going to use the same approach
we did last time, and that is going to be
| | 00:31 | tackling this from two different sides.
| | 00:34 | So first I'll go ahead and try to line
up my horizon there, or actually the edge
| | 00:38 | of the ocean, remove that area.
| | 00:40 | And of course, I can increase the size of this
| | 00:42 | once I have that nice and lined up.
We can see I'm removing more and more
| | 00:46 | of those people there.
| | 00:47 | Next, I'll go ahead and click and drag
down in the lower portion of this image,
| | 00:51 | and then I'll just make
sure to line up the beach here.
| | 00:54 | That's going to be tricky to get this
perfect, and you're going to want to
| | 00:56 | sample back and forth, in
order just make this just right.
| | 01:00 | Of course, you want to press the V key.
| | 01:02 | That will then hide all of those circles.
| | 01:04 | Press the V key again. That will bring them back.
| | 01:06 | Now in this case one of the things I'm
realizing, I need to do a little bit more over here.
| | 01:10 | I am just going to increase the size
of that, just a touch there. All right.
| | 01:14 | Well, I'll press the V key to hide all
of those, and I will zoom out so we can
| | 01:17 | see how we are doing.
| | 01:18 | Now let's press the P key. here is our
before and then our after, pretty clean
| | 01:23 | and simple retouching.
| | 01:25 | Now of course we could go on a
little bit further and work on some of the
| | 01:28 | other small details.
| | 01:29 | For the most part, I think that works
well, it removed a lot of those distractions
| | 01:33 | that were there in the background. All right.
| | 01:35 | Well, the last thing that I want to do
here, as long as we are working on this
| | 01:38 | image, is I am going to go
ahead and grab the Straighten tool.
| | 01:41 | I am going to click and drag across the horizon.
| | 01:43 | And then I'll press Enter and Return,
and then straighten that out because that
| | 01:46 | horizon wasn't straight. All right.
| | 01:48 | Well, now that we have
straightened this image out and cleaned up the
| | 01:51 | background, it is complete.
| | 01:53 | Nice work!
| | Collapse this transcript |
| Cleaning up a studio background| 00:00 | When capturing images in a studio,
many times there will be elements that
| | 00:03 | we'll need to retouch or remove out of the
background, like we can see here in this image.
| | 00:08 | One of the things I want to do is
just clean up some of these background
| | 00:10 | elements, this chair and
also this light stand here.
| | 00:14 | We can do that by using the Spot Removal tool.
| | 00:16 | And before we go there, let's go ahead
and simply press the I key, and then let's
| | 00:20 | click in the background in order to
neutralize that colorcast. All right.
| | 00:24 | That looks better.
| | 00:25 | Well, now that we've corrected the color,
let's then begin our Spot Removal work.
| | 00:29 | Now a lot of times you want to do that,
just so the image is in a good place, and then
| | 00:34 | you can go on to get into some of these details.
| | 00:36 | We will press the B key to
select the Spot Removal tool.
| | 00:39 | Currently the option I have here is
Clone, so I am going to go ahead and hover
| | 00:43 | over this chair and click and drag out to
make a shape around the size of this chair.
| | 00:48 | Next, I'll drag this sample
point out to a nice, clean area.
| | 00:51 | And in Photoshop typically we think of
using cloning when covering something up.
| | 00:56 | But here we can see that it
kind fades out over the edges.
| | 01:00 | Simply change that to Heal,
and it's going to look great.
| | 01:03 | Next step is going to be to simply
click and drag over this little area.
| | 01:06 | And then to work on the top corner, we
will click and drag over the entirety of
| | 01:10 | that area, and make sure we get all the
way up to the top there, and then sample
| | 01:14 | a nice clean area here, if we can find one.
| | 01:16 | I am going to go ahead and just try
to find an area. Right about there
| | 01:20 | I think will work. Okay, press the V key
to hide those circles, or those overlays.
| | 01:25 | Next, press the P key. Here we
have it: our before and then after.
| | Collapse this transcript |
| Removing dust on the lens or the camera sensor| 00:00 | One of the things that happens
occasionally in photography is that you get
| | 00:04 | your images back and you go through
them, like I'll scroll through these
| | 00:07 | images, and you'll notice that there's
a problem that's in the same exact spot
| | 00:11 | in all of your images.
| | 00:13 | While the subject is moving,
showing us we have different frames,
| | 00:16 | this little blemish isn't.
| | 00:18 | Now that's a result of either
having dust on our lens or on our sensor.
| | 00:21 | Well, what we can do to fix that is use
a Spot Removal tool here in Adobe Camera
| | 00:27 | Raw to really speed up our
retouching workflow in situations like this.
| | 00:31 | Let's press the B key to select the tool.
| | 00:34 | Next, we'll click in the middle area,
and then click and drag out and make a
| | 00:37 | selection just a little
bit bigger than this blemish.
| | 00:39 | We really want to focus in on the
shadow area, and then we'll click and drag
| | 00:43 | and move the sample area around till we have
something which looks like it has nice tone.
| | 00:48 | Press the V key to hide those
overlay circles. All right.
| | 00:51 | That looks pretty good. Press
the V key again to bring it back.
| | 00:54 | Next, all that we need to do is click
Select All, and then here we can choose
| | 00:59 | Synchronize... Dots tell
us the dialog is going to open.
| | 01:03 | What we're going to do here is turn off
these check boxes, and I'll go ahead and
| | 01:07 | just turn on the option for Spot Removal.
| | 01:09 | I don't want to synchronize anything else.
| | 01:11 | We can also select that
from this pulldown menu here.
| | 01:14 | We can choose Spot Removal
that way as well. All right.
| | 01:17 | Well, let's click OK in order to apply
that, and let's click through those images.
| | 01:21 | They look really good. All right.
| | 01:22 | Well, in reviewing the images, one of
the things I'm noticing is that there is a
| | 01:26 | little skin blemish right here.
| | 01:28 | So I'm going to go ahead and click and
drag from the middle of the blemish and
| | 01:32 | select a nice sample area to retouch that.
| | 01:34 | Then I'm going to choose Select All.
| | 01:37 | This time because I want to select the
Spot Removal, I'll hold down the Option
| | 01:42 | key on a Mac, Alt key on Windows.
That will change this to Synchronize without
| | 01:46 | those dots. Click on that, and it will
then synchronize the retouching here.
| | 01:50 | Yet when I go through these images,
one of the things that I'm going to
| | 01:53 | discover is that because the subject moved,
this isn't in the exact right spot, no big deal.
| | 01:59 | All that we need to do is to now move
this little retouching point, and we can
| | 02:02 | do that on an image-by-image basis.
| | 02:05 | And one of the reasons why I wanted
to show this is that occasionally you
| | 02:09 | have situations like this where this can
really speed up your workflow. Rather
| | 02:14 | than having to add that sample
point on every image, you can simply
| | 02:18 | synchronize and then adjust the sample
point in order to really speed up this
| | 02:23 | type of retouching.
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| Removing red-eye| 00:00 | The last little bit of retouching that
we're going to focus in on here is how we
| | 00:03 | can reduce or remove red eye.
| | 00:05 | Here we can see that in this portrait of
my sister and my daughter, that we have
| | 00:09 | the dreaded red eye, which happens a lot
when the flash is too close to the lens
| | 00:13 | or when we have a small point-and-shoot camera.
| | 00:16 | How then can we fix this?
| | 00:17 | Well it's actually incredibly simple.
| | 00:19 | All that we need to do is to click on
this icon here in order to select the
| | 00:23 | Red Eye Removal tool. Then what you do is
you click and drag around the perimeter
| | 00:28 | of the eye, and you want
to extend that pretty far.
| | 00:30 | It will than zero in on the problem
area and make a correction. All right.
| | 00:35 | Let's go ahead and do this.
| | 00:36 | We'll go ahead and click
and drag around these areas.
| | 00:39 | If ever it isn't good enough, you can
always dial in your settings using these
| | 00:43 | controls here, or if it didn't quite
sample a large enough area, what you can do
| | 00:48 | is press the V key to hide the overlay.
| | 00:50 | And if you see that it didn't quite get
all the red out, press the V key again
| | 00:54 | to bring that back and then
click and drag over a larger area.
| | 00:58 | What that can do is it can
sometimes pick up some other problem areas.
| | 01:02 | And then here of course what we can do
is then darken a little bit more, or we
| | 01:05 | can click on another one of these
sample areas and darken that up, or change
| | 01:09 | the overall pupil size in order to make sure we
have as much of that red eye removed as needed.
| | 01:14 | I'll go ahead and darken those up,
press the V key to hide all of those
| | 01:18 | overlays, then press the P key. Here
we have our Before and now our After.
| | Collapse this transcript |
|
|
11. The Adjustment BrushDemystifying the Adjustment Brush| 00:00 | There is a tool inside of Adobe
Camera Raw which allows us to hand paint in
| | 00:05 | adjustments into
specific areas of our photograph.
| | 00:08 | And this tool is called the Adjustment Brush.
| | 00:11 | And what we're going to do here is
take a look at how this tool works.
| | 00:14 | We're going to also pick up a few tips
and tricks and shortcuts that will help
| | 00:18 | us use this tool more effectively. All right.
| | 00:21 | Well for starters, we can select the
tool by clicking on it in the Toolbar up
| | 00:25 | top, and here you can see I simply
have a demo file called adj_brush.jpg.
| | 00:30 | When I hover over this demo
file we can see that there are two
| | 00:33 | concentric circles.
| | 00:35 | We'll talk about those in the minute,
but first, let's take a look at the
| | 00:38 | Adjustment Brush options over here.
| | 00:41 | We can dial in any different type
of adjustment or combination of these
| | 00:45 | different controls here.
| | 00:46 | Let's say we want to increase the Exposure.
| | 00:48 | I'll go ahead and click
and drag this to the right.
| | 00:50 | Well next, what I'm going to do is go
ahead and leave the rest of these as is,
| | 00:55 | make my way down to these controls:
Size, Feather, Flow and Density.
| | 01:00 | What are these all about?
| | 01:01 | Well, Size is kind of interesting.
As we increase this and then hover over the
| | 01:05 | background graphic, you can see my brush is
bigger, or as I decrease it, it's now much smaller.
| | 01:11 | All right. Well, what about the next option, Feather?
| | 01:14 | Let me show you how Feather works.
| | 01:15 | I'm going to go ahead and click and paint here,
and I'm simply clicking and dragging down.
| | 01:19 | Here you can see the adjustment
starting in that center circle, and then extend
| | 01:24 | it out and beyond the black-and-white
checkered circle. Well, why is that?
| | 01:28 | Well, that's because I've a
really high Feather amount.
| | 01:32 | Now if I decrease the Feather amount,
or remove it altogether, and go ahead and
| | 01:36 | do the same brushstroke, here
you're going to see that this is much more
| | 01:39 | rigid, much harder edge.
| | 01:41 | You can think of this a lot like
having a hard edge or a soft edge brush
| | 01:45 | inside of Photoshop.
| | 01:46 | Okay, well, what about Flow?
| | 01:48 | How does that work?
| | 01:49 | Well, Flow is really interesting. If we
go ahead and lower our Flow amount, what
| | 01:53 | we can do is, with one brushstroke, we're
going to just paint in this affect a little bit.
| | 01:57 | Paint back and forth, and we
can slowly build up this effect.
| | 02:00 | Let's increase our Feather so we can
see this even more, and I'll decrease the
| | 02:04 | Flow amount, so it becomes even
more dramatic here. All right.
| | 02:07 | I'll make my Brush Size
a little smaller as well.
| | 02:09 | Well, now here is one brushstroke, and
then two, and then three, four, five,
| | 02:14 | six, seven, and you can see that I'm
slowly building this effect up, as I paint
| | 02:18 | back and forth more and more times.
| | 02:20 | So some people like to call Flow
Flowpacity, because it kind of has to do with
| | 02:25 | Opacity and Flow in Photoshop.
| | 02:27 | It's almost a combination of those two
features, if you're familiar with them.
| | 02:31 | In other words, what this does is it
just simply allows us to scale back the
| | 02:35 | intensity of our brushstroke.
| | 02:37 | Now what about Density?
| | 02:38 | Well, Density controls your overall intensity.
| | 02:41 | In order to showcase that, I'm going to
click on this little pin right here and
| | 02:45 | press the Delete key.
| | 02:46 | That will hide all of
those different brushstrokes.
| | 02:49 | Well, next what I want to do is I
want to go ahead and increase my Exposure
| | 02:52 | significantly here, and now just take
up my Flow a little bit, make my Brush
| | 02:57 | Touch smaller, and dial this in.
| | 02:59 | Okay, well right now, I'm going to
go ahead and paint back and forth.
| | 03:03 | As I paint back and forth, we can
see that this is brightening this image
| | 03:06 | to this state here.
| | 03:07 | Well, if I decrease my Density and then
paint back and forth, it doesn't matter
| | 03:13 | how many times I paint back and forth.
| | 03:15 | It will never become that bright.
| | 03:17 | In other words, Density, you can
think of this as controlling the
| | 03:20 | overall intensity of all of these
different controls, as well as our
| | 03:25 | Brush Size settings. All right.
| | 03:27 | Well, now that we're a little bit
familiar with how this Adjustment Brush works,
| | 03:31 | let's go ahead and take a look at a
few shortcuts that can help us out, and
| | 03:34 | we'll do that in the next movie.
| | Collapse this transcript |
| Correcting exposure by brightening shadows| 00:00 | With the Adjustment Brush selected, we
can hover over an image like this demo
| | 00:04 | file, and here we'll see that we
have these two concentric circles.
| | 00:08 | The inner circle is the actual Brush Size.
| | 00:10 | The outer checkered circle is the Feather Size.
| | 00:13 | Now we can change our Brush Size by
simply tapping the Bracket key, tap
| | 00:17 | the Right Bracket key.
| | 00:18 | This will then increase your Brush Size.
| | 00:21 | You can also change the
feather amount by way of shortcut.
| | 00:23 | That is Shift+Right bracket in
order to increase the Feather amount or
| | 00:27 | Shift+Left bracket in order to
decrease that as well. All right.
| | 00:31 | Well, what about some of these other
options that we can see down here: Auto
| | 00:35 | Mask, Show Mask and Show Pins?
| | 00:37 | In order to talk a little bit about
those, I want to pull up another slide just
| | 00:41 | to highlight a few shortcuts.
| | 00:43 | Well, one of the things that we
want to do is begin to focus in on this
| | 00:47 | Adjustment Brush and how
we can access this tool.
| | 00:50 | You can access it by pressing the K key.
| | 00:53 | Once you press the K key, this tool will
be active. You can then make an adjustment.
| | 00:57 | Now if you want to create a new adjustment,
all that you need to do is to press the N key.
| | 01:02 | This will then essentially kind of
close your last adjustment and give you the
| | 01:06 | ability to dial in a new adjustment.
| | 01:09 | Moving over here to the Adjustment
panel, there are a couple of shortcuts that
| | 01:12 | are worth noting as well.
| | 01:14 | One of them is Auto Mask.
| | 01:16 | Now while we haven't actually done
anything with Auto Mask just yet, it's worth
| | 01:20 | noting that the M key allows us
to toggle Auto Mask on and off.
| | 01:25 | And essentially what this does is
it helps us create an adjustment in a
| | 01:29 | particular area of our photograph.
| | 01:31 | Now when we're with working masking
and working with this tool, we have the
| | 01:35 | ability show a Mask, which in a sense
shows us the area that we've worked on.
| | 01:39 | There is a shortcut for that as well.
The Show Mask shortcut is the Y key.
| | 01:44 | Again, press the Y key, and that
will toggle that mask on and off.
| | 01:48 | All right, one more shortcut for you.
| | 01:50 | We've actually already seen
this one. It's the V key.
| | 01:53 | And you notice that when you use this tool
you actually set a pin down on your image.
| | 01:57 | When you set that pin down it's
showing you that you have an adjustment.
| | 02:01 | You can then click on that pin to
activate that particular adjustment.
| | 02:04 | Well, sometimes those pins become
distracting, because essentially it's an
| | 02:08 | overlay element on top of your image.
| | 02:11 | If you ever want to hide those you
can simply click that V key. All right.
| | 02:15 | Well, I recommend you jot these
shortcuts down, because they will definitely
| | 02:19 | help us out as we start to work with this tool.
| | Collapse this transcript |
| Painting an effect into a photograph| 00:00 | Here, we are going to take a look at
how we can use the Adjustment Brush to
| | 00:03 | begin to paint in an effect into a
particular area of our photograph.
| | 00:08 | Let's go ahead and press the K key in
order to select the Adjustment Brush.
| | 00:12 | Next, what we want to do is dial in the
effect that we are interested in creating.
| | 00:15 | In this case, I simply
want to increase my Exposure.
| | 00:18 | I also want to decrease the Clarity and also
reduce the Color Saturation just a bit there.
| | 00:24 | All right.
| | 00:25 | Well what about these options down below?
| | 00:27 | Well, I definitely want to turn on Auto
Mask, and I also want to show the Auto Mask.
| | 00:32 | Now, if I click on this color chip here, I
can choose a different mask overlay color.
| | 00:36 | By default, it's white, although
we can choose other colors as well.
| | 00:40 | Let's go ahead and choose something that
will stand out, say, like a nice bright
| | 00:43 | orange and then click OK.
| | 00:46 | Well, how does this actually
work in regards to Auto Mask?
| | 00:49 | Well, first, I'll make my Size a
little bit smaller, and I'll decrease the
| | 00:52 | Feather significantly, and then
leave the Flow right where it is.
| | 00:57 | When I hover over this image, you
can see that I have these different
| | 01:00 | concentric circles.
| | 01:01 | Then in the middle, I have these crosshairs.
| | 01:04 | Now, as long as I paint and focus in on
where the crosshairs are covering, it's
| | 01:08 | only going to affect that area,
| | 01:10 | here, you can see that this effect is
not going to spill off into the background.
| | 01:14 | On the other hand, turn Auto Mask
off and then go ahead and paint around.
| | 01:18 | Here you can see it's just affecting everything.
| | 01:20 | So, what Auto Mask does, it allows you
to limit the area that you are affecting.
| | 01:25 | Now, if ever this mask color doesn't
quite work for you, you click on the color
| | 01:30 | chip, and then you can go
ahead and select another color.
| | 01:33 | We'll go ahead and say change that to red,
just so we can see what we are working on.
| | 01:37 | Well, at this point, my
adjustment isn't very good.
| | 01:40 | It's spilling off it into the edges.
| | 01:42 | So, what I am going to do is
simply delete this adjustment.
| | 01:44 | I can do so by pressing the Delete key,
that adjustment is now gone. All right.
| | 01:50 | Well, I want to turn Auto Mask on.
| | 01:52 | I'll do so by pressing the M key.
| | 01:54 | Next, I want to go ahead and click and paint.
| | 01:57 | What I'm looking to do is just to
make a selection, or affect an area of the
| | 02:01 | image, which are these flower petals.
| | 02:04 | So, I'll go ahead and make my way through here.
| | 02:06 | Again, I'm just really
focusing in on the crosshairs.
| | 02:09 | It's going to target that, and then
it's going to extend out to this outer
| | 02:13 | edge of the brush there.
| | 02:14 | We can see that for the most part, we are
really just working on this area of the image.
| | 02:19 | Okay, well, we don't
necessarily need to see that mask anymore.
| | 02:22 | So, now we can press the Y key
in order to hide that. All right.
| | 02:25 | Well let's dial in our exact effect.
| | 02:28 | Well, here you can see that
what we are doing is we are really
| | 02:31 | increasing Exposure.
| | 02:32 | Now, I can change the Exposure of those
flower petals by clicking and dragging
| | 02:36 | it one way or another.
| | 02:38 | In my case, I want them to
be nice and bright and white.
| | 02:41 | I am removing any color that may be
in there, color contamination, and also
| | 02:46 | softening these up a little bit by
lowering the Clarity. All right.
| | 02:49 | Well let's take a look at our before and after.
| | 02:51 | We can do so by clicking
on the Preview check box.
| | 02:54 | Here, we have before, a little bit too dingy.
| | 02:57 | Now, they are really nice and
bright and vibrant and white. All right.
| | 03:01 | Well let's say that we want to make
another adjustment, perhaps in the
| | 03:04 | middle area of the flower.
| | 03:05 | Well, all that we need to do is
to press the N key. That will then
| | 03:09 | deactivate this pin.
| | 03:11 | You can see that there is no
longer a point in that pin.
| | 03:14 | Hover over it, and it's
going to highlight the mask area.
| | 03:17 | Click on it to modify the adjustments.
| | 03:19 | So, again press the N key to exit out of that.
| | 03:22 | Here, we'll make our brush nice and
small, a little but less Feather there.
| | 03:25 | What I am going to do is turn
Auto Mask off at this juncture.
| | 03:29 | I am simply just going to go ahead
and paint around this area of the image.
| | 03:32 | I don't necessarily need to have my
Mask on right now, because I can see what's
| | 03:37 | happening in this area, and
it's not a really critical area.
| | 03:41 | Rather, I just simply want to begin
to paint around in this, and I'm going
| | 03:45 | back and forth, and as I do that, I am
building up the effect, because I have
| | 03:49 | a Flow which isn't at 100.
| | 03:51 | Okay, well the effect I don't like.
| | 03:54 | I don't like the Bright and
Exposure, the softness etcetera.
| | 03:56 | Well, all I need to do, double-click these
triangles, take all of this back to normal.
| | 04:01 | Next, let's increase the Clarity.
| | 04:04 | Let's add a little bit of midtone contrast.
| | 04:06 | Let's increase the Color Saturation.
| | 04:08 | Also, let's brighten this up a bit but perhaps
add a touch of contrast as well. There we go.
| | 04:13 | Now, we are coming to something that's
perhaps a little bit more interesting.
| | 04:17 | Then we'll sharpen that up a little bit
because it is a touch soft there. All right.
| | 04:20 | Well now we have these
two different adjustments.
| | 04:23 | We can click between these by
simply clicking on the pins here or here.
| | 04:28 | We can also hide those pins
altogether by pressing the V key.
| | 04:33 | Now, if we want to see our before and
after for this image, I'll press the P key.
| | 04:37 | Here, we have it before and then after.
| | Collapse this transcript |
| Increasing visual interest by brightening shadows| 00:00 | Let's go ahead and take a look at how
we can do something that we would have
| | 00:03 | previously done inside of Photoshop,
and that is dodging, or brightening up an
| | 00:07 | area of our photograph.
| | 00:09 | Let's zoom into 100%.
| | 00:10 | We can do so by double-clicking the Zoom tool.
| | 00:13 | Then press Spacebar key to click and
drag, so we can focus in on the face.
| | 00:17 | In particular, what I want to do is I
want to brighten up these shadow areas
| | 00:21 | around the eyes here.
| | 00:22 | Now, these shadows are the result of
shooting in a day when it was overcast,
| | 00:26 | really nice, soft light.
| | 00:27 | We just have some shadows
that are trapped in right there.
| | 00:30 | Let's press the K key to
select the Adjustment Brush.
| | 00:33 | Next thing we want to do
is increase our Exposure.
| | 00:36 | So, I'll go ahead and click
and drag this to the right.
| | 00:39 | Now, how far we go isn't that important,
because we can always modify this after the fact.
| | 00:44 | Next, let's hover over the image.
| | 00:47 | Currently, you can see that
I have a pretty small brush.
| | 00:49 | Well, if I press the Left Bracket
key, I'm going to make it smaller.
| | 00:52 | Then all of a sudden, it disappears.
| | 00:54 | I can't make a brush that's small enough.
| | 00:57 | So, what do we do here?
| | 00:58 | Well, all that you need to do is
to zoom farther in on the image.
| | 01:01 | Now here you'll notice that what was
once a big brush, now seems smaller in
| | 01:06 | relationship to the zoom size.
| | 01:08 | So, just keep that in mind that one of
the ways to change your brush size, so to
| | 01:13 | speak, is to change your zoom rate. All right.
| | 01:15 | Well, now that I've zoomed in pretty
far here, I'm going to go ahead and
| | 01:18 | make this even smaller.
| | 01:20 | Take a little bit less Feather there.
| | 01:22 | Then maybe just a touch bigger on my brush,
just a little bit more Feather actually.
| | 01:27 | Okay, well, now that we've dialed this
in, what I want to do is lower my Flow.
| | 01:31 | Typically, when you're working with light,
you want to have a really low Flow amount.
| | 01:35 | What I'm going to do is simply begin
to paint over this area of the image.
| | 01:39 | Now, you'll notice that I
have Auto Mask turned off.
| | 01:42 | I definitely don't want that on right now.
| | 01:44 | I simply want to paint over
the entirety of this area.
| | 01:48 | I'll do a little bit on the
eyes as well, while I'm here.
| | 01:51 | A lot of times what will happen when
we're doing work like this is we'll go
| | 01:56 | a little bit too far.
| | 01:57 | For example, we can see that area right there.
| | 02:00 | It's a little bit too intense.
| | 02:01 | I need to erase what I've done.
| | 02:04 | To erase, you simply hold down Option
key on a Mac, Alt key on a PC, or you can
| | 02:10 | click on this Erase option here.
| | 02:12 | Then I'll go ahead and paint over that area.
| | 02:14 | I'll go back and forth, because I have a low
Flow amount to bring that back in. All right.
| | 02:20 | Well, so far so good.
| | 02:21 | Let's see how we're doing.
| | 02:22 | I'll zoom out a little bit.
| | 02:24 | Press the V key to hide that pin,
because that pin is very distracting.
| | 02:28 | Then press the P key to
toggle my Preview on and off.
| | 02:31 | Here's our before. Press again. There is after.
| | 02:34 | All right, so far so good!
| | 02:36 | Let's go ahead and just
keep painting around here.
| | 02:38 | I'm just going to brighten this up a touch more.
| | 02:41 | Try to create some nice, smooth and
soft transitions and just bring in a little
| | 02:46 | bit of Brightness to this area of the face.
| | 02:48 | I'm going to go through and just work on
a couple other little spots that I think
| | 02:51 | I could use a touch of brightening,
and over here, as well. Okay, great!
| | 02:57 | Let's look at our before
and after. Press the P key.
| | 03:00 | Here we have it: before and then after.
| | 03:02 | Of course, what you can always do is
simply dial in your Exposure amount.
| | 03:07 | If you want to add more, you
can click and drag to the right.
| | 03:10 | If you want to add a little bit less,
little more subtle effect, click and
| | 03:13 | drag to the left, and here I'll add a touch of
Brightness as well and just a bit of Contrast.
| | 03:19 | When you brighten, you're actually
losing a little bit of dimension.
| | 03:22 | So sometimes, you need to bring
back a touch of that Contrast there.
| | 03:25 | I'm also going to soften this area
out just a little bit, so it's a little
| | 03:30 | bit smoother there.
| | 03:31 | Then click on my Preview.
| | 03:33 | There we have it: before, and then now, after.
| | 03:37 | Now, this amount is a little bit
higher than I'm comfortable with.
| | 03:40 | But for demo purposes, I think it helps
you see how you can begin to use this in
| | 03:45 | order to correct specific areas.
| | 03:47 | If it were an actual file I was going to
print, I would probably just lower it down
| | 03:50 | just a touch more there, so it
was a little bit more subtle.
| | 03:53 | I want to keep this adjustment
really subtle and clean. All right!
| | 03:56 | Well, that's looking good.
| | 03:57 | That wraps up our conversation about how
we can dodge with the Adjustment Brush.
| | Collapse this transcript |
| Increasing visual interest by heightening saturation| 00:00 | Let's take a look at how we can
enhance and improve this beautiful portrait.
| | 00:04 | I love the perspective, the leaves and whatnot.
| | 00:07 | But the image just feels a little
bit muddy, a little bit lacking.
| | 00:10 | I want to make this image really
come to life, and I want to do that with
| | 00:13 | the Adjustment Brush.
| | 00:15 | So let's press the K key to select the
Adjustment Brush, and what I want to do
| | 00:19 | first is share with you a nice tip
which can be helpful for dialing in the effect
| | 00:24 | that you're interested in creating.
| | 00:26 | Well, one of the things that we want to
do first is control our Brush Size, so
| | 00:30 | here you can see my Brush Size.
| | 00:31 | I'm going to paint on the face.
| | 00:33 | My Feather amount is too high, so I'll
hover over the image and press Shift+Left
| | 00:38 | bracket in order to decrease that Feather size.
| | 00:41 | Then I'm going to press the Left
bracket by itself, just to decrease my brush.
| | 00:45 | I don't want this to be too big.
| | 00:47 | That looks pretty good there. All right.
| | 00:48 | Well, what about Flow?
| | 00:50 | Well, typically we want to have a
really nice and low Flow amount so we can
| | 00:54 | build up our effect, and then I'm
going to simply just paint across the face.
| | 00:57 | Now nothing is going to
happen at this point. Here's why.
| | 01:00 | We haven't dialed in the effect, but
because I painted on this area, I can then
| | 01:05 | go ahead and increase my Exposure,
add a little bit of Contrast, also add a
| | 01:10 | little bit of Color Saturation, and I
can start to Preview how this effect will
| | 01:14 | work, because I've painted in that
area, and then now I'm going back and
| | 01:18 | customizing or fine-tuning the effect.
| | 01:21 | Okay, well, now that I can see that, I
can go ahead and begin to paint around the
| | 01:24 | rest of the image, because I've dialed
this in as I want, and I'm just going to
| | 01:28 | hit some of these brighter leaves.
| | 01:29 | I kind of want to just bring those
to life and add a little bit more of a
| | 01:32 | dynamic nature to this photograph,
work on the hair a little bit as well.
| | 01:36 | Make my brush smaller, Left Bracket key,
and I'll just go ahead and flow along
| | 01:41 | the hair there, just kind of
following the direction of the hair.
| | 01:44 | Also, get some light into the neck area
over here, and just make my way through these.
| | 01:49 | And the nice thing about this is we can
kind of bring light into different areas
| | 01:53 | of the image as we see fit.
| | 01:56 | We're also bringing in a little bit of
Color Saturation, and we could bring in
| | 02:00 | anything else for that matter.
| | 02:02 | And as I make my way through this,
you're noticing that I'm kind of making my
| | 02:05 | way around the image and going back and
forth to areas that I've already worked
| | 02:10 | on, and I'm doing that to
slowly build up this effect.
| | 02:13 | I don't want it to be over-the-top or
exaggerated; rather, I want to go back with
| | 02:18 | this low Flow amount.
| | 02:19 | Really build this up, so that it can turn
into something quite interesting. All right.
| | 02:23 | Well, I think that's
looking a little bit better.
| | 02:25 | Let's take a look at our before and after.
| | 02:28 | Of course, we have to hide this pin,
so I'll press the V key to hide that.
| | 02:32 | Next, I'll press the P key.
| | 02:34 | When I press the P key, here we can
see my before. Press it again, and there
| | 02:38 | we have that after.
| | 02:39 | Already it's looking much better.
| | 02:41 | I'll go ahead and increase the Color
Sturation just a bit more, add some
| | 02:45 | Vibrance there, press the N key to
create a new adjustment here, a little bit
| | 02:50 | more Exposure, little bit more Color
Saturation, little bit higher Flow, and
| | 02:55 | also a higher Brush Size.
| | 02:56 | I'm going to go ahead and paint across
some of these leaves in the background
| | 03:00 | here, just making my way through this document.
| | 03:02 | Feel like those leaves need a little
bit of Brightness, and I make my way over
| | 03:07 | here at this part of the image.
| | 03:08 | It's a little bit too dark for my liking.
| | 03:11 | Working on the corners up top, and
all these different areas here, just
| | 03:16 | bringing in some nice tones into this
photograph, and we're getting close here.
| | 03:22 | If ever we make a mistake, hold down
the Option key or the Alt key. You can
| | 03:25 | erase what you've painted.
| | 03:27 | Now let's take a look at our overall
before and after to see how we've done.
| | 03:31 | You can do that by pressing the P key.
Here we have it before and then after.
| | 03:37 | All right, only one more
thing that I want to do here.
| | 03:39 | I want to go ahead and zoom in on the image.
| | 03:41 | I want to zoom in on those eyes, press the
N key in order to create a new adjustment.
| | 03:46 | This time I'm going to double-click
my Saturation slider, and my Contrast
| | 03:50 | slider, and just leave Exposure on.
| | 03:54 | Now I'm going to zoom in perhaps even further,
nice small Brush Size here. I'm going
| | 03:58 | to go ahead and just paint on these eyes
| | 04:00 | just a touch. I'm interested in adding
a little bit of Brightness here to this
| | 04:03 | portion of the photograph.
| | 04:06 | As always, if ever we go too far with
this, we can always hold down the Option
| | 04:10 | key on a Mac, Alt key on a PC.
| | 04:13 | Paint away the adjustment, especially
on the eyelids, just on the eyes there,
| | 04:18 | and then zoom back out.
| | 04:19 | Let's look at our eyes and look at the
Preview, here we have before and then after.
| | 04:24 | The eyes look good, but
they're a little bit overdone.
| | 04:27 | So I'll press the V key, and
that will bring back that pin.
| | 04:30 | Make sure I'm targeting the eyes,
make sure my Mask looks good. It does.
| | 04:35 | Then what I'm going to do, press the V key
again, just lower this Exposure a little bit.
| | 04:40 | I don't want to over brighten the eyes.
| | 04:41 | That will make this image look a
little bit inauthentic. All right.
| | 04:44 | Well, I think that's looking pretty nice.
| | 04:47 | Let's go to a zoom right
where we can see all of our work.
| | 04:50 | Press the P key one more time. Here we
have it, before and after, how we can use
| | 04:55 | the Adjustment Brush in order to
make improvements on our photographs.
| | Collapse this transcript |
| Whitening teeth| 00:00 | Believe it or not, we can actually
whiten teeth with the Adjustment Brush, and
| | 00:04 | that's what we're going to take a look at here.
| | 00:06 | This particular photograph was captured
by good friend of mine, Michael Costa.
| | 00:10 | Michael, thanks a ton for the use of this file.
| | 00:12 | I love the colors here, the expression,
and the image has a bit of a warm cast,
| | 00:16 | which I like, but it makes
the teeth of little bit yellow.
| | 00:19 | So let's say we want to
brighten or whiten those teeth up.
| | 00:22 | We'll go ahead and zoom in on the image,
and then we'll select the Adjustment
| | 00:26 | Brush by pressing the K key.
| | 00:28 | Next, what we want to do is
turn on the option for Auto Mask.
| | 00:32 | We can do so by clicking on the
check box or by pressing the M key.
| | 00:37 | We're also going to need to see the
Mask to make sure we're really working on
| | 00:40 | the teeth, so let's press the Y key,
and I'm going to choose a color which is
| | 00:44 | going to really stand out.
| | 00:45 | I'll go ahead and select a bright green.
Now this bright green color won't look
| | 00:49 | good, but it will be great as a
Diagnostic tool to help us determine how our
| | 00:55 | Adjustment Brush work is
actually working out. All right.
| | 00:58 | Well, what do we want to do lighten?
| | 00:59 | Well, we want to de-saturate a bit,
brighten a touch, a little bit of Exposure,
| | 01:04 | and then I'll go ahead and add just a
touch of negative Clarity and a little
| | 01:08 | bit of Contrast there.
| | 01:10 | Now these settings won't even be
close to perfect, but it will be a
| | 01:13 | good starting point.
| | 01:14 | Let's zoom in a little bit closer, just
so we can really focus in on the teeth.
| | 01:18 | Now with our Adjustment Brush,
we'll change our Brush Size.
| | 01:20 | We want a nice amount of
Feather, not too high there.
| | 01:23 | Flow, let's bring that down a bit.
| | 01:26 | Next, we're going to simply paint
over the teeth, and we're going to really
| | 01:28 | focus in on what the crosshairs are touching.
| | 01:32 | In this case, just the teeth, and this
is making a pretty good selection, so far
| | 01:36 | no problems yet and if any problems
come up, we can always erase from this Mask
| | 01:42 | by holding down the
Option or Alt key and painting.
| | 01:45 | Now when we get down to these smaller
teeth it may be a little bit more tricky.
| | 01:48 | We'll see if we can pull it off though,
and again, just really focusing in
| | 01:52 | on those crosshairs. All right.
| | 01:53 | Well, for the most part, pretty good.
| | 01:55 | Only thing I need to do is paint in
between the teeth here, to do so, I'll
| | 02:00 | turn off Auto Mask.
| | 02:02 | Let's use that shortcut. It's the M key.
| | 02:04 | Turn that off, and now I
can paint right in there.
| | 02:07 | I can also work on a couple of these
little edges and just touch this up a bit.
| | 02:10 | The only downside with using Auto Mask
is that sometimes it creates a little bit
| | 02:15 | of a jagged edge, so all I'm trying
do is soften up that jagged edge there.
| | 02:19 | Okay, well, let's zoom out,
Command+Minus or Ctrl+Minus.
| | 02:23 | Next, we don't want to see this green
color, because this isn't helpful at all.
| | 02:28 | So we need to hide that Mask color.
| | 02:31 | We can do so by pressing the Y key. All right.
| | 02:34 | Well, we also have this distracting pin.
Press the V key. That will then hide that.
| | 02:39 | Let's evaluate how we're doing here.
| | 02:41 | Click on the Preview check box. Here we
have before, and now here we have after.
| | 02:46 | Already those teeth are looking better.
| | 02:48 | Let me zoom in on them, so you can see for
yourself. We have a before and then after.
| | 02:53 | To modify this further, we
can lower the Saturation amount.
| | 02:57 | We can also work with the overall Exposure.
| | 03:00 | Now a quick word of caution.
| | 03:01 | You can make teeth look really bad as
well, go ahead and darken those teeth, and
| | 03:06 | that's not very flattering.
| | 03:07 | So you just want to be careful with
this and find just the right sweet spot, so
| | 03:11 | you're not making these pure white,
but you are whitening the teeth.
| | 03:15 | Again, here we have it, our before and
then after, nice teeth brightening and
| | 03:21 | whitening, and let's find just the
right spot for this image and then zoom out.
| | 03:25 | Evaluate this one more time. Here we
have it, before and after. Nice work on
| | 03:31 | the teeth whitening.
| | Collapse this transcript |
| Adding color to makeup| 00:00 | Let's go ahead and take a look at how
we can use the Adjustment Brush in order
| | 00:03 | to make some Tone and Enhancement
adjustments to this particular image.
| | 00:08 | Let's press the K key in order
to select the Adjustment Brush.
| | 00:12 | And then the next thing that we're
going to do is zoom in on this photograph,
| | 00:15 | and this beautiful photograph was
contributed by photographer Kevin Thomas.
| | 00:19 | Kevin, thanks a ton for
contributing this one, beautiful shot!
| | 00:22 | Let's say that what I want to
do is first work on the makeup.
| | 00:26 | So with the Adjustment Brush selected I
want to make sure Auto Mask is turned on.
| | 00:31 | So I'm going to click on this
check box or press the M key.
| | 00:35 | I also want to make sure
that Show Mask is turned off.
| | 00:37 | That's going to be too distracting
here, so I'm going to click that off.
| | 00:40 | Then I also find these Pins distracting,
so let's click off this check box as well.
| | 00:45 | Next up, what we want to do is add some
color, so I'm going to click in the Color chip.
| | 00:50 | In this case I want to add a nice
bright vivid color here, and this color is
| | 00:54 | going to be too saturated.
| | 00:55 | Yet it will be helpful for demo
purposes because we can see what it looks like,
| | 01:00 | and then see how we can make it even better.
| | 01:02 | Okay, well let's click OK
here. In regards to our brush,
| | 01:05 | we want a real low Feather, real
low Flow, both of those pretty low.
| | 01:09 | And we'll go ahead and hover over the
image, and we simply want to make sure the
| | 01:12 | Crosshairs cover the area
that we want to work on.
| | 01:16 | So in this case I'm just painting over
this area of the photograph, bringing in
| | 01:20 | this new color here, and I'll
do so on the other eye as well.
| | 01:24 | The nice thing about doing this is it's
really just bringing it in just to that
| | 01:27 | area where I want it.
| | 01:29 | If ever we make a mistake, we
know how to correct that, right?
| | 01:32 | All we need to do is hold down the
Option key on a Mac, Alt key on a PC, and
| | 01:37 | then we can go ahead and click and
paint to paint this away in a few little
| | 01:41 | areas there, and just another
little area I need to fix up right there.
| | 01:45 | Well, so far so good.
| | 01:46 | We now have this new makeup color.
| | 01:48 | It's a little bit over-saturated.
| | 01:51 | We can change that or soften it up a
bit by clicking on this Color chip, and in
| | 01:56 | the Color Picker all that we need
to do is to lower the Saturation.
| | 02:00 | Now, once we do that we can see we
have a much more believable and perhaps
| | 02:04 | more interesting color.
| | 02:06 | We can of course choose different
colors as well, and we can crank those up in
| | 02:09 | regards to their saturation, or
we can bring them back down.
| | 02:13 | In my case, I just want a little
subtle color enhancement. I'll click OK.
| | 02:18 | Then I'll press the P key.
| | 02:19 | That's the shortcut to show the
before and then now the after. All right!
| | 02:24 | Well I better saturate that a bit
more so you can actually see it.
| | 02:27 | Let me leave it a little higher.
Click OK here. Press the P key.
| | 02:30 | There we have it, before and after. All right!
| | 02:33 | Well, what else could we do with color?
| | 02:36 | Let's create a new adjustment. Press the N key.
| | 02:38 | Well, with these exact same settings,
except with more Feather and a little
| | 02:43 | bit larger brush size and a little
bit less Flow, let's go ahead and paint
| | 02:47 | across the cheeks here.
| | 02:48 | All that I want to do is just bring a
little bit of tone here into the cheeks.
| | 02:52 | I want to liven this up a little bit and
make it look a little bit more healthy.
| | 02:56 | As I do that, we can see that I'm just
bringing in this nice amount of color here.
| | 03:00 | Now, if ever we have too much color, as
you know, pull down the Option key or the
| | 03:04 | Alt key and just paint it away.
| | 03:06 | And it's kind of a nice way to kind of
begin to work on the area that you're
| | 03:10 | going to be affecting.
| | 03:12 | Next, if we want a different shade or
different color, click on your Color
| | 03:16 | Picker. Here we can choose a different
color, perhaps something a little bit more red.
| | 03:21 | Click OK, and now here we have it, our
before and then our after, working with
| | 03:26 | some color on the cheeks.
| | 03:28 | Now we could do the same thing with the
lips except the lips are pretty bright.
| | 03:31 | So rather than Color, let's work on Density.
| | 03:34 | Press the N key for a new adjustment.
| | 03:37 | Let's drag our Exposure down, Contrast up a bit.
| | 03:40 | Then what I'm going to do is make my
brush nice and small here and just paint
| | 03:45 | across this area of the photograph,
and just working on those lips, and I'm
| | 03:51 | adding a little bit of a Hue.
| | 03:52 | And in my case I'm not really liking
the Hue shift there, so what I'm going to
| | 03:57 | do is I'm going to turn that
off by clicking on the Color chip.
| | 04:01 | Next, I'll choose white.
| | 04:03 | That means no color and here I'll click OK.
| | 04:05 | Well, now at this juncture
because Auto Mask is turned on, my brush
| | 04:10 | strokes aren't very good.
| | 04:12 | So I'm going to turn Auto Mask
off, and really even that out.
| | 04:16 | Now in other words what was happening
is I was trying to make a selection of
| | 04:19 | little areas in between the lips, and
it just looked a little bit unnatural.
| | 04:24 | So, in this case it's going to be
better without Auto Mask, and here I'm going
| | 04:28 | to just darken up the lips a touch
there, try to find a nice spot for them, a
| | 04:32 | little bit more Contrast.
| | 04:34 | Now that I've done that, perhaps a touch
of Brightness to even that out a little bit.
| | 04:38 | Click on our Preview button. Here
we have it, before and then after.
| | 04:43 | Working on the lips, also the eye color,
the cheek color, and now that I look at
| | 04:47 | the lips I'm thinking you
know what? That was too dark.
| | 04:50 | Let's see here.
| | 04:51 | Perhaps something a little bit more subtle,
and perhaps even a little bit of color in there.
| | 04:56 | So let's see if we can bring
in some color into those lips.
| | 04:58 | I'll go ahead and check to see if I can
find a color that might work here. All right!
| | 05:02 | That's looking nice. We'll click OK.
| | 05:05 | I'll press the P key. Here we have our before,
press the P key again, and now we have our after.
| | 05:12 | Now, of course the amount of the
color shift that I've created here is a
| | 05:15 | little bit over the top,
| | 05:16 | yet I have done that so that
you can see the actual change.
| | 05:20 | Now, if ever you want to go back and
modify this so it's a little bit more
| | 05:23 | subtle and a little bit more
interesting, we'll press the V key.
| | 05:26 | That will then show the Pins, then
simply click on one of these Pins and then go
| | 05:31 | back to the Color Picker here.
| | 05:33 | In this case, we can lower the Saturation.
| | 05:35 | And I'll just do this all the way around
here to do something that would be just
| | 05:39 | a touch more realistic, and then
lower that one down as well. Click OK.
| | 05:45 | Press the V key again to hide those and
then look at my before and after one more time.
| | 05:49 | I can do so. There is that before, and now
there is that after, subtle yet significant
| | 05:56 | color enhancements.
| | Collapse this transcript |
| Changing color| 00:00 | Just for the fun of it, and just in
order to learn how to work with the
| | 00:03 | Adjustment Brush more effectively,
let's take a look at how we could change a
| | 00:07 | color in one of our photographs.
| | 00:09 | For example, let's say that with
this image what we want to do is change
| | 00:13 | the color of the shirt.
| | 00:14 | What we can do here is press the K
key to select the Adjustment Brush.
| | 00:18 | Next, we want to go ahead and turn on Auto Mask.
| | 00:21 | That will enable this so that it's
just working on a particular area.
| | 00:25 | We also want to show our Mask.
| | 00:27 | That will show us the area we're painting on.
| | 00:29 | In this case, I'm simply going to
choose a negative Saturation amount.
| | 00:33 | This amount won't really matter right
now, because the Mask is going to cover
| | 00:37 | over any effects that we dial in up here.
| | 00:40 | We can then go back and
change that later. All right.
| | 00:43 | Well, let's lower our Feather Amount,
Flow, we can leave nice and high.
| | 00:46 | I'll go ahead and make my brush just a
little bit bigger here, and I'm going to
| | 00:49 | simply paint around the image.
| | 00:52 | I'm just really paying attention to
the Crosshairs, and making sure the
| | 00:54 | Crosshairs are covering over the
important content in this image.
| | 00:58 | Now, as I make my way through this
image, I'm also being careful to not
| | 01:03 | select anything else.
| | 01:04 | So, I'll go ahead and make my brush
smaller to get into the small little
| | 01:07 | details around here.
| | 01:08 | I also want the collar there and a
couple of other little areas, then we could
| | 01:12 | fix this up more if we wanted to take a bit
more time, but for the most part that looks okay.
| | 01:17 | Well, the next step of course is
going to be to turn off that Mask, which
| | 01:22 | is currently green.
| | 01:24 | So, we can hide the Mask by pressing the Y key.
| | 01:27 | Now, once I do that, I
don't see much of an effect.
| | 01:30 | It's really just a little bit of desaturation.
| | 01:32 | So, if I click and drag this you can now see
that I'm really just targeting that blue shirt.
| | 01:37 | But what if I want to change the color here?
| | 01:39 | Well, one thing we could do is we
could lower Saturation, and then we
| | 01:43 | could choose a new color.
| | 01:45 | We'll go ahead and click on this color
chip here, and in this Color Picker, I'm
| | 01:49 | going to go ahead and click on a new color.
| | 01:51 | Let's say that I want to
convert this to a nice, deep red.
| | 01:55 | When I go over to my reds, all I'm
seeing is something which looks like pink.
| | 01:59 | That's really not going to
work here for this image.
| | 02:01 | Well, how can I get a deeper or a darker color?
| | 02:05 | What I would need to do would be to click OK.
| | 02:08 | Then I would have to go to one of my
other controls, like Exposure, or Contrast.
| | 02:13 | And here you can see as I control the
Luminance value of this area, I can really
| | 02:17 | change the overall tone or
color one way or another.
| | 02:22 | So, I'll go ahead and make this nice
and deep, maybe increase the Contrast a
| | 02:25 | little bit there as well.
| | 02:27 | Now, at this juncture, I notice that
there are a few areas of my Mask which need
| | 02:31 | to be cleaned up, so I'll just go
ahead and paint over those areas.
| | 02:35 | And the nice thing about this Mask is
it's incredibly dynamic, and we can add to
| | 02:38 | it, or erase from it as needed.
| | 02:40 | So, I'm just going to sweeten up
a few of these little edges here.
| | 02:43 | And now we have successfully changed
the color of this shirt in a really
| | 02:48 | short amount of time.
| | 02:49 | Well, let's take a look at the Before and after.
| | 02:51 | We'll press the P key. Here
we have Before. Press again.
| | 02:55 | There we have after.
| | 02:56 | Now, I know that we're not
necessarily going to be changing colors a lot
| | 03:00 | using Adobe Camera Raw, yet I feel like
there are a couple of important principles here.
| | 03:04 | And one of the principles is that
Color and also Brightness value are
| | 03:09 | intimately related.
| | 03:11 | We have this huge range from this
deep red all the way up to something like
| | 03:14 | this, this bright pink.
| | 03:16 | In this case, we're going for
something a little bit more realistic, and this
| | 03:19 | nice dark red looks good.
| | 03:22 | The other thing that I want to
illustrate is that we can begin to make
| | 03:25 | selections in some pretty powerful ways.
| | 03:28 | And sometimes we'll make a selection to
do something dramatic, like color change.
| | 03:33 | Other times it may simply be that
what we want to do is reset all of these
| | 03:37 | controls here, and all that we need, or
all that the client needs, is for us to
| | 03:42 | add a little bit of Clarity.
| | 03:44 | So I'll go ahead and go down to my
color chip, turn that option off, and here,
| | 03:49 | I'm simply going to add some Clarity,
some Midtone Contrast, a little bit of
| | 03:53 | Sharpness, so that that
garment looks that much better.
| | 03:57 | So just keep in mind that with the
Adjustment Brush you can paint in so many
| | 04:01 | different types of adjustments.
| | 04:02 | And in addition, keep in mind
that sometimes by combining these
| | 04:06 | different controls together,
| | 04:08 | it can then lead to some interesting results.
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| Selective sharpening| 00:00 | At this juncture, in our journey to
learn how to use the Adjustment Brush,
| | 00:04 | I think we are ready to dig deeper, and
that's exactly what we are going to do here.
| | 00:08 | We are going to take what we have
learned so far and add to that some other tips
| | 00:11 | and tricks and shortcuts.
| | 00:13 | In particular, what I want
to do is brighten up the face.
| | 00:16 | I also want to apply some selective sharpening.
| | 00:19 | Well, let's press a K key to select the
Adjustment Brush, and let's say I want
| | 00:23 | to begin with the brightening of the face.
| | 00:26 | When I move over to my Adjustment Brush
controls, it just looks like a huge mess.
| | 00:31 | How could I get everything back to normal,
| | 00:33 | say so I can just work on exposure?
| | 00:35 | What you can do is click on these little
icons, the minus or the plus, and if we
| | 00:40 | click on one of those icons, it will
zero out all of the other controls, and
| | 00:44 | just give us a preset amount in this
case and the positive for exposure.
| | 00:47 | Now, if we click on one of the
negative icons, it does the same thing.
| | 00:51 | It zeroes everything else out,
except gives us a negative amount for
| | 00:54 | that particular control.
| | 00:55 | Well in this case, I am going to
work on Exposure in the positive.
| | 00:58 | We will click on that and go ahead and
increase that amount, just a little bit there.
| | 01:02 | Next, let's work on our brush size.
| | 01:04 | Hover over the image, Right Bracket key
is bigger, Left Bracket key is smaller.
| | 01:09 | What about Feather?
| | 01:10 | We can press Shift+Left Bracket to
decrease or Shift+Right Bracket to increase
| | 01:14 | that Feather amount. All right.
| | 01:16 | Well what about Flow?
| | 01:18 | So far what we've said about Flow is
that you can click in here, and you can
| | 01:21 | drag to the left or the right.
| | 01:23 | There has to be a better way.
| | 01:24 | Well, indeed there is.
| | 01:26 | What we can do here is simply press
Minus in order to decrease our Flow, or we
| | 01:31 | can press or tap multiple times
Plus in order to increase our Flow.
| | 01:36 | This can be a great way to change this.
| | 01:38 | You will notice that when you target
one of these controls that highlights the
| | 01:41 | numbers. If you want to go to a
different field here or a different control,
| | 01:46 | press the Tab key. As I press the Tab
key on Windows, it's going to highlight
| | 01:49 | these different fields.
| | 01:51 | Now, once in those different fields,
what I can do is simply type in a number.
| | 01:54 | For example, I can type in six, or for
that matter, I could type in two numbers
| | 01:59 | in order to change that overall Density control.
| | 02:01 | We can of course also use the slider.
| | 02:03 | So let's crank that up. All right.
| | 02:04 | Well what I want to do is turn off Auto Mask.
| | 02:07 | We can do that by pressing the M
key. That toggles that on and off.
| | 02:11 | We also want to toggle off showing
the mask, so we can press the Y key to
| | 02:15 | turn that on or off.
| | 02:17 | Let's hide those Pins.
| | 02:18 | We can do that by pressing the V key.
| | 02:21 | Quite a bit of shortcuts there, and if
any of those shortcuts are new to you,
| | 02:24 | be sure to stop this movie, go back
and re-watch that, and write those down,
| | 02:28 | because again here what we are trying to do
is really take our workflow to the next level.
| | 02:33 | All right. Well, the next thing I want
to do is paint in some brightness.
| | 02:37 | So with this brush and with these
different settings, I will go ahead and
| | 02:40 | hover over the image.
| | 02:41 | I am going to go ahead and just lower that
flow even more, press the Minus key there.
| | 02:45 | I am going to start to
brighten up this photograph.
| | 02:48 | Now sometimes what happens is when you
are brightening something up, you may
| | 02:52 | kind of go over the top, or you may have some
transitional edges which are a bit too harsh.
| | 02:57 | We can see especially that's
a case over here on the shirt.
| | 03:00 | What I like to do to remove that,
let's go to my Erase Brush, increase the
| | 03:04 | Feather by leaps and bounce.
| | 03:05 | I am going to increase
the Flow just a little bit.
| | 03:08 | If we have a brush that's really nice
and big, with a lot of Feather, we can just
| | 03:13 | start to paint over that transition
area. See how that smoothed that out?
| | 03:17 | That made it so it is a little bit more
natural, and sometimes by just backing
| | 03:20 | off the effect by painting through this, we
can make this effect look that much better.
| | 03:24 | All right. Well let's press the P key.
| | 03:26 | Here we have our before, and then our after,
| | 03:29 | adding some nice subtle brightening
to that area in the image. I am going to
| | 03:33 | decrease this Exposure just a bit there.
| | 03:35 | Press the P key again,
before and after. All right.
| | 03:38 | We are ready to sharpen.
| | 03:40 | Well, let's zoom into 100%.
| | 03:42 | We can do so by way of a shortcut:
Command+Option+0 on a Mac, Ctrl+Alt+0 on a
| | 03:48 | PC. Press the Spacebar key and
then click and drag to reposition.
| | 03:53 | Well, here what we want to do is
just paint in the sharpening to this
| | 03:56 | particular area of the image.
| | 03:58 | Let's click on the Preset for Sharpness.
| | 04:00 | We'll do so by clicking on
the Plus icon, +25. Perfect!
| | 04:05 | Now, we will go ahead and bring down
our brush size and our Feather and our
| | 04:08 | Flow here, and then I am just going to
go ahead and start to paint over this
| | 04:12 | area of the photograph.
| | 04:13 | I just want to keep the area
that's sharp nice and sharp.
| | 04:17 | I don't need to sharpen anything
that's out of focus and a lot of times when
| | 04:20 | sharpening, this is exactly what we need to do.
| | 04:23 | We just want to sharpen little areas
of our image, little bit more on the eye
| | 04:27 | so I am going to paint back and forth on
that, really building up that eye focus there.
| | 04:31 | Not necessarily want so much on the
cheek, I want to erase from this area.
| | 04:36 | Well, you can hold down the Option key
on the Mac, Alt key on a PC. That will
| | 04:40 | toggle your brush to erase.
| | 04:42 | Here I can then change that.
| | 04:44 | Now, here is another little
advanced tip that I want to share with you.
| | 04:47 | Currently when I toggle to the
Erase Brush, my brush size is identical.
| | 04:52 | Watch this. I will press Option or Alt
and there is no change here within my
| | 04:56 | brush size as I work on the image.
It's identical in both situations.
| | 05:00 | Well, if I want to disconnect the
brush size, or have a different brush size,
| | 05:05 | whether I am adding or
erasing, here is what you can do.
| | 05:08 | You can click on this icon here,
and you can separate the Eraser size.
| | 05:13 | Well, now I will go to Erase.
| | 05:15 | I will choose a really big brush size,
just by way or illustration and then go
| | 05:19 | back to Add, we can see a small brush size.
| | 05:22 | So now when I hover over the image and
press Option or Alt, you can see that it
| | 05:27 | goes to erase with
completely new brush settings.
| | 05:31 | So sometimes it may be helpful to
have separate settings, other times, you
| | 05:35 | may want these exactly connected. If so,
simply click off this option so that
| | 05:40 | those aren't separated. All right.
| | 05:42 | Well that was a little bit of an advanced tip
there. Let's focus back in on the sharpening.
| | 05:47 | Sharpening is looking good.
| | 05:48 | We are going to add a little bit of clarity
here as well, just to build that up even more.
| | 05:52 | Next, let's press the P key. Here we
have our before and now our after, and
| | 05:58 | this image is looking much better, and
along the way I hope you picked up some
| | 06:02 | advanced tips which will help you
work even more effectively with the
| | 06:06 | Adjustment Brush.
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| Eye sharpening and skin smoothing workflow| 00:00 | With this portrait, we are going to take a
look at how we can work on the skin and the eyes.
| | 00:05 | Let's go ahead and zoom in
a little bit on this image.
| | 00:07 | I can do so by pressing Command+
Plus on a Mac, Ctrl+Plus on Windows.
| | 00:13 | Now, when I zoom in one of the things
that I notice is that for the most part
| | 00:15 | this image looks great.
| | 00:17 | Yet one of the things that I wanted
to do is let's say I want to smooth the
| | 00:19 | skin out a little bit in order to create
perhaps a little bit more of a flattering look.
| | 00:24 | Let's press the K key in order
to select the Adjustment Brush.
| | 00:28 | Next, in order to clean up all of
these different settings here, we will
| | 00:31 | simply click on Negative Clarity and
go to that Negative Clarity setting for
| | 00:35 | our Adjustment Brush.
| | 00:36 | Let's lower this even more and a
little bit of Exposure increase and a
| | 00:40 | little bit of Brightness.
| | 00:42 | Sometimes that helps when
trying to smooth skin out.
| | 00:45 | Next, we want to have a
brush size that's nice and small.
| | 00:48 | We need quite a bit of Feather there and then
a relatively low Flow amount, but not too low.
| | 00:53 | Next, I am going to go ahead and just start to
paint over different areas of the photograph.
| | 00:58 | Now as I do this, we are going to
start to see this effect being built
| | 01:01 | up little-by-little.
| | 01:03 | And again I will just make my way
through here, trying to paint on areas that
| | 01:07 | can improve in regards the overall
Exposure or the Brightness value of the skin
| | 01:13 | and also a little bit of the smoothness.
| | 01:14 | Press the Spacebar key, and
click and drag to reposition.
| | 01:18 | Now, if ever we make a brush stroke
that's too harsh or too big, we can
| | 01:22 | always soften this up.
| | 01:24 | We could also try increasing our Feather,
if we want to have a little bit more
| | 01:27 | of a transitional edge, rather
than one that's quite so harsh.
| | 01:30 | Let's bring that up even more.
| | 01:32 | You can increase your feather, either
by clicking on this slider, or of course,
| | 01:36 | you can always press Shift+Right Bracket key.
| | 01:39 | All right, we will go up here to the forehead.
| | 01:41 | One of the things we want to be
careful of, of course, is to be really
| | 01:45 | consistent, as we are
making adjustments like this.
| | 01:48 | We don't want to do anything that's
over the top, but we do really want to try
| | 01:52 | to improve the image in regards to
the texture we have here in the way the
| | 01:57 | skin is really looking. All right.
| | 01:58 | Well so far this is looking just a ton better.
| | 02:02 | Let's take a look at our before and after.
| | 02:04 | We can do so by pressing the P key.
| | 02:07 | Here we have before, and now here we have after.
| | 02:10 | Again, this has added a
lot of really nice softness.
| | 02:14 | Now, it might be that the skin is just
a touch too bright, so I am going to go
| | 02:17 | ahead and lower that Exposure,
kind of bring that back down.
| | 02:20 | I think we brighten that up
just a little bit too much.
| | 02:22 | Now, here we have our before and then our after.
| | 02:26 | Zoom in out a little bit, so we can
see that a little more clearly again,
| | 02:29 | before and then after, just brightening up a
few areas there and also softening the skin.
| | 02:35 | Negative Clarity can be a
phenomenal way to smooth out texture of skin.
| | 02:40 | Now, of course you can go even further,
and you want to determine how far to go
| | 02:44 | based on your own preference and
the particular image. All right.
| | 02:47 | Well let's zoom back in on this
photograph here, and really if you are going
| | 02:50 | to dial in Clarity,
| | 02:51 | you want to be zoomed in all
the way, in this case to 100%.
| | 02:53 | Now the softness there is
looking, I think, really nice.
| | 02:57 | Again, here we have our before
and then our after. All right.
| | 03:02 | Well the next thing I want to do
is work on the Exposure in the eyes.
| | 03:04 | So I am going to click on the Plus icon,
in order to have a positive Exposure,
| | 03:08 | New Adjustment Brush, and here I'll
add a little bit of Contrast, touch of
| | 03:12 | Brightness and also some clarity and
sharpening here to this area of the image.
| | 03:17 | Next, I want to make my brush nice
and small, so I will go ahead, press the
| | 03:21 | Left Bracket key, and then I am going to
simply start to paint over this area of the eye.
| | 03:26 | As I do that, I want to bring in
a little bit of brightness there.
| | 03:29 | Lower the Flow amount.
| | 03:31 | I could do that by clicking on that
slider or by pressing the Minus key.
| | 03:35 | I am going to press the Minus key a
couple of more times over here, so that
| | 03:39 | this eye is brightened a little bit less than
this eye over here, because this one needs more.
| | 03:43 | This eye is already pretty bright
over here on our left. The right-hand
| | 03:46 | one needs a touch more.
| | 03:48 | Press the Plus key. Increase
our Flow a little bit more.
| | 03:51 | I am just going to bring in a
little bit more brightness there.
| | 03:54 | Now, my brightness spilled off into the eyelid.
| | 03:57 | I'll hold down Option on a Mac, Alt on a PC.
| | 04:00 | I am going to go ahead and paint over
that area to subtract that out, once I
| | 04:05 | have done that, make my
brush a little bit smaller here.
| | 04:08 | And then I'll go ahead and paint
this back into that area. All right.
| | 04:10 | Well let's press the V key to hide
those Pins. Those are really distracting.
| | 04:15 | Next, let's press the P key to look
at our before, and then now our after.
| | 04:21 | Let's zoom out a touch more,
so we can see how we are doing.
| | 04:23 | Here we have it, our before, and then our after.
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| Creating custom Adjustment Brush presets| 00:00 | The more you learn about the Adjustment
Brush, the more you'll want to integrate
| | 00:03 | it into your workflow, and inevitably,
what will happen is you'll start to use
| | 00:07 | this Adjustment Brush in similar ways.
| | 00:10 | In order to speed up your workflow,
what you can then do is create Presets, so
| | 00:15 | that you don't have to reset all of
your different controls every time you
| | 00:18 | want to use this tool.
| | 00:19 | Well, let's take a look at how we can do that.
| | 00:22 | Press the K key in order to
select the Adjustment Brush.
| | 00:25 | Then let's say that what we want to
do is create a few different presets
| | 00:28 | for skin smoothing.
| | 00:29 | Well, in the previous movie,
we talked about this, right?
| | 00:32 | So we'll go ahead and click on
the Negative Clarity icon there.
| | 00:35 | In this case, let's say we want to
simply add a little bit of Brightness here,
| | 00:37 | little bit of Exposure.
| | 00:38 | We're going to name this our
low skin smoothing setting.
| | 00:43 | In order to save all of these controls
as a Preset, we click on this icon here.
| | 00:47 | We choose New Local Correction Setting.
| | 00:50 | In this case, I'm going to go ahead and name
this one skin smooth - low and click OK.
| | 00:55 | Next, let's say we have another setting,
which has a little bit more clarity,
| | 00:58 | a little bit more Brightness amount, and a
touch of softening by lowering the Sharpness amount.
| | 01:03 | Well, here, we'll click on this icon, and
again, select yet another local correction.
| | 01:08 | We'll call this one skin
smooth - medium and click OK.
| | 01:12 | Well, let's say that we have one where
we really want to go for it, where we
| | 01:16 | really want quite a bit of skin
softening, and in this case, we'll go ahead and
| | 01:20 | save that out as a Preset.
| | 01:22 | Once again, click on that New Local
Correction Setting, and here we'll call
| | 01:25 | it skin smooth - high.
| | 01:29 | Now, to access those different Presets,
all that we need to do is to click on
| | 01:33 | this icon here and then click on
or target one of these Presets.
| | 01:36 | For example, if we choose medium, you'll
see how the controls will change, or if
| | 01:41 | we choose another option like low,
you can again see how these controls, or
| | 01:45 | amounts of these different controls, will change.
| | 01:47 | Now the point here isn't to say that
you need Presets for skin smoothing;
| | 01:52 | rather, point here is just to
illustrate this idea that if you ever find
| | 01:56 | yourself using similar settings across
multiple images, it may then be a great
| | 02:01 | idea to create a Preset, so that you
don't have to dial in the amounts of these
| | 02:05 | different controls every time you
want to create that particular effect.
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|
|
12. The Graduated Filter ToolEnhancing the foreground and background of an image with the Graduated Filter| 00:00 | One of the things that happens quite
often in photography is that we will have
| | 00:03 | an Exposure which is correct in one
area and which isn't correct in another.
| | 00:08 | Like with this image, for the most
part the Exposure on the truck here is
| | 00:12 | okay, but the sky is a little bit
bright, and the foreground perhaps is a
| | 00:16 | little bit bright as well.
| | 00:17 | What we can do to correct this is use a
tool which is called the Graduated Filter.
| | 00:22 | We can click on this tool here, or we
can press the G key in order to select it.
| | 00:27 | Now, once you click on that, you will
notice that we have the same type of
| | 00:30 | controls that we have with our Adjustment Brush.
| | 00:33 | That's really fascinating, isn't it?
| | 00:34 | We can work with Exposure,
Brightness, Contrast, and so on.
| | 00:38 | Well, let's say that what we
want to do here is darken the sky.
| | 00:41 | Let's click on the Preset
for a Negative Exposure.
| | 00:44 | That will then take that down.
| | 00:46 | I will go ahead and decrease
this perhaps a little bit more.
| | 00:49 | Next, what I am going to do with this tool
is hover over my image and click and drag.
| | 00:54 | And as I click and drag, you are
going to see two different points and two
| | 00:58 | different checkered lines.
| | 01:00 | Now, the green point is showing you
where this adjustment is hitting its full
| | 01:04 | intensity, and then it's slowly
softening or backening off to this red point,
| | 01:09 | and this red-and-white checkered line.
| | 01:11 | We can then approach this and click on
this point and rotate this one way or another.
| | 01:16 | As you can see, I am doing here.
| | 01:18 | Now, if ever we want to move this green
point, we will click on that, and then
| | 01:22 | you can drag that one as well.
| | 01:24 | You can see if the two points are close
together, there isn't much of a transition.
| | 01:28 | The further apart they are, the more
transition there is between those two
| | 01:33 | areas in the photograph.
| | 01:34 | The nice thing about this is we can then
have this nice smooth transition, where
| | 01:38 | a sky is indeed a little bit darker.
| | 01:41 | Let's make it a touch more darker so we
can see that, and then it slowly softens
| | 01:45 | out to where it's not
affecting the image at all down here.
| | 01:48 | Let's press the P key to
view our before and after.
| | 01:51 | Here is our before, and now here is our after.
| | 01:54 | Already the image is looking much better.
| | 01:56 | We can also work with the Color
Saturation a little bit there, add just a touch
| | 02:00 | of Brightness and
Contrast in that area of the sky.
| | 02:02 | We may also want to add a bit of color.
| | 02:05 | Sometimes when you darken things,
you affect the overall tone.
| | 02:09 | Let me exaggerate. When I go ahead and
decrease this all the way, the sky becomes black.
| | 02:14 | When I increase this, the sky becomes white.
| | 02:16 | So again, I am definitely directly
affecting the Color, or the Tone, of the sky.
| | 02:21 | In this case, to add color, click on
that Color Chip, and in this Color Picker
| | 02:25 | window, we can experiment with trying
out different colors. And it's going to be
| | 02:29 | kind of tricky to find the
right color, or the right blue.
| | 02:32 | Sometimes it's going to be just a
little tiny tint of color, which brings back
| | 02:36 | that nice blue tone there in the sky,
especially because we darkened that.
| | 02:41 | Here I will click OK in order to apply that.
| | 02:43 | Next, I am going to lower my brightness.
| | 02:45 | I think that was a little bit too strong.
| | 02:47 | And now what I want to do is hide this Overlay.
| | 02:50 | This Overlay is really distracting.
| | 02:52 | So I will press the V key.
| | 02:54 | That will then toggle on or
off the Show Overlay Option.
| | 02:57 | You can also simply click on this icon
here to either Show or Hide that Overlay.
| | 03:01 | Now, once we have created this effect,
we can also stack this effect up.
| | 03:05 | Let me show you what I mean.
| | 03:07 | I will press the N key in
order to create a New Adjustment.
| | 03:11 | Well, now what I am going to do is go
ahead and click and drag once again.
| | 03:14 | You can see that what I am doing here is I am
overlapping two adjustments on top of themselves.
| | 03:19 | Well, in this case, the Blue Tone isn't working.
| | 03:21 | So we will click on that Color Chip,
| | 03:23 | change this back to white and click OK.
| | 03:25 | And here we can then have another
control where we are working on the sky.
| | 03:29 | We could change the overall position
of this, or the angle, and in some ways,
| | 03:33 | sometimes by adding these together,
you can then create an effect that really
| | 03:37 | controls the sky in an interesting way.
| | 03:40 | For that matter, you can also
have these in different positions.
| | 03:43 | Let's say we want to
work on the foreground here.
| | 03:45 | Press the N key for New and then
go ahead and click and drag across
| | 03:49 | the foreground here.
| | 03:50 | And in this case, all that I am doing is
just darkening up that foreground a little bit.
| | 03:54 | I will add a touch of Contrast here,
and then I am going to Desaturate, so I
| | 03:58 | don't have quite so much color, and then
I will reposition this until I can find
| | 04:02 | a nice sweet spot here, just
darkening up that foreground. All right.
| | 04:05 | Well, let's press the V key
to hide all of those Overlays.
| | 04:09 | Then let's press the P key to
look at our before and after.
| | 04:13 | Here we have it before, and then now, after.
| | 04:17 | If ever we notice that one of our
adjustments needs to be changed, well,
| | 04:21 | just show those Overlays and then simply
click in the adjustment that you want to change.
| | 04:25 | For example, I will click in this one here.
| | 04:28 | Let's say that I have decided I don't need it.
| | 04:30 | We will press the Delete key.
Now that is completely gone.
| | 04:34 | Or if you want to make more subtle
adjustments, click on the Overlay icons
| | 04:37 | here, and in this case we can simply
modify these adjustments by dragging our
| | 04:41 | sliders one way or another. All right.
| | 04:43 | Well, let's take look at the
overall before and after one more time.
| | 04:47 | Press the V key to hide the
Overlay, then press the P key.
| | 04:51 | Here we have it before and then now, after.
| | Collapse this transcript |
| Reducing exposure with the Graduated Filter| 00:00 | Let's go ahead and take a look at how
we can use a Graduated Filter in order to
| | 00:04 | correct exposure, and also in order
to work with color in a unique way.
| | 00:09 | Here we have this
photograph of my daughter Sophia.
| | 00:11 | She couldn't even walk.
| | 00:13 | She is holding on with the couch,
and I love her little expression there.
| | 00:16 | Yet this right-hand side of the image
is overexposed, so we will correct this
| | 00:20 | with the Graduated Filter.
| | 00:22 | Press the G key to select that tool.
| | 00:25 | Next, what we want to do is we want to
choose a Preset for Negative Exposure, so
| | 00:29 | we will click on the Negative Preset
icon here and lower this even more.
| | 00:33 | Next, we will go ahead and hover over
this area of the image and click and drag
| | 00:37 | in order to darken up this portion of the photo.
| | 00:40 | Now, the only down side of this
darkening effect is that this has become a
| | 00:44 | little bit black, and we will see
that as I decrease this even more.
| | 00:48 | It's not a very flattering color.
| | 00:50 | It doesn't really work with that window light.
| | 00:52 | We want to warm that up.
| | 00:53 | We will go ahead and click on this
Color Swatch. Now what we can do is try to
| | 00:57 | find a nice color here, and as I click
through these different colors, we can
| | 01:01 | see it update in the background, and
here I can then determine or find a nice
| | 01:05 | color which kind of adds to
this overall darkening effect.
| | 01:09 | It doesn't make it quite so black, rather a
little bit more warm and inviting. All right.
| | 01:13 | We will click OK in order to apply that.
| | 01:17 | Next, we may want to reposition
these controls just a bit, or dial in our
| | 01:20 | exposure just so it looks perfect.
| | 01:22 | Then let's press the P key.
| | 01:24 | We will click on this Preview icon here.
Here we have our before, and then our after.
| | 01:30 | All right.
| | 01:31 | Well let's make another adjustment for
this couch over here. Press the N key
| | 01:35 | for a New adjustment.
| | 01:36 | Now in color, we have to do is go back
to our Color Picker and reduce this to
| | 01:41 | White, no saturation. Click OK.
| | 01:44 | Next, we will go ahead and click and
drag in order to darken this side of the
| | 01:48 | image, and we will find just the
right amount of darkening there.
| | 01:52 | And then if we want to add a color
over here, now we will click on this Color
| | 01:56 | Picker Swatch here. We can add just a
touch of color, and in this case, that
| | 02:00 | looks nice, here we can go ahead and click OK.
| | 02:02 | Well now to hide all of the
overlays, press the V key.
| | 02:06 | That will then hide those, and then press
the P key to look at our before and after.
| | 02:10 | Here we have before, and now
we have a corrected image after.
| | 02:14 | That's looking much better.
| | 02:15 | Well, the last thing that I want to
point out here is that we can work with
| | 02:18 | color in an interesting way.
| | 02:20 | Let's go ahead and open up our Color
Picker by clicking on this little Color Swatch.
| | 02:25 | Now, you will notice that you have some preset
colors here. You can change those at anytime.
| | 02:30 | Like let's say that we've
really liked this yellow color.
| | 02:33 | Well, simply hold down Option on Mac,
Alt on PC, hover over this little icon and
| | 02:39 | then set that as one of your presets,
and for that matter, you can go ahead and
| | 02:43 | select new colors as I am doing so here.
| | 02:46 | And then you can hold down Option or Alt,
and then you can click on these Color
| | 02:50 | Swatches here in order to save all
of these different colors as presets.
| | 02:54 | Then in order to use those, all we need
to do is to simply click into them, and
| | 02:59 | you can see how this is updating the
way that the image looks in regards to how
| | 03:03 | it's affecting the color in
this particular area. All right.
| | 03:07 | Well that wraps up our conversation
about how we can use a Graduated Filter to
| | 03:11 | work on Exposure and Color.
| | Collapse this transcript |
| Creative effects with the Graduated Filter| 00:00 | For the most part, you are going to
find that using the Graduated Filter is
| | 00:04 | going to be helpful for making corrections.
| | 00:06 | Yet, of course, there are going to be
those scenarios where you might be able
| | 00:10 | to have some fun with this particular
tool, in order to creatively enhance your
| | 00:14 | photographs and to experiment a little bit
with how you could potentially process an image.
| | 00:19 | Let's go ahead and take a look at a
couple of creative experiments here.
| | 00:23 | We will press the G key in order
to select the Graduated Filter.
| | 00:26 | Now the first thing that I want
to do is I want to work on color.
| | 00:29 | So how I am going to do that is I'm
going to go ahead and click on the Plus icon
| | 00:33 | for saturation here.
| | 00:35 | That will then take this to a
positive amount of Color Saturation.
| | 00:39 | Next, I'll click on this color chip.
I am going to add a nice bright color here
| | 00:42 | and click OK, and then I'll go ahead and click
and drag across the bottom of the photograph.
| | 00:47 | Now at this juncture, all that I am
trying to do is add a bit of a Hue down here.
| | 00:51 | So I'll go ahead and increase our
Color Saturation, go back in the Color
| | 00:55 | Picker, and here we are going to crank this
way up so that we have much more intense color.
| | 00:59 | Click OK.
| | 01:01 | Bring up the green dot so we
can see more of that purple color.
| | 01:04 | Again, really just changing the
overall sunset here and giving it this super
| | 01:09 | vibrant color palette.
| | 01:10 | We could do the same
thing with the sunset right.
| | 01:13 | Again, press the N key.
| | 01:15 | Now click and drag down.
| | 01:16 | Now in this case, this color up top is way
too saturated and way too much purple in it.
| | 01:22 | So let's remove the purple.
| | 01:23 | We will go ahead and take
that out and then click OK.
| | 01:25 | But here, simply even by adding that
amount of color saturation can really
| | 01:29 | boost that sky there.
| | 01:31 | Now in the sky let's add another Hue.
| | 01:33 | So we'll click on the color chip here.
| | 01:35 | What we are going to do is add a
little bit of blue to the sky and click OK.
| | 01:39 | And then we'll bring this green point down so
we can add some of that blue here. All right.
| | 01:44 | Well let's press the V key
to hide those overlay points.
| | 01:47 | Then press the P key. Here we have
our before and then now our after.
| | 01:52 | Now, in this particular example, I have
pushed this really far, but again, we're
| | 01:56 | just having some fun here.
| | 01:57 | We are getting creative.
| | 01:58 | We are trying to experiment with some
different ways in regards to how we could
| | 02:02 | actually use this tool. All right.
| | 02:04 | Well another thing we could do,
of course, is play with focus.
| | 02:07 | Let's click on Clear All to
remove all of those settings.
| | 02:11 | Next, what I want to do is
click on the Preset for Sharpness.
| | 02:14 | I'll click on negative Sharpness amount
Preset here, and then I'll drag this all
| | 02:18 | the way down, also quite
a bit of negative Clarity.
| | 02:22 | Now what I can do with this is simply
click and drag across the image, and here
| | 02:25 | you can see that I'm
making this area out of focus.
| | 02:28 | Press the V key. That will bring back our
tool overlays so we can reposition that
| | 02:32 | as needed, and I'll go ahead
and click and drag that out.
| | 02:36 | I can also click and drag from the other
side as well to try to create a little
| | 02:39 | bit of a tilt shift type of
a look here on this image.
| | 02:43 | And again, I'm just going to reposition
this, and then press the V key to hide
| | 02:47 | those overlays, and here we
have a very different photograph.
| | 02:51 | In order of view our before
and after, press the P key.
| | 02:54 | Here we have a before and then after.
| | 02:58 | So in closing, of course, the
Graduated Filter is great when you need to make
| | 03:02 | some enhancements or
corrections to your photographs.
| | 03:05 | But there also is quite a bit of
hidden creative potential with this tool.
| | 03:09 | For those of you who are intrepid
explorers, who like to create and experiment,
| | 03:13 | I recommend that you test this tool out
in some different ways, because I think
| | 03:16 | you might discover there are indeed
some really creative ways to use this tool
| | 03:20 | that you possibly haven't considered before.
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|
|
13. Working with DetailsNoise reduction | 00:00 | Almost every image that you capture
could benefit from it being worked on inside
| | 00:04 | of the Detail panel.
| | 00:06 | And in the Detail panel what we can do is
work on Sharpening and also Noise Reduction.
| | 00:10 | Here we are going to
focus in on Noise Reduction.
| | 00:13 | To select or to target the Detail panel,
we can either click on the icon here,
| | 00:17 | or we can press our shortcut.
| | 00:19 | On a Mac it's Command+Option+3,
on a PC, that's Ctrl+Alt+3.
| | 00:23 | Now, you notice down at the bottom it
says for a more accurate view, you need
| | 00:28 | to zoom in to 100% or higher.
| | 00:30 | And we need to do that because we can't
really discern if the Noise Reduction or
| | 00:35 | the Sharpening is good if we are zoomed out.
| | 00:37 | So let's zoom in to 100%.
| | 00:39 | There are a few different ways you can do that.
| | 00:41 | You can either double-click the Zoom
tool, or of course you can click on the
| | 00:45 | Zoom pulldown menu and then choose 100%.
| | 00:48 | Or if you prefer the shortcut, on a Mac
it's going to be Command+Option+0; on a
| | 00:53 | PC, that's Ctrl+Alt+0.
| | 00:56 | Well, use whatever technique you
prefer to zoom in to 100%, then press the
| | 01:01 | Spacebar key to access the Hand tool.
| | 01:03 | And click and drag to pan around the
image to become familiar with some of the
| | 01:07 | issues with this particular file.
| | 01:09 | Well, here, one of the things that I
notice is that there is quite a bit of noise.
| | 01:14 | I can see a lot of noise in the
background in regards to the color.
| | 01:17 | I also see a lot of Luminance Noise.
| | 01:19 | Let's go ahead and zoom in even closer,
simply for demo purposes, so that we can
| | 01:24 | really see the noise issues here.
| | 01:27 | Now, you are going to discover noise in
your files in a lot of different areas,
| | 01:31 | and some noise is going to be
simply because of the content.
| | 01:33 | For example, sometime
skin has a lot of variation.
| | 01:36 | So you may see a little artifacting or
strange noise, or sometimes you will see
| | 01:40 | this in the shadow areas, in the deeper tones,
| | 01:42 | or a lot of times you will see
it in skies, or in backgrounds.
| | 01:45 | Well, when we see noise all over the
place, what I want to do is first focus in
| | 01:49 | on Color Noise, because that's a
little bit easier to understand.
| | 01:52 | Well, down here you will notice
I have two controls for color.
| | 01:56 | The first one is simply the Color slider.
| | 01:58 | When I click on that, it
then activates the Color Detail.
| | 02:02 | Now, the higher I take this, the
less color variety I will have.
| | 02:05 | Let's exaggerate this so we can see
what's happening here. All right.
| | 02:09 | Well, one of the things that we can
see is, yeah, the background looks great.
| | 02:12 | It almost looks like it's
just gray rather than colorful.
| | 02:16 | But I also removed color in
the face in that same way.
| | 02:18 | There isn't as much color variety.
| | 02:21 | As a matter of fact, the
eyes aren't even blue anymore.
| | 02:24 | We will click on the Preview check box.
| | 02:25 | Here is before, and then here is after.
| | 02:28 | We also notice that the lips aren't
really differentiated from the teeth.
| | 02:32 | So we have removed so much
Color Detail that it's now negative.
| | 02:36 | So we have gone too far.
| | 02:37 | So what we typically need to do is to
take this control down and then slowly
| | 02:42 | bring it up and just look to reduce
or remove the color variety that's
| | 02:46 | distracting from the image,
| | 02:48 | in this case probably right about here.
| | 02:50 | And then if we want to see our
before and after, press the P key, here is
| | 02:53 | before, and then of course here is after.
| | 02:55 | Now, we should do a lot of this work at 100%.
| | 02:58 | So I am going to zoom back to 100%.
| | 03:00 | I will do so by double-clicking my Zoom tool.
| | 03:03 | This will really help me determine if
I have reduced an appropriate amount
| | 03:07 | of this Color Noise.
| | 03:08 | Let's press the P key. Here we
have it, before and then after.
| | 03:12 | On my monitor, this is
looking really nice. Okay.
| | 03:14 | Well, what about Color Detail?
| | 03:17 | Whenever we reduce noise, we are
actually losing a sense of dimension, because
| | 03:22 | Color and Tone gives us
dimension and variance and difference.
| | 03:26 | So we can modify this to have less
details, or we can crank this up to have more
| | 03:30 | details in the color areas.
| | 03:32 | Now, the one thing I want to say
about this control is that it does apply a
| | 03:36 | pretty subtle effect.
| | 03:37 | Certain images will benefit
from this more; others won't.
| | 03:40 | But typically, right around the middle
is going to be a pretty good spot for
| | 03:44 | this Color Detail amount. All right.
| | 03:46 | Let's move to another area of Noise
Reduction, and that is Luminance Noise.
| | 03:51 | Here we have three controls.
| | 03:53 | What we can do is click and drag this up,
and let's exaggerate things a bit, and
| | 03:56 | let's drag this all the way up.
| | 03:58 | Now, when I do that we can see that, yes,
we reduced a lot of the noise variance
| | 04:03 | that's based on luminosity, or brightness value.
| | 04:07 | But also the structure of the image is changing.
| | 04:10 | Let me show you what I mean.
| | 04:11 | If we reduce the details, so we don't
have many details in the frame, everything
| | 04:16 | is completely smudged out.
| | 04:18 | We have lost Dimension.
| | 04:19 | We have lost Texture.
| | 04:20 | We have lost Shape.
| | 04:21 | So this Luminance slider,
again, can be taken too far.
| | 04:25 | Let's keep it here in order
to understand what's happening.
| | 04:28 | Without any detail, how then does Contrast work?
| | 04:31 | Well, if we increase the Contrast amount,
what we are going to see it that this
| | 04:35 | slider kind of saves the day, in a sense.
| | 04:38 | Again, here is no Contrast, and
then here is a lot of Contrast.
| | 04:42 | So what it's trying to do is to
rebuild Dimension or Shadow or Shape.
| | 04:48 | And so this Contrast
slider can really help us out.
| | 04:50 | Well, obviously at this juncture,
these settings aren't very good.
| | 04:54 | What are more realistic
settings for an image like this?
| | 04:57 | Let's go ahead and double-click all
these controls to take them back to their
| | 05:00 | default setting, and then let's
start off with our Luminance amount.
| | 05:03 | What we want to do with Luminance is we
want to just bring this up to where we
| | 05:08 | start to see that the luminosity
variance, the little texture in the
| | 05:11 | background, is being reduced.
| | 05:13 | We also then want to dial
in our Luminance Detail.
| | 05:16 | And one of the things that I have
discovered is that Luminance and Luminance
| | 05:19 | Detail like to travel together.
| | 05:21 | Let me show you what I mean.
| | 05:23 | If I crank this all the way up, it's too high.
| | 05:25 | But if I bring up this Luminance
Detail amount, it's almost not that bad,
| | 05:30 | because what this did was soften out all the
details, and this brought some of them back.
| | 05:35 | So again, just keep in mind that these
two like to tend to be near each other.
| | 05:37 | Now, it's not always the case with
all images, but in a lot images it is.
| | 05:42 | So right here we have a nice amount
of Luminance, Noise Reduction, a good
| | 05:47 | amount of detail, and then I will bring up a
little bit of Contrast to add some Dimension.
| | 05:52 | And now, here this image is looking really good.
| | 05:55 | And keep in mind, with a photograph
like this, I don't want it to look too
| | 05:58 | glamorous, too soft, so I want to
have a good amount of detail here.
| | 06:03 | If I take this down too far, it's just
going to look a little bit soft focus,
| | 06:06 | not quite as edgy or as interesting
as I want for a photograph like this.
| | 06:11 | So I will bring in some of those details.
| | 06:13 | Now that I have dialed in all of
these controls, I will press the P key.
| | 06:16 | Here we have our before.
| | 06:18 | Press the P key again. Here he have our after.
| | 06:21 | The image is looking a ton better.
| | 06:23 | Let's zoom in a little bit
farther so we can see that even better.
| | 06:26 | Here we have the before and now
the after, after we have applied our
| | 06:31 | Noise Reduction.
| | Collapse this transcript |
| Reducing noise and sharpening | 00:00 | Now that we know a little bit about
Noise Reduction, let's go ahead and take a
| | 00:03 | look at how we can reduce noise
and also sharpen our photographs.
| | 00:07 | First, let's navigate to the Detail panel.
| | 00:10 | Let's do that by way of that shortcut.
| | 00:12 | It's Command+Option+3 on a Mac.
| | 00:15 | That's Ctrl+Alt+3 on a PC.
| | 00:17 | Next, let's zoom in to 100% on
this photograph of a fashion shoot.
| | 00:23 | Let's double-click the Zoom tool
in order to zoom in on the image.
| | 00:26 | Then let's press the
Spacebar key to click and drag.
| | 00:29 | And because we double-clicked on the
Zoom tool, it took this image to 100%.
| | 00:32 | Now, here, one of the things that we
can see is that there's quite a bit of
| | 00:37 | luminosity and color noise in the background.
| | 00:40 | One of the reasons why Noise Reduction
and Sharpening are grouped together is
| | 00:45 | because when we reduce noise, we
are essentially softening the image.
| | 00:48 | And then what we can do is add some
Sharpening in order to compensate for that,
| | 00:53 | or to add just a little bit of
Sharpening, just because the file needs it.
| | 00:56 | Yet sometimes, when we sharpen, we
then exaggerate or add a bit of noise.
| | 01:01 | So then we need to bounce
back to our Noise Reduction.
| | 01:04 | We kind of do this back and forth
dance between these two sets of controls in
| | 01:08 | order to come up with some good results.
| | 01:10 | What we know so far about Noise
Reduction is that if we increase our Luminance
| | 01:14 | amount, what we can do is really
remove all the luminosity variants.
| | 01:18 | Now, a lot of times we then need to add
a little bit of color Noise Reduction.
| | 01:22 | Already, this image is looking a ton better.
| | 01:24 | We can of course dial in the
appropriate amount of detail for that
| | 01:28 | Luminance Noise Reduction.
| | 01:30 | I want a little bit less detail here,
little bit more Noise Reduction.
| | 01:34 | Then I will add a little bit of contrast,
just to bring up the dimension or the shape.
| | 01:38 | You will notice though that as you increase
these different controls, you can bring
| | 01:42 | back some more color.
| | 01:44 | Let me exaggerate this for a second.
| | 01:45 | Here you can see now my background,
if we zoom in on it perhaps, you can
| | 01:49 | see there's just a little bit of
color variance here, which wasn't there
| | 01:52 | when my contrast was lower.
| | 01:54 | Now, of course it's going to be tough
to see this in this movie, but you will
| | 01:57 | have to look on your own images.
| | 01:59 | So just if ever you notice that you
bring something back, either with your
| | 02:03 | Detail or with your Contrast slider,
just go ahead and increase the Color amount
| | 02:07 | a little bit more until
it looks good. All right.
| | 02:09 | We will press the Spacebar key to realign that.
| | 02:13 | Well, now that I have done this, I
want to look at my before and after.
| | 02:16 | I will do so by pressing the P key.
| | 02:18 | Here we have our before and then our after.
| | 02:21 | While this looks good in regards to
noise, the image has become too soft.
| | 02:26 | So I need to work on the Sharpening of the file.
| | 02:29 | Here we have a number of different controls:
| | 02:31 | Amount, Radius, Detail, and Masking.
| | 02:34 | One of the things we will probably do
first is we will increase the overall
| | 02:37 | Amount or intensity of the Sharpening.
| | 02:40 | As we do that, we can see that these edges,
or the edge detail, is becoming more prominent.
| | 02:45 | We will also notice that it's starting to
exaggerate some more of the noise. All right.
| | 02:49 | Well, what about Radius?
| | 02:51 | Well, for most images you are
going to have a Radius less than 3.
| | 02:55 | It's going to depend on the type of
details that you have in your photographs.
| | 03:00 | What this does is it extends the
Sharpening out from a particular edge.
| | 03:04 | So let's take a look at a lower
Radius amount versus a high Radius amount.
| | 03:08 | Take a look at the edge here on the top.
| | 03:10 | I will zoom in on that.
| | 03:11 | Again, here's a low Radius.
| | 03:12 | You can see the edge is pretty
tight, and then here's a high Radius.
| | 03:15 | It's extending out a little bit further there.
| | 03:18 | So again, typically, we are going to
want a pretty low Radius there. All right.
| | 03:21 | I will double-click the Zoom tool,
take it back to 100%. What about Detail?
| | 03:27 | Well, Detail is really interesting!
| | 03:29 | This will sharpen small details.
| | 03:31 | And similar to this Detail slider, that if
we drag to the left, that means less Detail.
| | 03:36 | This slider works that same way.
| | 03:38 | Drag it to the left, and we can see that
those small Details now aren't sharpened.
| | 03:42 | Drag it all the way to the right.
| | 03:44 | You can see that, yes, I am bringing
Sharpening into the little tiny details,
| | 03:47 | the texture in the file.
| | 03:49 | So a lot of times what you will do is
with people, you are going to have almost
| | 03:52 | 0 amount of Detail, or a really low amount.
| | 03:55 | With architecture or landscapes,
you might crank that up a little bit.
| | 03:59 | Next, we can increase this Masking
amount in order to limit the Sharpening
| | 04:03 | to particular areas.
| | 04:05 | What this will do is it will slowly
look at our image and just bring the
| | 04:08 | Sharpening back to the edges.
| | 04:10 | So as we increase Masking, the
Sharpening is more focused on edge detail.
| | 04:16 | As we decrease that slider, it's
more focused on the entire image.
| | 04:21 | So here, I want to bring up just
the Sharpening on the edges, so I will
| | 04:24 | increase my Masking amount.
| | 04:25 | Now, as we increase this Masking amount,
and as it focuses more on the edges, we
| | 04:30 | can also probably add a touch more of
Sharpening here, in order to bring back
| | 04:34 | some of those details. So far so good.
| | 04:36 | Let's see how we are doing.
| | 04:37 | We will press the P key. Here we
have our before and now our after.
| | 04:42 | So at this juncture, the image isn't
soft, but we have the noise reduced.
| | 04:46 | Let's zoom in a little
further, so you can see this.
| | 04:48 | Here we have our before, and then now our after.
| | 04:52 | So we were able to almost bring
back all of that edge detail, a nice
| | 04:57 | Sharpening effect that we had in the
original file, that was softened once we
| | 05:02 | did our Noise Reduction.
| | 05:03 | So in this case, we have some really
nice Detail, we have some really nice Noise
| | 05:08 | Reduction, and this image is good to go.
| | 05:10 | The only thing we might want to do is
perhaps add just a touch more Detail
| | 05:13 | Sharpening perhaps, just a point or two,
maybe a little but more Sharpening if
| | 05:17 | we want to bring some of that up.
| | 05:19 | Then here we have it,
our before, and then after.
| | 05:22 | Let's zoom back to 100%.
| | 05:24 | We can do so by double-clicking the Zoom tool.
| | 05:27 | Let's just click and pan around the image,
so we can see a couple more details here.
| | 05:31 | And then one more time, click on that
Preview check box, before and after.
| | 05:36 | That's some phenomenal
Noise Reduction and Sharpening.
| | 05:39 | I can say that because the Noise
Reduction and the Sharpening inside of this
| | 05:43 | latest version of Adobe Camera Raw is
so much better than the previous version.
| | 05:48 | Previously, the Sharpening and Noise
Reduction became a little bit painterly.
| | 05:52 | What they have done is they have
really rewritten how this works.
| | 05:56 | What you will soon discover as you use
this is it will help you come up with
| | 06:00 | images that look just a ton better than they
did previously in other versions of Camera Raw.
| | 06:05 | So if you haven't yet experimented
with these different controls, at this
| | 06:09 | juncture, here's what I recommend.
| | 06:11 | Go ahead and open up one of your own
images and take what we have learned here
| | 06:15 | in these last couple of movies and
see if you can apply that to your own
| | 06:18 | photographs, so that you can really
start to become familiar with some of these
| | 06:22 | controls and how they work.
| | 06:24 | Then once you spent a couple of
minutes working on one of your own images, go
| | 06:28 | ahead and rejoin me as we continue
to dig into how we can work with these
| | 06:32 | controls in even more
efficient and effective ways.
| | Collapse this transcript |
| Sharpening more effectively | 00:00 | Here, I want to share with you a really
simple tip that will help you get even
| | 00:03 | more out of using your noise
reduction in your sharpening controls.
| | 00:07 | Well, the first thing that we need to do
before we do anything is we need to get into 100%.
| | 00:12 | Let's do so by way of a shortcut, press
Command+Option+0 on a Mac, Ctrl+Alt+0 on Windows.
| | 00:20 | Next, let's navigate to the Detail
panel by way of a shortcut as well.
| | 00:24 | This one is Command+Option+3 on a Mac,
Ctrl+Alt+3 on Windows, or of course, we
| | 00:30 | can simply click on the tab here, or
to zoom into 100%, we can also just
| | 00:35 | double-click on the Zoom tool. All right.
| | 00:37 | Well, here we can see as we zoom in on
this photograph that there's a lot of
| | 00:41 | noise in the background, and that this
image is going to need a little bit of work.
| | 00:45 | So, let's say we go ahead, and we've
reduced some of the luminance noise here,
| | 00:48 | and we maintain some details by
bringing that Detail slider up there, nice
| | 00:52 | amount of contrast, a little
bit of color noise reduction.
| | 00:56 | Now our noise reduction is set, yet
we need to sharpen the image as well,
| | 01:00 | because if we press the P key, here we
can see our before, and then our after.
| | 01:05 | The image is a little bit soft.
| | 01:07 | Let me zoom in even further, so you can
really see this. Here we have our before
| | 01:11 | and then now our after.
| | 01:14 | You can zoom in and out on your photos
by pressing Command on a Mac, Ctrl on
| | 01:18 | Windows, and than Plus or Minus.
| | 01:21 | I'll go ahead and zoom out by
pressing Command+Minus or Ctrl+Minus.
| | 01:25 | Well, now that we've seen that the
image is indeed a little bit soft, how can
| | 01:28 | we sharpen this file?
| | 01:29 | Well, what you can do is you can
actually hold down the Option key on a Mac, Alt
| | 01:34 | key on Windows, and then click and
drag the various Sharpening sliders, and
| | 01:38 | you'll get a different
perspective of what's happening.
| | 01:40 | Well, if we hold down Option or Alt
and click and drag Amount, here we see a
| | 01:44 | grayscale version of the image.
| | 01:46 | As I drag this to the right, this really
helps us identify what's happening when
| | 01:51 | we sharpen the image.
| | 01:52 | Now let's exaggerate the sharpening
for a moment, so we'll leave this really
| | 01:55 | high here, and then make our way to Radius.
| | 01:58 | Now, if we do the same thing, hold
down Option or Alt, and then click and
| | 02:02 | drag Radius, what we're going to
see is that the sharpening is going to
| | 02:05 | extend out from those edges.
| | 02:06 | Now they're almost glowing.
| | 02:08 | If we want to tighten this up, so the
radius is really close to the edges,
| | 02:12 | we can have a really small or low
amount with regards to our radius.
| | 02:16 | Okay, well, how then does detail work?
| | 02:18 | Well, we already know a little bit about this.
| | 02:20 | If we hold down Option or Alt and
click and drag, here we're going to see all
| | 02:23 | the little teeny details are now sharp,
and then if we drag to the left, those
| | 02:28 | little details aren't sharp.
| | 02:29 | Okay, but what about masking?
| | 02:31 | Well, you may remember that what I
said about masking is that as you increase
| | 02:35 | this, it focuses in on the edges more and
more, and if you've worked with Photoshop
| | 02:40 | before, you know that a mask in
Photoshop is either in black or in white.
| | 02:45 | Black conceals and white reveals.
| | 02:47 | We'll hold down Option or Alt, and
then click and drag this slider, and here
| | 02:51 | you can see that what's happening is it's
going to limit the sharpening to a particular area.
| | 02:56 | As I click and drag this up, black is
concealing the sharpening effect from the sky.
| | 03:01 | Now, that's really helpful, because we
typically don't want to sharpen skies.
| | 03:06 | Skies are one of the most problematic
areas in digital photography, just because
| | 03:10 | of the color variation, the gradation.
| | 03:13 | So therefore, we don't want to exaggerate that.
| | 03:15 | For that matter, soft skies or
soft clouds typically look best.
| | 03:19 | So in this case, I'm now limiting the
sharpening just to the areas where it's white.
| | 03:24 | Now, if there's an area where it's
gray, like on some portions of the
| | 03:27 | motorcycle, then it's going to be a little
bit less sharpening amount in those areas.
| | 03:32 | So again, we have this really nice
mask, which is limiting the sharpening
| | 03:36 | to particular areas.
| | 03:38 | Now, my sharpening amount is way over-
exaggerated, but by increasing my masking
| | 03:43 | amount, it's now limiting that sharpening
just to the cyclist here, and it's not that bad.
| | 03:48 | Well, of course, we need to bring our
Amount back down, but this just kind of
| | 03:52 | illustrates really the
power of this last slider.
| | 03:55 | It's incredibly strong! All right.
| | 03:56 | I'll go ahead and bring my Amount
down a touch, and then my Detail,
| | 04:00 | I'm also going to bring down as well.
| | 04:03 | I don't want to go too far with that one.
| | 04:05 | Now, let's press the P key.
| | 04:07 | When we do so, we can see the before and
then now the after, really adding a lot
| | 04:12 | of snap back to that cyclist there.
| | 04:14 | Now, if ever we've gone too far or if
we feel like our radius is too high,
| | 04:18 | well, we can lower that of course, and
we can lower our amount until we find
| | 04:22 | just the right sweet spot, just the
right mixture or combination of these
| | 04:26 | different controls.
| | 04:27 | I think right here it looks incredibly good!
| | 04:31 | Why I can say that is because I'm really
looking at my edges, I don't want any glowing edges.
| | 04:36 | I want to have nice detail across the image.
| | 04:39 | I want to have the sky nice
and smooth in the background.
| | 04:42 | So, in this case, I might even go
ahead and just lower a little bit of that
| | 04:45 | detail there, in this case, to bring just a
little bit more noise reduction in the background.
| | 04:50 | A lot of times, you'll bounce back
and forth between these controls.
| | 04:54 | I'll bring up my Luminance
Noise Reduction a touch more there.
| | 04:57 | Okay, I think that looks good.
| | 04:58 | Let's press the P key. Here we
have it before, and then now after.
| | 05:03 | I'll zoom in a touch
further, so you can see that.
| | 05:05 | Here we have our before, and then
after, really natural-looking sharpening,
| | 05:10 | great noise reduction, and along the way,
we learned a valuable tip about using
| | 05:15 | the Option key while
clicking and dragging these sliders.
| | 05:18 | Now, the last thing that I have to
point out here is that sometimes we may work
| | 05:23 | on our noise reduction or
sharpening, not at 100% or higher.
| | 05:27 | So, let's say that we decide to zoom out.
| | 05:29 | I'll go ahead and click on the Minus
icon to zoom out, or I'll hold down Option
| | 05:34 | or Alt while I have the Zoom tool selected.
| | 05:37 | Then I'll click to zoom out as well.
| | 05:39 | Now, as I do this, you can
see here I'm at 50% zoom rate.
| | 05:44 | Well, let's say that here I
decide I want to apply some sharpening.
| | 05:47 | So, hold down Option or Alt, then
I click and drag my Detail slider.
| | 05:52 | Well, at this juncture, I can't
really see these details very well.
| | 05:57 | The further that I zoom out from this,
and the further that I try to evaluate
| | 06:01 | the details, it really becomes quite irrelevant.
| | 06:03 | Now, on the other side of the equation,
sometimes what happens is we really
| | 06:08 | get into our images.
| | 06:09 | Let's say we zoom way into our files,
and we keep clicking and clicking and
| | 06:13 | clicking, and we're here at 300%.
| | 06:15 | Then we try to dial in the right detail amount.
| | 06:18 | Well, it's near impossible.
| | 06:20 | It's as if we're looking at our
images under a magnifying glass.
| | 06:24 | So, one of the things that you're going to
have to do is try to find the sweet spot.
| | 06:28 | Now sometimes, that's 100%, but
sometimes with higher megapixel cameras, 100%
| | 06:34 | is even too much.
| | 06:36 | So again, you're going to have to do a
little bit of a give-and-take, zooming in
| | 06:40 | and out right around 100.
| | 06:42 | Typically, what I do is I look at the
image at 50%, at 100%, at 150%, and I
| | 06:47 | go back and forth between the zoom
rates, just to take a look at how the
| | 06:52 | detail looks at those different
rates, and I also think about the final
| | 06:56 | intent of the photograph, because
what we're doing here is input sharpening
| | 07:01 | and noise reduction.
| | 07:02 | And I need to think about, okay, how am
I going to print this image, where is it
| | 07:05 | going to be displayed, what type of
paper will it be printed on, what type of
| | 07:09 | magazine will it be printed in?
| | 07:10 | And I think of all those different
factors, and then that helps me dial in the
| | 07:14 | most appropriate amount of
sharpening and noise reduction.
| | Collapse this transcript |
| Edge sharpening in an architectural photograph | 00:00 | Here I want to apply what we know
about sharpening in order to simply
| | 00:03 | sharpen some edge detail.
| | 00:05 | So let's go ahead and press our
shortcut to navigate to the Detail panel.
| | 00:09 | It's Command+Option+3 if you are on a Mac.
The same shortcut on Windows is Ctrl+Alt+3.
| | 00:15 | Next, let's zoom into 100%, and here we
can do that by pressing Command+Option+0
| | 00:22 | on a Mac, Ctrl+Alt+0 on a PC. All right.
| | 00:25 | Well, now here we can see
we're zooming in on this hotel.
| | 00:29 | You can see that we have all of
these really interesting edges.
| | 00:32 | Let's say that what we want to
do is just sharpen the edges.
| | 00:35 | Well, you remember the shortcut, which
is to hold down the Option or the Alt key
| | 00:39 | and then to click and drag
these different controls.
| | 00:41 | Here I'll bring my Amount up, and then
I'll go ahead and Option+Click on Radius.
| | 00:46 | We can see that I can extend out
from those edges, or I can decrease that
| | 00:50 | Radius, which extends
out from the contrast area.
| | 00:53 | In this case I want it really
tight, just along the edges there.
| | 00:57 | Detail, Option+Click and drag that.
| | 00:59 | We can see that brings in artifacting.
| | 01:01 | Bring and drag this down.
| | 01:02 | Again, it's just going to really
focus in on those nice edges there.
| | 01:05 | Masking, hold down Option or Alt,
click and drag up, and here you can
| | 01:09 | see, again, as we increase our
Masking amount, it's going to limit or
| | 01:14 | allow the sharpening to be affected just to
these edge detail areas, not to the background.
| | 01:19 | So in this case I can really crank up
my Masking amount, so I have just nice
| | 01:24 | edged detail sharpening.
| | 01:26 | Well here, what we want to do is click
on the Preview check box, and look at our
| | 01:30 | before and then our after.
| | 01:32 | But once we do that we may notice
that we're not seeing much sharpening.
| | 01:36 | We are not seeing much sharpening,
because our Amount and our Radius are so low.
| | 01:40 | So now that we've dialed in this
Masking and gone through these sliders,
| | 01:43 | we then want to go back, hold down
Option or Alt, click and drag this up to add
| | 01:47 | a bit more sharpening, also click and
drag this to add a little bit more Radius
| | 01:51 | there, and then once we have done that
we can press the Spacebar key and pan
| | 01:55 | around the image and then
click on the Preview check box.
| | 01:58 | Here is our before and then our after.
| | 02:01 | I'll zoom a little bit more so you can see that.
| | 02:03 | Here we have before and then after, really
just sharpening up these different edges.
| | 02:08 | And you know sometimes, your images can
benefit from this, especially when you
| | 02:12 | have those really clean and crisp
photographs where you just want exaggerate or
| | 02:16 | bring out the edge in order
to add a little bit of snap.
| | 02:20 | Sometimes I think of edge sharpening
kind of like what cartoonists do, when they
| | 02:24 | draw a cartoon character,
occasionally what they'll do is add a black edge
| | 02:28 | around the character. Or perhaps I
think of it like what stained-glass artists
| | 02:33 | do, where they have a big area of color,
but then they have a black edge or a
| | 02:36 | silver edge around that, and that edge
that makes that color more vibrant, more
| | 02:41 | interesting and more powerful.
| | 02:43 | So sometimes edge sharpening can
really add just a little extra snap to our
| | 02:47 | photographs, and now we know how to
do that pretty effectively by using the
| | 02:52 | Detail panel, and in particular, by
using these sharpening controls in order to
| | 02:56 | really limit that
sharpening just to those edges.
| | Collapse this transcript |
| Sharpening a portrait| 00:00 | Here I want to take a look at
how we can sharpen a portrait.
| | 00:03 | Let's go ahead and navigate to the Detail panel.
| | 00:05 | You can do so by clicking on the Tab
here, or by pressing the shortcut key. On a
| | 00:10 | Mac Command+Option+3; on Windows Control+
Alt+3. Next, we need to zoom in to 100%.
| | 00:18 | We can do so by pressing Command+
Option on a Mac or Ctrl+Alt on Windows, and
| | 00:23 | then pressing the 0 key.
| | 00:25 | Next, we'll press the Spacebar key, and
we'll click and drag to pan around this
| | 00:29 | image, so we can view the
important detail here in this photograph.
| | 00:32 | I am just going to zoom way in on the face here.
| | 00:35 | When we look really close to the face
of this high-resolution file, we can see
| | 00:39 | that the face has a lot of different
little teeny variants here in that skin.
| | 00:43 | So one of the things that you
typically want to do when sharpening a portrait
| | 00:46 | is that you want to have a real low
amount of sharpening that's distributed
| | 00:50 | just to the edges, so here what we can
do is go ahead and increase our Amount a
| | 00:54 | little bit. Our Radius, we need to drop down.
Our Detail, it has to be all the way down to 0.
| | 00:59 | This is almost always the
case with people photographs.
| | 01:02 | Let me show you what I mean.
| | 01:03 | If I have a high detailed Amount,
it's going to then exaggerate all of the
| | 01:07 | variation that we have in skin.
| | 01:09 | We don't want that.
| | 01:10 | So we want to have a low detail Amount.
| | 01:12 | Also want to have a
moderately high Masking amount.
| | 01:15 | Now in this case once we've dialed in
low detail, medium level of masking, we
| | 01:20 | can then go ahead and increase our
Amount a little bit, and then just find just
| | 01:23 | the right amount of the Radius. All right.
| | 01:25 | Well, let's take a look at our before and after.
| | 01:27 | Here we have it, before and then after.
| | 01:30 | Subtle, yet significant sharpening.
| | 01:32 | We see nice detail in the eyes, nice
detail on the beard here and the face.
| | 01:35 | Again, our before and after.
It looks crisp, looks sharp.
| | 01:40 | It's going to print really well.
| | 01:41 | We are not exaggerating
anything in a negative way.
| | 01:44 | I'll zoom out just a little bit more
to take a look at that, this view here,
| | 01:48 | again, before and after.
| | 01:50 | And at this view, and also the other
one, I think I can take my Amount up a
| | 01:53 | touch more here to even make that better.
| | 01:55 | Again, our before and after, and
then zooming into 100%, here we have it,
| | 01:59 | before and then after.
| | Collapse this transcript |
| Using the Detail panel to soften skin| 00:00 | In this movie, we're going to break
the rules a little bit, and rather than
| | 00:03 | using the Detail panel in order to
reduce noise or sharpen, we're actually
| | 00:08 | going to use this panel to come up
with a technique which will give us really
| | 00:12 | nice skin softening.
| | 00:13 | Well, here is what we are going to do.
| | 00:14 | Let's go ahead and select the Detail
panel by clicking on the Tab here, or by
| | 00:18 | pressing the shortcut.
| | 00:20 | That's Command+Option+3 if you're on a
Mac; on Windows, that's Ctrl+Alt+3. Next,
| | 00:26 | what I want to do is zoom in on this
image and take a look at some of the detail
| | 00:29 | we have in the skin.
| | 00:31 | We can zoom in on this photo to 100% by
simply double-clicking on the Zoom tool.
| | 00:36 | Next, press the Spacebar key, and
click and drag to reposition this.
| | 00:40 | Now this image looks really good, the
sharpness and detail is really nice.
| | 00:43 | But let's say we just want to
reduce the skin texture and some of the
| | 00:47 | variance there just in order to create a
little bit of an interesting skin softening effect.
| | 00:51 | Well, what we can do is we can
actually use our Noise Reduction controls
| | 00:56 | in order to do this.
| | 00:58 | Let me show you what I mean.
| | 00:59 | Well, here I am going to go ahead and
increase the Luminance amount of my Noise Reduction.
| | 01:03 | Now as I do that, you can see that
the image is really becoming soft.
| | 01:07 | Now, if I decrease the Detail here, we're
seeing that we're really losing the detail.
| | 01:11 | This is all kind of
blending together quite nicely.
| | 01:14 | Now in this case, I want to bring
up a little bit of contrast just so I
| | 01:17 | have that dimension. All right!
| | 01:19 | Well you may be thinking,
okay Chris, this is crazy.
| | 01:22 | The eye looks horrible.
| | 01:23 | We've lost all the sharpness there.
| | 01:25 | Well yeah, I'm aware of that, but stick with me.
| | 01:27 | See me through on this one, because I think
you'll really benefit from this technique.
| | 01:32 | Next, we're going to
increase our color Noise Reduction.
| | 01:34 | That's going to decrease all the
variety in the skin tones there and
| | 01:38 | really smooth those out.
| | 01:40 | Using this control alone can just
help out your images by leaps and bounds,
| | 01:44 | especially in regards the skin.
| | 01:47 | Well now that we've done all of this, I
am going to go ahead and also reduce my
| | 01:51 | Detail amount here on the
Sharpening and lower the Radius.
| | 01:54 | I just want really nice soft and smooth skin.
| | 01:58 | Next, we're going to open the image in
Photoshop, so we'll click Open Image.
| | 02:02 | This will then open that file inside
of Photoshop with those settings that we
| | 02:07 | dialed in, in the Detail panel.
| | 02:09 | The next step that we need to take is
to go back to Adobe Bridge, re-open this
| | 02:14 | JPEG inside of Camera Raw.
| | 02:16 | Let's do so by pressing Command on Mac,
Ctrl on Windows, then pressing the R key
| | 02:22 | to open this up in Camera Raw.
| | 02:24 | Let's go back to the 100% zoom rate by
double-clicking the Zoom tool, press the
| | 02:28 | Spacebar key to click and drag.
| | 02:30 | Next what we are going to do is we are
going to click on the Detail panel, and
| | 02:33 | here what I want to do is I want to
reset all of my Noise Reduction controls.
| | 02:38 | I can do so by double-clicking on the
tabs here to take my Luminance and my
| | 02:42 | Color Noise Reduction back to default 0.
| | 02:46 | Next, I am going to go ahead and
bring up a little bit of sharpening here.
| | 02:49 | I want to have some nice details here,
because I want to have a nice, crisp, sharp eye.
| | 02:53 | Also, you may want to bring
in some other details as well.
| | 02:57 | So here what we're doing is we're
processing this image in two different ways.
| | 03:02 | One set of controls or settings here
for the skin, another for that eye.
| | 03:06 | I am just going to go ahead and bring this up.
| | 03:08 | I want to have a lot of nice
really good detail there in the eye.
| | 03:12 | Next, let's click Open Image to
open this image up inside of Photoshop.
| | 03:17 | This particular technique
is actually quite powerful.
| | 03:21 | What we're doing conceptually is we're
creating two versions of the same image,
| | 03:26 | then in Photoshop what we can do is
combine these two images together.
| | 03:31 | Let me show you what I mean.
| | 03:32 | We'll go ahead and press the
V key to select the Move tool.
| | 03:36 | Next, I am going to click on the
image that's really nice and sharp.
| | 03:39 | I'll hold down the Shift key, and
I'll click and drag this to the image
| | 03:43 | that's really soft.
| | 03:44 | Next thing we are going to do is go
ahead and press F to go to Full Screen View
| | 03:47 | mode, and then I'll zoom in on the
photograph by pressing Command or Ctrl+Plus.
| | 03:52 | I am going to close this little Info
panel here because we don't need that.
| | 03:55 | Well now that I've zoomed in on
this image, here I can see I have some
| | 03:59 | nice detail in the eyes.
| | 04:01 | The skin just has a
little bit too much variation.
| | 04:04 | I want to soften it up.
| | 04:05 | All that we need to do to soften
the skin is to add a layer mask.
| | 04:10 | We'll do so by simply clicking on the
Add Layer Mask icon over here Layers panel.
| | 04:15 | Next, we'll grab our Brush, and we'll
select Black as a color in our foreground
| | 04:20 | color there, and then we'll lower our
Opacity a little bit, and then let's
| | 04:24 | decrease that Brush Size.
| | 04:25 | That's a little bit too big.
| | 04:27 | We want a Brush size that's pretty big.
| | 04:29 | We also want 0 Hardness, but
not too big. That looks good.
| | 04:34 | Then from here, all that I am going
to do is go ahead and start to paint in
| | 04:37 | this softening effect.
| | 04:39 | You can see that already simply by
adding that little bit of softening on the
| | 04:42 | cheek, the image is looking so much better.
| | 04:45 | I'll make my Brush a little bit smaller.
| | 04:47 | I'll press the 3 key, takes the Opacity
to 30% here, and then I am just going to
| | 04:52 | go ahead and paint over this area of the skin.
| | 04:54 | And I am just going to be really careful
to bring in some of the softening. Keep
| | 05:00 | in mind that's not just softening.
| | 05:01 | It's also reducing the
variance in the color of the skins.
| | 05:06 | This is just going to be a great
way to make the skin look really nice.
| | 05:10 | In this case, I'm painting with a real
low opacity, just so I can build this
| | 05:14 | effect up little by little here.
| | 05:16 | I'll go ahead and paint across the forehead.
| | 05:18 | If I ever want to increase my opacity,
I'll just crank that up and then go ahead
| | 05:23 | and paint over some of those areas
that you know will benefit from this
| | 05:26 | particular softening.
| | 05:27 | Well, so far, so good.
| | 05:30 | The image looks amazing, and that's
the trick with this is there's lots of
| | 05:34 | different ways to soften skin.
| | 05:36 | This particular technique does just
such a good job because we're working
| | 05:41 | with those raw controls which are
really quite powerful and give us this nice
| | 05:45 | look here, and it also didn't take us a lot
of effort to dial in this particular effect.
| | 05:50 | Well, I am going to press the 6 key,
take my Opacity to 60%, just apply this a
| | 05:56 | little bit stronger in a couple of
areas where I am seeing some of these
| | 05:59 | larger variations there.
| | 06:00 | Next, I'll zoom out a bit.
| | 06:02 | If I soften the face, I need
to soften the skin here as well.
| | 06:05 | So I'll go ahead and paint over this area
of the image, and also this part of the arm.
| | 06:10 | I am changing my Brush Size by pressing
the Left Bracket key to make it smaller,
| | 06:15 | or the Right Bracket key to make it bigger.
| | 06:17 | Well now let's zoom back in on the
photograph, and I'll zoom way in so we can
| | 06:21 | actually see these nice details here.
| | 06:24 | Let's click on our before and after,
and we can actually do so hereby
| | 06:27 | Shift+Clicking on our mask.
| | 06:29 | If you hold down the Shift key and click on
this mask, it will disable this view temporarily.
| | 06:34 | So here we have our before. Click again.
| | 06:36 | There we have our after.
| | 06:38 | Really nice, and really
natural looking, skin softening.
| | 06:42 | Let me zoom in even further so you can see that.
| | 06:44 | Again, before, and then after.
| | 06:47 | I'll zoom in even further, and we
have that before and then after.
| | 06:52 | Now, the great thing about this
technique is we can then take advantage of the
| | 06:56 | many different things we can do with
this mask right inside of Photoshop.
| | 06:59 | Let me show you what I mean.
| | 07:01 | Well, I can go to the Mask panel.
| | 07:02 | Here I can soften the edges of my mask
by simply increasing this Feather amount.
| | 07:07 | This can give me a little bit more of a
transitional edge in regards the areas that
| | 07:11 | I painted on the photograph.
| | 07:13 | I can also dial in the Density of the mask.
| | 07:15 | If I take this all the way down to 0,
well that's no softening at all.
| | 07:19 | Well then I can slowly bring this up
and find just the right amount of skin
| | 07:24 | softening, because certain images will
benefit from a bit more softening, while
| | 07:29 | other images you might want to go for
something that's just really, really
| | 07:32 | subtle, really clean looking,
like say, a percentage at 65 here.
| | 07:36 | Well, now when I Shift+Click that mask,
we can see our before and then after,
| | 07:40 | just a really nice subtle
softening there in the photograph.
| | 07:44 | Well, that wraps up our look, and
how we can use the Detail panel in an
| | 07:49 | unorthodox way in order to come up
with some really stunning results in
| | 07:52 | regards to skin smoothing.
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|
|
14. HSLIntroducing HSL| 00:00 | The HSL controls inside of Adobe
Camera Raw give you just hands-down
| | 00:04 | incredible control of different
aspects of your image, whether it's Hue,
| | 00:08 | Saturation, or Luminosity.
| | 00:10 | What I want to do here is simply
deconstruct how these controls work.
| | 00:14 | So let's go ahead and
navigate over to the HSL panel.
| | 00:17 | We can do so by clicking on the icon
here, or by pressing the shortcut key.
| | 00:22 | On a Mac, that's Command+Option+4; on
Windows, that's Ctrl+Alt+4. Now, the first
| | 00:28 | thing that you see here is that we
have these different panels: Hue,
| | 00:30 | Saturation, or Luminance.
| | 00:32 | Well, let's start off with Hue.
| | 00:34 | What we can do is we can modify
this demo file that I've created.
| | 00:38 | One of things that's interesting about this
is we can shift the Hue one way or another.
| | 00:43 | Here you can see I'm primarily
affecting the red, although this will reach into
| | 00:47 | some of the other colors as well.
| | 00:49 | One of the things that's interesting
about this is what we can do is we can push
| | 00:53 | colors one way or another.
| | 00:55 | Now, we can't exactly, completely
change color, but here you can see what I'm
| | 00:59 | doing is I'm just minimizing my color variety.
| | 01:02 | You can start to see how
these colors are connected.
| | 01:06 | In other words, I can't fully make my
red green, but I can shift this to be a
| | 01:11 | little bit more magenta, or
to be a little bit more orange.
| | 01:16 | Now my oranges, I can make those
either more red or yellow; my yellows, more
| | 01:20 | orange, or more green.
| | 01:22 | So again, we can see how all of
these different controls work together.
| | 01:26 | Now, if ever you want to reset this,
simply click on Default, it will take
| | 01:30 | everything back to normal. All right.
| | 01:31 | Well, what about Saturation?
| | 01:33 | Well, as the name implies, what we can do
here is simply choose a particular color.
| | 01:37 | We can then de-saturate that color in
order to remove that from the image.
| | 01:42 | In this case, you can see how it
slowly built up the de-saturation.
| | 01:46 | Now, one slider won't be able to
target one particular color, because we know
| | 01:50 | that color really is a mixture of other colors.
| | 01:54 | So, for example, when I increase the
blues we can see I'm also increasing
| | 01:58 | the aqua and the purples.
| | 02:00 | So just keep in mind that those
all are related together. Okay.
| | 02:04 | Let's click Default.
| | 02:06 | What about Luminance?
| | 02:07 | Well, Luminance is basically brightness value.
| | 02:10 | Brightness value will in turn affect
the color, but also affect the overall
| | 02:14 | brightness of that area.
| | 02:16 | So, for example, Reds. We'll
go ahead and brighten those up.
| | 02:19 | Well, now it's a different shade
of red. Click and drag to darken.
| | 02:22 | Now, that's also a
different shade of red as well.
| | 02:25 | It's a deep, dark red.
| | 02:27 | So, just think of this kind of as the White
value, or the Brightness value of that color.
| | 02:32 | What we can do here is darken this up,
and it's going to affect different colors
| | 02:35 | in different ways, because different
colors, by nature of the actual color, have
| | 02:40 | different brightness values.
| | 02:42 | So here, you can see that my aqua is
still pretty bright, and this one, if
| | 02:46 | I brighten it up all the way, and also
let's say do a Blues, it almost becomes white.
| | 02:51 | So it's kind of interesting that as we
start to target the Luminance values of
| | 02:55 | different areas, we can in turn
control the color, but that's also going to
| | 02:59 | depend on what color it is, and
what brightness value it started at.
| | 03:03 | But regardless, we now have these controls to
really target specific areas of our photograph.
| | 03:08 | Let's go ahead and click Default.
| | 03:10 | Well, how then could this
work out photographically?
| | 03:13 | Well, photographically, what we might
want to do say is darken the blue in the
| | 03:16 | sky, make it a little bit more dense.
| | 03:18 | We could then click and drag to the
left, really focusing in on the Blues and
| | 03:22 | Aquas and Purples of the sky, and not
affecting the rest of the image. All right!
| | 03:26 | Well, now that we've been introduced
to Hue, Saturation, and Luminance, let's
| | 03:32 | take a look at how we can apply this
knowledge to working on some photographs,
| | 03:35 | and we'll do that in the subsequent movies.
| | Collapse this transcript |
| Modifying color and tone| 00:00 | One of the best ways how to learn to
work with the HSL controls is to pick an
| | 00:04 | image that's really colorful, like this
particular one that I captured in Mexico,
| | 00:09 | and then to modify these different
controls in order to see what we can do, in
| | 00:12 | order to change the overall effect.
| | 00:14 | Well, this image currently, to
me, looks really, really colorful.
| | 00:18 | Let's see if we can push this even further.
| | 00:21 | Let's go ahead and
navigate to our HSL controls here.
| | 00:24 | We can do so by clicking on this icon,
or by pressing Command+Option+4 on a
| | 00:28 | Mac, Ctrl+Alt+4 on a PC.
| | 00:32 | Now, one of the first things I
want to do here is work on Saturation.
| | 00:35 | So, I'll click on that tab, and then
I'm going to go ahead and increase the
| | 00:38 | saturation of my Reds and also my
Oranges and then crank up those Yellows.
| | 00:42 | I'm going to go to the Luminance option here, and
I want to bring up the Brightness value.
| | 00:47 | There you can see that we can just
really light up those Yellows and brighten
| | 00:50 | those up quite a bit.
| | 00:51 | We'll do the same thing with the Oranges
there, and then the Reds, we can find a
| | 00:55 | nice spot for those as well.
| | 00:57 | I want to darken those, so I
have that nice, deep red there.
| | 01:00 | Well, already just with a couple of
simple adjustments, here we have our
| | 01:03 | before and then our after.
| | 01:06 | Of course, what we can do here is go further.
| | 01:08 | If we want to get into the Greens there, we
could change the brightness value of those.
| | 01:12 | We could also go under the Saturation,
and we could change the saturation of
| | 01:16 | those tones as well.
| | 01:18 | There's just a touch of blue in the image
and aqua, so let's bring those colors out.
| | 01:21 | Then we can kind of have some
fun over here with the Hue slider.
| | 01:25 | What the Hue sliders allow us to do is to
shift the overall color one way or another.
| | 01:30 | Sometimes, what you can do is find
just a nice subtle shift, in this case,
| | 01:34 | perhaps just a little bit more this way to
affect that particular area of the image.
| | 01:39 | Again, we can go through these
different areas and change the color one way or
| | 01:43 | another, however we want, in order
to create this particular effect.
| | 01:46 | Now, of course, another thing that we
could do, if we are playing with this, we
| | 01:50 | can go to our Saturation panel and
say, what would happen if I were to
| | 01:53 | de-saturate everything, except
for perhaps a couple of colors?
| | 01:57 | Well, again, here what we could come up
with is something kind of interesting,
| | 02:01 | where we just have this particular
aesthetic, or we could take out all the color
| | 02:05 | together and then bring back in, again,
just particular colors in an exaggerated
| | 02:10 | way, in order to come up with, perhaps,
something that's completely different
| | 02:14 | that we couldn't have
really created any other way.
| | 02:17 | So, one of the things that I encourage
you to do, in order to understand how to
| | 02:21 | work with HSL, is to use this image or
to use one of your own images and just
| | 02:27 | start to play with these different
controls, so that you can, in a sense,
| | 02:30 | deconstruct how they work and also
deconstruct how they work together, because a
| | 02:36 | lot of times what you're going to do is
you're going to modify the Hue a little
| | 02:39 | bit, go to Saturation, jump back and
jump over to Luminance, kind of make your
| | 02:43 | way back and forth between these
different controls until you come to the
| | 02:47 | particular desired effect
that you want for an image.
| | 02:50 | Now, after you've done that, a lot of
times what you'll do is simply click
| | 02:54 | Default and take all these settings
back to Normal, and then say, okay, well
| | 02:58 | what does this image actually need?
| | 03:01 | Now that I've played with it,
what do I actually want to do here?
| | 03:03 | Well, in this particular case, what I
think we want to do is go to Luminance.
| | 03:07 | We want to darken up those Reds a little bit.
| | 03:10 | When we darken up the Reds,
they become a little bit too muted.
| | 03:13 | There's too much black in them.
| | 03:15 | So we go to Saturation, and then we
brighten up the color saturation of the Reds.
| | 03:20 | Once we do that, we lose a little bit
of the yellow, so we'll go back and bring
| | 03:23 | back some of the saturation
of the Oranges and Yellows.
| | 03:27 | Then go into that Luminance channel
and just brighten those up as well, have
| | 03:30 | nice tones there, as well as
the overall image in that sense.
| | 03:34 | At this juncture, I think
this image looks much better.
| | 03:37 | It's much more vibrant.
| | 03:38 | We're really controlling the
colors in some unique ways.
| | 03:42 | We'll press the P key. Here we have
our before, what we originally thought
| | 03:46 | was colorful, and then press the P
key again, and now after, the photograph
| | 03:50 | looks that much better.
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| Enhancing a fashion photograph| 00:00 | Here we're going to take a look at how
we can use the HSL controls in order to
| | 00:04 | work on this fashion photograph.
| | 00:06 | Well, let's navigate to that panel.
| | 00:08 | We can do so by clicking on the
tab here, or on a Mac, you can press
| | 00:12 | Command+Option+4; on Windows, that's Ctrl+Alt+4.
| | 00:16 | Let's say that what I want to do is
simply brighten up the skin a little bit,
| | 00:19 | also work on the dress color and the background.
| | 00:22 | What I'm going to do first say
is navigate to my Luminance tab.
| | 00:26 | Now I know the skin has a lot of
different Reds, Oranges, and Yellows in it, so
| | 00:29 | I'm going to go ahead and
modify one of these sliders.
| | 00:32 | When I modify these sliders, we can
see that we can have a darker tone skin,
| | 00:36 | or for that matter, a brighter tone skin,
which gives us this little bit of a glow here.
| | 00:41 | I'll go ahead and increase
my Reds and Yellows as well.
| | 00:44 | Press the P key. Here's our
before, and now our after.
| | 00:48 | Already, the image is
looking a little bit better.
| | 00:50 | Yet, a lot of times, when you work with
Luminance, you're actually changing colors.
| | 00:55 | For example, here the
skin is kind of washed out.
| | 00:58 | Here, it's a little bit muddy.
| | 01:00 | So, again, as we modify the tonality
here, we may need to go into our Hue say,
| | 01:04 | for example, and here we can
shift this really drastically.
| | 01:07 | It looks a little bit more green, or
a little bit more red, depending on
| | 01:10 | which way we swing this.
| | 01:12 | So we might want to just modify this a
touch, in order to add an appropriate
| | 01:15 | amount of a color tone there.
| | 01:17 | We, of course, can go under our
Saturation as well and remove color, if we want
| | 01:21 | to do that and have perhaps a
little bit more of a muted effect.
| | 01:24 | Okay, I'm going to go back to Hue here,
and I'm just going to swing this around
| | 01:27 | until I find a nice
combination between these three controls.
| | 01:31 | I think at this point,
that's looking pretty good.
| | 01:33 | Let's look at our before
and after. Press the P key.
| | 01:35 | There is before, and now,
there's after. All right!
| | 01:38 | Well, how then can we work on the dress?
| | 01:41 | We can do the same thing.
| | 01:42 | We click on Luminance.
| | 01:43 | We can then control the
dress brightness amount here.
| | 01:46 | Again, as we do that, it
affects the overall color.
| | 01:49 | We can go under Saturation and
really add a lot of vivid color there.
| | 01:54 | We can find a nice spot for that. Going
into Hue, we can shift this one way or
| | 01:58 | another, depending on the style of the image.
| | 02:01 | I'll just go ahead and shift that a little
bit more of that, nice, bright, vivid green.
| | 02:06 | Now, here we can change the background
as well, if we want to do that. We can
| | 02:09 | change this so many different ways.
| | 02:12 | We have a lot of control as we tap into
these different panels here and modify
| | 02:16 | how this actually works, perhaps, a
little bit more of a muted background.
| | 02:20 | For that matter, we could darken it up
a little bit, just to change the mood of
| | 02:23 | this particular photograph. All right.
| | 02:25 | Well, let's take a look at our
before and after. Press the P key.
| | 02:28 | Here is before, and now here's after.
| | 02:31 | The nice thing about this is
we have so much flexibility.
| | 02:34 | For example, let's say that you
don't like the background color.
| | 02:38 | In my opinion, I don't think it looks very good.
| | 02:40 | It looked better in the original color.
| | 02:42 | We'll click on the tab
where you made the adjustments.
| | 02:45 | Then double-click the slider control.
That will take that back to the default
| | 02:49 | setting, and make your way through,
simply double-clicking on these different
| | 02:52 | tabs in order to set this
back to that default setting.
| | 02:56 | Right there, I think that
actually looks pretty nice.
| | 02:59 | Let's press the P key.
| | 03:00 | Here we have it, our before, and now, our after.
| | Collapse this transcript |
| Enhancing color and tone with HSL| 00:00 | Just to provide you with some more
variety in regards to examples of how we
| | 00:04 | can work with HSL, we're going to be
working on two different images here,
| | 00:07 | monarch and annika_swing.
| | 00:10 | Let's go ahead and navigate to the HSL panel.
| | 00:12 | We can do so by clicking on the icon,
or by pressing the shortcut, which I'm
| | 00:16 | sure you're remembering and learning by
now. It's Command+Option+4 on a Mac, or
| | 00:21 | Ctrl+Alt+4 on Windows.
| | 00:23 | Well, here we have this photograph of this
monarch butterfly that was in my backyard.
| | 00:28 | When I originally look at this image,
this is the RAW file as it was captured.
| | 00:31 | I say, you know what, this looks phenomenal.
| | 00:33 | The color is so good!
| | 00:35 | Yet a lot of times what we can do is
come to the HSL panel in order to make it,
| | 00:39 | perhaps, even better.
| | 00:41 | That's what we're going to do here.
| | 00:42 | All that I want to do is
go to my Luminance panel.
| | 00:45 | I want to start to work on
the tones here on the wing.
| | 00:47 | So, what I can do is I can darken those up.
| | 00:50 | As I darken them up, it
just builds out the density.
| | 00:53 | Even with this simple adjustment,
here is our before and then after, the
| | 00:58 | photograph is already looking better.
| | 01:00 | Well, then, from here what I could
do though is I could go to Saturation.
| | 01:03 | I could add a little bit of saturation to that.
| | 01:06 | I could navigate to Hue.
| | 01:07 | I could shift the Hue to make this more
red or more orange, depending on how I
| | 01:11 | want to go with this image.
| | 01:13 | Now, I can also work on
that background color as well.
| | 01:16 | Here, I'll click on Saturation for
the background, and I'm just going to
| | 01:19 | boost that up a touch.
| | 01:20 | Now we have these really bright and vivid
and interesting colors in color combination.
| | 01:26 | Now, if ever we want to make other
changes, we can always go back to our
| | 01:29 | controls to change Brightness values or
color saturation for that matter. All right.
| | 01:33 | Well, let's look at our before and after.
| | 01:35 | Here we have it, before and then after,
a subtle, yet nonetheless, significant
| | 01:40 | improvement to this photograph.
| | 01:42 | Let's look at one more example.
| | 01:44 | Well, here we have a photograph
of my daughter Annika on a swing.
| | 01:48 | A lot of times, the way that you'll use these
HSL controls is to target a particular area.
| | 01:54 | Sometimes, it might be that you just
want to boost the brightness in an area,
| | 01:57 | let's say, like this blue jeans here.
| | 01:59 | Well, if we go to our Luminance panel,
all that we need to do to boost that up
| | 02:03 | is to simply increase that.
| | 02:05 | Now, if we look at our before and after,
before, and then after, we just have a
| | 02:08 | nice Brightness value there.
| | 02:10 | We can do this with other colors as well.
| | 02:11 | The orange is there, then the reds
will work on that shirt a little bit.
| | 02:14 | That's just adding some
interesting vividness to this.
| | 02:18 | Now, I'm not saturating,
but I am changing brightness.
| | 02:22 | Other times, what I have found is
that some colors might be too bright.
| | 02:25 | Therefore, I need to reduce the Luminance,
or I might need to reduce the Saturation.
| | 02:30 | Whatever the intent, just keep
in mind that you can really focus in
| | 02:33 | on specific colors.
| | 02:35 | In this case, let's look at
our before and then after.
| | 02:38 | So, now that you've been exposed to
these tools, the trick is to figure out how
| | 02:42 | to integrate them into your workflow.
| | 02:44 | One of the things that I notice in the
classroom is that a lot of my students
| | 02:47 | find these controls --
they're kind of enamored with them.
| | 02:50 | When they initially see
them, they play with them.
| | 02:52 | They have fun with them, but
then they don't ever use them again.
| | 02:55 | So, of course, the trick here is to
keep these always in the back of our mind,
| | 02:59 | whenever we're looking at our images to say hey!
| | 03:01 | Would there be some benefit
to going to these controls?
| | 03:05 | Occasionally, simply by going here and
experimenting, we can start to pick up
| | 03:09 | different ways that we can use these
controls in order to either correct or
| | 03:13 | enhance our photographs.
| | Collapse this transcript |
| Getting creative with color| 00:00 | As we've seen, one of the ways that we
can use the HSL controls is to simply
| | 00:04 | come up with some fun and
creative ways to work with color.
| | 00:08 | All that I want to do here is share
with you yet another example of how we can
| | 00:11 | have some fun with color.
| | 00:13 | Well, I'm going to start off in the Basic panel.
| | 00:16 | In the Basic panel, I simply want to
increase my Exposure, add a little bit of Contrast.
| | 00:20 | So, I'll go ahead and do that by
clicking on the Exposure slider, boost up the
| | 00:24 | Contrast there, and then just find just
the right amount, perhaps a little bit
| | 00:28 | of Fill Light as well.
| | 00:30 | Next, we're navigating to the HSL controls.
| | 00:33 | Now, here what I want to do is shift the
color of the word ANTIQUES on the sign.
| | 00:38 | Well, to do that, I can go ahead and
simply modify, in my Hue panel, that color.
| | 00:43 | I can change this color to
perhaps something different.
| | 00:45 | I'll go ahead and make this a little bit
more of a muted blue there. All right.
| | 00:49 | Well, what else could we do here?
| | 00:51 | Let's go ahead and make
our way over to Luminance.
| | 00:54 | This can be kind of interesting.
| | 00:55 | We could also work with the
brightness of the color there on the sign,
| | 00:58 | brightening that or darkening it.
| | 01:00 | We could work on the leaves, right?
| | 01:02 | Lot of those green leaves, we could
really make those kind of come out or snap
| | 01:06 | out a little bit more.
| | 01:07 | We could work on the
brightness of that backdrop.
| | 01:10 | And here we have kind of an
interesting color combination that really
| | 01:13 | wasn't there previously. Press the P key.
| | 01:16 | Here is our before and then our after.
| | 01:18 | Now, if we want to get even more
creative, let's go to Saturation.
| | 01:21 | One of the interesting things about this
image is there aren't a lot of colors in it.
| | 01:27 | So, if we de-saturate, say the
Oranges, what we can really do is reduce
| | 01:31 | almost all of the color in the image except
for that on the sign and also in the leaves.
| | 01:36 | From here, we could go in
and make some other changes.
| | 01:39 | We could also modify those leaves
if we want to, either saturating them
| | 01:43 | or de-saturating them.
| | 01:44 | We can work with this in
some pretty interesting ways.
| | 01:47 | You can see how we can change
the overall tonality of this image.
| | 01:51 | Now, it'd be nice to bring
the Blues out little bit more.
| | 01:53 | So I'll go ahead and
saturate some of those tones.
| | 01:56 | Again, we just have another way to
process this image by targeting specific
| | 02:01 | colors that lead us to
something that's creative and unique.
| | 02:04 | A lot of times, when you do things
like this, you may get to this point and
| | 02:08 | say, you know what?
| | 02:09 | I'm not necessarily going to print this
image this way or post it on my Web site.
| | 02:13 | But nonetheless, by creative with
these HSL controls, it can really help you
| | 02:19 | deconstruct how they work.
| | 02:20 | And eventually, sometimes, if you get
lucky, it can lead to some pretty creative
| | 02:24 | and interesting results.
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|
|
15. Black and WhiteThe black-and-white controls| 00:00 | There is something incredibly
engaging and compelling about black and white
| | 00:03 | photography, and we can use Adobe
Camera Raw in order to create some black and
| | 00:08 | white conversions that we
really couldn't create any other way.
| | 00:12 | And so, what I want to do is take a
look at some of our black and white
| | 00:15 | conversion options here
inside of Adobe Camera Raw.
| | 00:18 | Now, for starters, we know that we
can simply desaturate a photograph.
| | 00:22 | When we desaturate a photograph by
removing saturation, we are building a black
| | 00:27 | and white conversion or grayscale
conversion based on the temperature, and the
| | 00:32 | temperature is set right here.
| | 00:34 | So this Color Temperature, as you can
see, as I modify this, is changing the
| | 00:38 | Brightness values of these different areas.
| | 00:40 | Now, because of that, it's typically not a
very good way to convert to black and white.
| | 00:44 | So I will double-click this
control to bring it back to 0.
| | 00:48 | A better technique is to
navigate to the HSL or Grayscale panel.
| | 00:52 | We can do so by clicking on this icon
here or by pressing Command+Option+4 on a
| | 00:57 | Mac, Ctrl+Alt+4 on Windows.
| | 01:00 | Next, we are going to click on
this option to Convert to Grayscale.
| | 01:04 | Now, when we do that, Adobe Camera
Raw creates this auto conversion which
| | 01:08 | dials in different amounts regards to
the Luminance value of the different
| | 01:12 | colors in the image.
| | 01:13 | Well, what we can do is completely change that.
| | 01:16 | For example, let's say that we have a
sky in the image which is Aqua and Blue.
| | 01:21 | Well, if we want to darken that sky, we
can simply click and drag these values
| | 01:25 | down so that we will have a
much more dramatic-looking sky.
| | 01:28 | And for that matter, we can target all
of these different areas one at a time in
| | 01:32 | order to make changes across the image.
| | 01:34 | Now, sometimes, the opposite is interesting.
| | 01:37 | Let's say we have a sky which is blue.
| | 01:39 | We could then brighten that sky while
everything else will be completely dark.
| | 01:44 | So again, with these controls, as you
can see, you can come up with some really
| | 01:48 | fascinating options.
| | 01:50 | We are going to go ahead and
click Default to take these back to 0.
| | 01:54 | And the other thing that I want to
point out here is that occasionally what
| | 01:56 | you will do is say build up some contrast
or build up a really interesting effect here.
| | 02:02 | You will dial in all of your controls,
and you will say, you know what, I am done.
| | 02:05 | I like the way my contrast and
black and white conversion works.
| | 02:09 | Well, we don't ever
necessarily want to just finish here.
| | 02:12 | Sometimes we can, but other times,
what we want to do is go back to our Basic
| | 02:17 | panel or go back to our Tone Curve
panel, and then here what we can do is we
| | 02:21 | can boost this ever further say adding
more Contrast or changing the Brightness
| | 02:26 | values, as you can see I am doing here, or
change the Fill Light or the overall Exposure.
| | 02:31 | And what we can do is by combining
this HSL panel with some of our other
| | 02:35 | controls, this can then help us lead
to creating some really interesting and
| | 02:40 | really engaging black and white photographs.
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| A simple black-and-white conversion| 00:00 | Here, we're going to take a look at how
we can use our HSL and Grayscale panel
| | 00:04 | in order to convert this
image to black and white.
| | 00:07 | As a quick side note, when I was
standing here looking at these sculptures, I
| | 00:11 | was just really fascinated in them,
and all of a sudden this lady walked up
| | 00:15 | and went nose-to-nose with this
sculpture, and I was just holding my breath,
| | 00:18 | and I snapped the frame.
| | 00:19 | What I want to do is convert it to
black and white, to create a little bit
| | 00:22 | more of a simple image, in order to emphasize
the perspective and kind of that connection.
| | 00:27 | Well, let's navigate to our HSL Grayscale panel.
| | 00:31 | Let's do that by way of a
shortcut. On a Mac, Command+Option+4,
| | 00:34 | Windows, Ctrl+Alt+4.
| | 00:35 | Next, we'll click on Convert to Grayscale.
| | 00:40 | What we're going to do here is
primarily focus in on our top colors here: Reds,
| | 00:44 | Oranges, and Yellows.
| | 00:45 | Those are really the
dominant colors in this frame.
| | 00:48 | So, I'll click Default to zero
everything out, and then I'm going to go ahead
| | 00:51 | and just increase these colors a bit.
| | 00:53 | Now, as I bring up my Oranges, we can
see that we have control of the Brightness
| | 00:57 | value of this area of the image.
| | 00:59 | Also do this with our Reds,
and then our Yellows as well.
| | 01:02 | That can brighten up some of
these areas of the photograph.
| | 01:05 | Now, already our black-and-white
conversion is looking a ton better.
| | 01:09 | Yet, what I want to do is finish
this off by going to the Basic panel.
| | 01:13 | Go to the Basic panel
simply by clicking on the tab.
| | 01:15 | I'm going to increase my Exposure a
bit here, add some Fill Light to bring in
| | 01:19 | some detail in some of those shadows.
| | 01:21 | Then I want to add a little bit of
contrast as well, just to boost that up.
| | 01:24 | I'll experiment with my Blacks, see if
that will be interesting to bring those
| | 01:28 | up to have a really deep, dark and
intense black, or perhaps something a little
| | 01:32 | bit less so I'm not completely losing detail.
| | 01:36 | At this juncture, I think
this is at a great place.
| | 01:38 | Add some more clarity, little bit more contrast.
| | 01:41 | By combining these two panel controls,
I can then arrive at what I think is a
| | 01:45 | pretty interesting and
engaging black-and-white conversion.
| | 01:49 | The only last little subtle adjustment
I want to make is just brightening this
| | 01:52 | image up a little bit more, just
adding this nice bright tone to it.
| | 01:58 | So again, by going to both panels, we
were able to come up with an even better
| | 02:03 | black-and-white conversion.
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| Using multiple panels to create a black-and-white image| 00:00 | Let's take a look at another example of
how we can use our different panels in
| | 00:04 | order to come up with some
great black and white conversions.
| | 00:07 | Well, here we have got this portrait of
this little guy who just caught this frog.
| | 00:11 | Let's say that what we want to do
is convert this to black and white.
| | 00:14 | Well, let's navigates to
the HSL/Grayscale panel.
| | 00:17 | Let's do that by way of a shortcut.
| | 00:19 | Its Command+Option+4 on Mac,
and Ctrl+Alt+4 on Windows.
| | 00:24 | And of course if you don't like the
shortcut, just simply click on the tab.
| | 00:27 | Next, let's Convert to
Grayscale and choose Default.
| | 00:30 | Now what do we want to do here with this image?
| | 00:33 | Well, once it goes to grayscale, we
notice that there isn't a lot of separation
| | 00:37 | between the subject and the background.
| | 00:39 | So what I want to do is brighten him up.
| | 00:41 | I want to bring him kind of out of this context.
| | 00:44 | So I'll go ahead and brighten up the
Luminance value of my Oranges here.
| | 00:48 | Now, that already is
looking really nice. I like that.
| | 00:51 | Next, we can do a little bit with
our Reds and our Yellows as well.
| | 00:54 | Now, the background is primarily green.
| | 00:57 | If we want to darken that up, well, we
can go ahead and lower this value here in
| | 01:01 | order to have a darker background.
| | 01:03 | Again, this conversion is
already looking really interesting.
| | 01:07 | Let's make our way to the Basic panel.
| | 01:09 | Here what I want to do is increase my
Exposure a bit, add a little Fill Light,
| | 01:13 | and also increase some Contrast in my Blacks,
| | 01:16 | again just adding a bit
more drama to this conversion.
| | 01:20 | And it's by using these two panels
together that really gets me to this result
| | 01:24 | where we have this quite
intriguing black-and-white image.
| | 01:27 | Well before we leave, another panel
that we need to go to is our Detail panel.
| | 01:32 | Let me show you why.
| | 01:33 | Let's double-click the Zoom tool. That
will take this image into 100%, and then
| | 01:38 | let's press the Spacebar key and click
and drag to reposition so we can see the
| | 01:42 | little frog there in the
background and this little guy.
| | 01:45 | Well, if we navigate to the Detail panel,
one of things we are going to notice
| | 01:48 | is that we have the ability to control noise.
| | 01:51 | There's actually quite a bit of noise
in this image, and that's the result of
| | 01:55 | pushing those HSL sliders pretty hard.
| | 01:58 | Whenever you modify tone, what you're
doing is modifying the Exposure, or the
| | 02:02 | Luminance of a particular color.
| | 02:04 | There may not be enough information in
order to have smoothness or continuous tone.
| | 02:09 | Therefore, a lot of times, it's a great
idea to come over to the Detail panel.
| | 02:14 | Well, one of the things you may
think that you don't need to do is color.
| | 02:18 | You may think I don't need
to deal with color noise.
| | 02:20 | The image is in grayscale.
| | 02:21 | What if I remove this? Let's take a look.
| | 02:24 | Look at all the problems in the background here.
| | 02:27 | We don't want those problems.
| | 02:28 | So we will go ahead and increase that Color
Noise Reduction, even though it's in grayscale.
| | 02:33 | Because keep in mind, what were you doing is
we are actually modifying color information.
| | 02:38 | So again, we want to
reduce a little Color Noise.
| | 02:41 | We can also go in, of course, and
reduce some Luminance Noise as well.
| | 02:44 | I will go ahead and crank
got up at the same time.
| | 02:47 | Now in order to access some of the
other controls, we need to click on this
| | 02:51 | exclamation mark here because this image was
processed in a previous version of Camera Raw.
| | 02:57 | Once I click on that, it will then activate
my Detail Contrast and Color Detail controls.
| | 03:02 | My Color Detail, I want really low.
Luminance Detail, I want really low as well,
| | 03:06 | but my Luminance Contrast, I
want to bring that up a bit.
| | 03:09 | That will add nice dimension.
| | 03:11 | Now, once we've softened all of that
noise in the image with these controls, we
| | 03:16 | want to go back and add a
little bit of sharpening here.
| | 03:18 | I will increase the amount. Radius drops
down. Details drop way down, and the Masking,
| | 03:24 | that's going to be
somewhere here in the midrange.
| | 03:26 | So it's just focused in
on those edges. All right.
| | 03:28 | Well, that extra little added bit of
work can really make our black and white
| | 03:33 | conversions sing.
| | 03:35 | I can't tell you how many times that can
really help out certain types of conversions.
| | 03:39 | All right. Well, let's zoom out just so
we can appreciate this particular image.
| | 03:43 | Here we have it, our final black and
white conversion after working on this
| | 03:47 | image in the Grayscale panel, the
Basic panel and also the Detail panel.
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| Creating a dramatic black-and-white landscape| 00:00 | There is nothing like landscape
photography, and there's really nothing like a
| | 00:04 | black-and-white landscape photograph.
| | 00:06 | You know there is such a rich
history and tradition with black-and-white
| | 00:09 | landscape photography and even more of
these images are just so intriguing to look at.
| | 00:14 | All right. Well, let's take a
look at how we can convert this
| | 00:16 | black-and-white image to grayscale.
| | 00:19 | Let's take a look at how we can
do that by starting off in the
| | 00:22 | HSL/Grayscale panel.
| | 00:24 | Let's select this panel by pressing a shortcut:
| | 00:27 | Command+Option+4 on a Mac,
Ctrl+Alt+4 on Windows.
| | 00:31 | Next what we want to do is Convert to Grayscale.
| | 00:35 | Now when we do that the image
looks a little bit flat, not quite
| | 00:38 | interesting enough.
| | 00:39 | Well one of the things that we know we
almost always need to do with landscape
| | 00:43 | shots like this is we need to darken the sky.
| | 00:46 | We need to add some drama up there.
| | 00:48 | So I will go ahead and bring down our
blues and also our aquas and already the
| | 00:52 | image is really taking on a new life.
| | 00:54 | Well the next thing we need to do is we want
to work on the overall color of the field here.
| | 00:59 | We can dial this in a
couple of interesting ways.
| | 01:02 | I can focus in on that path, I can also
brighten up some of the grasses there,
| | 01:06 | and I can really come up with an
interesting conversion. All right.
| | 01:09 | Well at this state, the image is
already coming to life in a new way.
| | 01:14 | Next, let's go back to our basic panel.
| | 01:16 | Here in the basic panel, I will add
just a touch of Fill Light, little bit
| | 01:19 | more Contrast just to build up this drama
and then increase my Blacks just a bit more.
| | 01:24 | Now one of the things that I want to do
here is let's say that I actually want
| | 01:28 | to brighten up the path even more.
| | 01:31 | So in order to do that, we are going to
use a tool that we've already talked about.
| | 01:34 | It's called the Adjustment Brush.
| | 01:36 | Press the K key to select the tool, and
then go ahead and click on this plus icon
| | 01:41 | here in order to go to the
preset for Exposure in the positive.
| | 01:45 | Next, we want to choose Auto Mask on,
and then we want a relatively low Flow
| | 01:50 | and for our brush size, we want a size
that's about as big as this little path area here.
| | 01:54 | Now what I am going to do is simply
click and paint across this path, and as I
| | 01:59 | do that, I can brighten
up this area of the image.
| | 02:01 | Now the only downside in regards to
using Auto Mask is that sometimes our edges
| | 02:07 | look a little bit choppy.
| | 02:09 | So I am going to turn Auto Mask off,
either by clicking here or by pressing the
| | 02:13 | M key. Press the left bracket key to
make my brush a touch smaller and then
| | 02:17 | just around the edges, I am going to
look to try to paint in a bit to soften
| | 02:21 | things up a little bit. Well I liked that
| | 02:23 | it limited my adjustment to that area.
| | 02:25 | I am noticing that there are few
areas that are just a touch too choppy.
| | 02:29 | So I want to go ahead and make just
a couple of changes in those areas in
| | 02:32 | order to modify that. All right.
| | 02:34 | Well now that I have these Brighten
affect dialed in, it is definitely too bright.
| | 02:39 | But that's okay.
| | 02:39 | You know sometimes what you want to do
is overdo your adjustment with this tool
| | 02:44 | in order to see the edges and then next,
lower it down until you find just the
| | 02:49 | right sweet spot for your photograph.
| | 02:52 | Here I will go ahead and just click and
drag this back, add a bit of contrast in
| | 02:56 | this area as well, little bit of clarity
and also a little bit of sharpness just
| | 03:00 | to add a bit of snap to that area. All right.
| | 03:03 | Well to look at my before and after
with this Adjustment Brush that we've
| | 03:06 | applied here, we can click on the P
key or simply press the Preview button.
| | 03:10 | Here is our before, and now here is
our after, something which is leaning the
| | 03:15 | viewer into the frame in a
completely unique and distinct way.
| | 03:19 | All right. Well, I will go ahead and just
lower this Exposure down just a little bit more.
| | 03:23 | I think it was just a touch too strong.
| | 03:25 | Next, I want to go back to my HSL controls.
| | 03:29 | In order to do that, I will go ahead and
press the Z key, and it will take me to
| | 03:32 | my Zoom tool, or in other words, it
will exit me out of that Adjustment Brush
| | 03:36 | adjustment that I have just made.
| | 03:38 | Well now here, we will go back to our
HSL controls, and now that we've worked on
| | 03:42 | this image a little bit more, I just
want to change things up a touch more and
| | 03:46 | in particular I want to
darken up the grass there.
| | 03:49 | Again, I am going for the
dramatic view. All right.
| | 03:52 | Well, perfect.
| | 03:53 | I'm really liking this
black-and-white conversion.
| | 03:56 | It's completely different than just
the default or auto settings, and we've
| | 04:01 | really built this up nicely.
| | 04:03 | Now the last thing that we want to do,
of course, is double-click the Zoom tool.
| | 04:06 | When we do that we want to press the
Spacebar key, and we want to pan around our image.
| | 04:10 | I want to take a look at the image
and see if we see any noisy areas.
| | 04:14 | Now one of the things that I'm noticing
is there is a little bit noise in this
| | 04:17 | image in regards to how we converted this.
| | 04:20 | So what I might want to do here
is go to my Detail panel.
| | 04:24 | In the Detail panel, we will go ahead
and add a little bit Noise Reduction
| | 04:27 | regards the Luminance value, in
details there or very low detail amount.
| | 04:31 | Then I will also increase our Color
Detail Noise Reduction as well and then
| | 04:35 | reduce those details as needed.
| | 04:37 | Again, you want to look at your image of
course and evaluate what you're seeing there.
| | 04:41 | And a lot of these little subtleties
are going to be tricky to see when this
| | 04:45 | movie is actually compressed.
| | 04:48 | Here on my monitor, I can see them
really nicely, and they are looking
| | 04:51 | good. I want to add just a touch of sharpening
here, little bit higher Amount, lower Radius.
| | 04:57 | Next I will double-click the Hand tool.
That will take this image so that the
| | 05:01 | entirety of the image fits in
the view of Adobe Camera Raw.
| | 05:04 | Now we have completed a pretty
good black-and-white conversion.
| | 05:08 | So as you can see, you can really use
these HSL controls as a great starting
| | 05:13 | point from which you can build
pretty stunning and pretty compelling
| | 05:16 | black-and-white images.
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|
|
16. Split ToningTraditional black-and-white toning| 00:00 | Here we're going to take a look at
how we can use our Split Toning panel
| | 00:04 | in order to come up with some
interesting toning effects on a
| | 00:07 | black-and-white photograph.
| | 00:09 | Well, to navigate to the Split Toning
panel you can hover over this icon here
| | 00:12 | which has two color bars and then
click on that, or you can press a shortcut.
| | 00:18 | On a Mac, it's Command+Option+5; on
Windows, that's Ctrl+Alt+5. All right.
| | 00:23 | Well, once you're here in the Split
Toning panel, you can see we can work on our
| | 00:28 | highlights or our shadows, adding a
different Hue and Saturation of that Hue to
| | 00:34 | either Highlights or Shadows.
| | 00:36 | We also have this Balance slider, which
allows us to control which one is more
| | 00:40 | dominant, either the
Highlight or the Shadow Color.
| | 00:42 | And a lot of times what we do here is we
bring up our Saturation a bit, and then
| | 00:46 | we go ahead and try to find a good color.
| | 00:48 | It's really tricky to see what
color we're working with because our
| | 00:51 | Saturation is so low.
| | 00:54 | We could of course crank this up, right,
and then we can say okay, I'm working
| | 00:57 | with a green there, or a
yellow, or a blue, or whatever it is.
| | 01:01 | You kind of have to be thinking
there's got to be a better way, and there is.
| | 01:05 | Well, if we bring our Saturation down
to something lower, what you can do is
| | 01:10 | you can hold down the Option key on
Mac, Alt key on Windows and then click and
| | 01:14 | drag on your Hue slider.
| | 01:15 | Now when you do that, it will show you
the Hue at 100% Saturation, and it's just
| | 01:21 | a quick little preview, so that you can find
the exact right color that you want to use here.
| | 01:26 | Let go of Option or Alt, and then it
will take it back to whatever Saturation
| | 01:30 | you've defined here in this
Saturation slider. All right.
| | 01:33 | Well, I found a nice Hue for my Highlights.
| | 01:36 | What about my Shadows?
| | 01:38 | Same thing. I'll bring my Saturation up
a bit, and then I'll go ahead and hold
| | 01:41 | down Option or Alt, and then click and drag.
| | 01:43 | What I want to do here is find kind of a
nice orangish color there. I like that.
| | 01:48 | Let go of Option or Alt, and that
will then take me back to whatever
| | 01:51 | Saturation I have now.
| | 01:53 | In this case, we have this pretty compelling
and interesting sepia tone look. Press the P key.
| | 01:59 | There is before. Press the P
key again, and there is after.
| | 02:03 | So we can come up with some really
subtle effects like Sepia Toning, or we can
| | 02:08 | go for something a little more dramatic.
| | 02:10 | Let's try another toning example on for Size.
| | 02:12 | Well here I'll go ahead and modify
my Hue and increase the Saturation.
| | 02:16 | I want to have a nice yellow there in my
Highlight and then for my Shadow Color,
| | 02:20 | I am going to go ahead and choose a
cool tone. Then I'm going to do a Split Toning effect,
| | 02:25 | which is both warm and cool, and here
you can see I can dial in this effect,
| | 02:29 | controlling my overall Saturation
amounts in order to get just the right
| | 02:33 | aesthetic that I'm looking for.
| | 02:35 | Now in this case we have this pretty
interesting equal mix of yellow and blue.
| | 02:40 | Yellow in the Highlights, blue in the Shadows.
| | 02:43 | Well if you ever want to shift the balance
here, we can click on the Balance slider.
| | 02:48 | Click and drag to the left, and we're
going to see this is going to become
| | 02:50 | predominately blue based on our Shadow Color.
| | 02:53 | Click and drag to the right, and it
will become predominately yellow, based on
| | 02:57 | our highlight color.
| | 02:59 | So sometimes what you can do is you can
adjust the image so you have some Split
| | 03:03 | Toning and then swing it one way or
another, depending upon the desired effect
| | 03:07 | that you're going for. All right.
| | 03:08 | Well the last thing that I want to
highlight here is that if you ever want to
| | 03:12 | reset any of these controls, you can, of course,
| | 03:15 | simply double-click on the triangle
icons, as we can do in other places
| | 03:19 | inside of Camera Raw.
| | 03:21 | That will then take those sliders back
to their respective default settings.
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| Toning a color photo creatively| 00:00 | Here we're going to take a look at how
we can begin to have some fun with color
| | 00:04 | when we're working with our Split Toning panel.
| | 00:06 | In particular, what I want to do with
this color photograph is I want to add a
| | 00:10 | bit of a unique, or distinct color effect
that perhaps makes this image look like
| | 00:14 | it was cross processed, or a
little bit vintage, or just different.
| | 00:18 | Well, here's what we're going to do first.
| | 00:20 | We'll start off in the Basic panel.
| | 00:21 | What I'm going to do in the Basic
panel is increase my overall Exposure, add
| | 00:25 | some Fill Light here and then
bring up the Contrast a bit.
| | 00:28 | Now, I'm not really focused in on the
color at all just yet, because I'm going
| | 00:32 | to do my color work inside
of the Split Toning panel.
| | 00:35 | So let's navigate to that panel.
| | 00:37 | We can do so by clicking on the Tab or
by pressing the shortcut: Command+Option+5
| | 00:42 | on a Mac, Ctrl+Alt+5 on Windows.
| | 00:45 | Next thing I want to do is go ahead
and increase my Saturation a bit here.
| | 00:48 | Then I am going to find a Hue that
will be kind of fun to add to this image.
| | 00:51 | What I'm going to look for is just
something a little bit distinct or different,
| | 00:56 | and I'll go ahead, and let's say choose a green.
| | 00:58 | Next, I'll increase my Saturation from
my Shadows, and then here I'm looking to
| | 01:02 | find a Hue as well that might
work with this color combination.
| | 01:05 | I'll try something perhaps like blue.
| | 01:07 | What we can do is have a lot of fun
with this, increasing our Color Saturation
| | 01:12 | to intensify the effect, or of course
we can come up with different color
| | 01:16 | combinations which can really sometimes
lead to perhaps interesting or distinct
| | 01:20 | type of a look here.
| | 01:21 | In this case, let's go with something
which is really yellow and green. All right.
| | 01:25 | Well now that we have the Split Toning
effect in it, I realize that the original
| | 01:30 | colors are a little bit too strong.
| | 01:32 | No big deal, back to the Basic panel.
| | 01:35 | Here what we'll do is simply de-
saturate a bit so that the Split Toning colors
| | 01:39 | are starting to take over a little bit more.
| | 01:42 | Add a touch of more Fill Light
here, a little bit more Contrast.
| | 01:46 | And again, just giving this image a
completely different and distinct look.
| | 01:50 | Now, another thing we might want to do
here in the Basic panel is modify with
| | 01:54 | our Temperature sliders.
| | 01:55 | Here I can make this a little bit more
blue and cool, or I can warm this up and
| | 01:59 | make this a little bit more yellow and warm.
| | 02:02 | Now, all of this type of color
work is really just creative and fun.
| | 02:06 | And occasionally, you can come up
with something that might be kind of
| | 02:09 | interesting, like we have here.
| | 02:11 | In other situations, you may want to go
for a little bit more of a subtle effect.
| | 02:15 | Let me show you what I mean.
| | 02:16 | What I'm going to do here is go ahead
and double-click my Saturation slider in
| | 02:20 | order to set that back to 0.
| | 02:22 | Then I'll go back to the Split Toning
panel, and here all that I'm going to do is
| | 02:27 | reduce my Saturation amount.
| | 02:28 | Now here at this juncture, I'm just
looking to add a little bit of this
| | 02:32 | effect into the image.
| | 02:34 | Now, it may not look like much.
| | 02:36 | But let's look at our before and after.
| | 02:38 | Click on the Preview check box.
| | 02:39 | Here's before, a little bit
cool, and then here is after.
| | 02:42 | There is a little bit of kind of a milky
yellow aesthetic with also some Greens in there.
| | 02:47 | And again, we can kind of find the
sweet spots for how far we want to push this,
| | 02:51 | or how much of this particular type of
color effect we actually want to add to
| | 02:56 | this particular image.
| | 02:57 | So I just point this out that really when
working with creative color, the sky is the limit.
| | 03:02 | There are so many different color
options that we can come up with.
| | 03:05 | It can be a ton of fun to begin to play
with the Split Toning panel and to see
| | 03:09 | how we can start to modify or adjust
our images in some pretty unique ways.
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17. Lens CorrectionDeconstructing the Lens Correction controls| 00:00 | I always find that before I use a
tool or control that it's helpful to
| | 00:04 | deconstruct that tool or control in
order to really understand what's happening.
| | 00:09 | That's what we're going to do here.
| | 00:10 | We're going to focus in on the Lens
Corrections panel, and I want to deconstruct
| | 00:14 | how Lens Vignetting as well as
Chromatic Aberration Corrections actually work.
| | 00:19 | Here we're going to focus in on Lens Vignetting.
| | 00:21 | Now, you notice that we have
two controls: Amount and Midpoint.
| | 00:25 | What's interesting is that we can use
these controls to either enhance our
| | 00:29 | photographs or to make corrections.
| | 00:32 | One of the things that we could do would
be to darken the edges of our photograph.
| | 00:36 | We could do that by clicking on the
slider and dragging to the left or dragging
| | 00:40 | towards the darker over here.
| | 00:41 | You'll notice that's it's
lighter on the right-hand side.
| | 00:44 | So when we add a negative amount, here
we have this darkening effect showing up
| | 00:48 | around the perimeter of the photograph.
| | 00:49 | Now, if we want that effect to extend
further into the frame, simply click and
| | 00:54 | drag the Midpoint to the left.
| | 00:56 | If we want to limit it to the outer edge or
those outer corners, click and drag to the right.
| | 01:02 | Now to reset any of these controls, simply
double-click the Triangle icons. All right!
| | 01:07 | Well, now that we know about the darkening
side of things, what about the brightening?
| | 01:10 | Well, if we click and drag to the right, here
you can see we can brighten the outer edges.
| | 01:15 | This can be used to add a little bit of
a correction to your photographs, which
| | 01:18 | happens when sometimes using wide-angle lenses.
| | 01:21 | You make it a vignette or a
darker vignette around the edges.
| | 01:24 | We could then compensate for
that by brightening those edges.
| | 01:28 | Let's crank this all the way up.
| | 01:29 | How then does a Midpoint work here?
| | 01:31 | Well, it's kind of interesting,
because it's a little bit different.
| | 01:34 | If I go ahead and drag this to the
right, you can see that this again is now
| | 01:38 | limiting this to the corners, in
the same way as it worked previously.
| | 01:42 | Click and drag this to the left, and
it's allowing that brightening effect to
| | 01:47 | moving closer to the center of the image.
| | 01:49 | Well, now that we've taken a look at
Lens Vignetting, what about Chromatic
| | 01:52 | Aberration and Defringing?
| | 01:53 | I want to go ahead and click on this
demo file, and then I'll double-click the
| | 01:58 | Zoom tool to zoom in on it.
| | 01:59 | Press the Spacebar key and then
click and drag to pan around the image.
| | 02:03 | Now here you can see I've simply
created a white box, and I've put a little
| | 02:07 | color edge around this image.
| | 02:09 | I've done this to illustrate
what Chromatic Aberration is.
| | 02:13 | If we go ahead and zoom in on this
even further, we'll see that we have this
| | 02:16 | little fringe or little edge color.
| | 02:18 | What can happen in certain situations
is that the lens can create a distortion,
| | 02:23 | which then gives you a little color
fringe around areas of your photograph.
| | 02:27 | Well, we can correct
that by using these sliders.
| | 02:30 | Now, these sliders won't work
perfectly here on this demo file, but they will
| | 02:33 | illustrate how if we click and drag to
one way, let's say to the left here, or
| | 02:37 | changing the color of that fringing, or
if we click and drag to the right, we're
| | 02:41 | changing that color in a different way.
| | 02:43 | What you can do is if you see Chromatic
Aberration, you can click and drag this
| | 02:47 | one way or another until you're able
to successfully reduce or remove that
| | 02:52 | fringe, as I was able to do here with
the Yellow Fringe in this area. All right.
| | 02:56 | Well, let's double-click
those to take them back to zero.
| | 03:00 | What about Defringing?
| | 03:01 | Well, for that, I'm
going to zoom in even closer.
| | 03:04 | Defringing is actually really interesting.
| | 03:06 | What it does is it allows you to
actually de-saturate colors in different
| | 03:10 | areas of your photograph.
| | 03:12 | We can either choose
Highlight Edges or All Edges.
| | 03:15 | Now, in this case, because this is a
demo file, we'll just choose All Edges.
| | 03:19 | What's going to happen here is you can
see that it's really de-saturating that
| | 03:23 | little fringe color.
| | 03:25 | Sometimes, what can happen is around
highlights, or around other areas of your
| | 03:28 | image, you can have these
weird color artifacts that show up.
| | 03:31 | You can use this control in order
to remove those artifacts in some
| | 03:35 | pretty strong ways. All right!
| | 03:37 | Well, now that we're familiar with how
we can work with the Lens Corrections
| | 03:40 | panel, let's go ahead and put this
knowledge to use, and we'll take a look at
| | 03:44 | how we can work on some
images in the next few movies.
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| Correcting lens vignette| 00:00 | Here, I want to take a look at how
we can either enhance or correct a
| | 00:03 | Lens Vignetting effect.
| | 00:05 | We're going to go ahead and make
our way to the Lens Corrections panel.
| | 00:09 | We're going to do that by way of a shortcut.
| | 00:11 | Mac users, that shortcut is Command+
Option+6; Windows users, Ctrl+Alt+6, or
| | 00:17 | simply click on the Tab icon here.
| | 00:19 | Well, you can see, I have this
photograph of my buddy Travis.
| | 00:22 | We can see that one of the things that
happened, because I was shooting with a
| | 00:25 | wide-angle lens is that the
corners are a little bit dark.
| | 00:28 | Well, to correct that, all I need to
do is to increase the Lens Vignetting
| | 00:32 | amount, and then dial in the Midpoint.
| | 00:34 | Here, you can see I can change how far
this extends into the rest of the frame.
| | 00:39 | Sometimes, what you'll do is you'll
move one slider and then another until
| | 00:42 | you get it just right.
| | 00:43 | I'll go ahead and make a few more
adjustments, looking at all of my corners.
| | 00:47 | For the most part, I think this
is looking a little bit better.
| | 00:50 | Press the P key, and there we
have our before and then our after.
| | 00:55 | Now, Adobe introduced these controls in
order to make corrections like this, but
| | 01:00 | photographers really took a liking to
these controls and also discovered that
| | 01:03 | they could use them to add or
increase the Vignetting effect as well.
| | 01:08 | So here, let's take a
look at how we would do that.
| | 01:09 | In this case, all we need to do would
be to decrease our Amount and then change
| | 01:14 | our overall Midpoint to really get
the strong Vignetting effect around the
| | 01:18 | perimeter of the image.
| | 01:20 | Now, in this case, I have, of course,
gone a little bit over the top, but just
| | 01:23 | to illustrate, we can, of course,
darken that up, if we so desire.
| | 01:26 | One of the things that I want to point
out though is that if you are going to
| | 01:30 | darken your edges, you almost always
need to go back to the Basic panel.
| | 01:34 | Here, what you're probably going to need
to do is to boost the Exposure a little
| | 01:37 | bit, a little bit of Fill Light,
because what happens when you darken those
| | 01:41 | edges is that you're increasing
the overall density of the image.
| | 01:44 | So sometimes, you need to go back
and kind of compensate for that and
| | 01:47 | brighten things up a bit.
| | 01:49 | Then go back to Lens Vignetting,
perhaps add a little bit more, and kind of
| | 01:53 | go back and forth between these two
panels in order to dial in the effect
| | 01:57 | just as you want it.
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| Correcting lens vignette more quickly| 00:00 | Here I want to provide you with one
more example of how we can work with lens
| | 00:03 | vignetting, and also share with
you a shortcut that can sometimes speed
| | 00:07 | up your work when you are
working on this area of the image.
| | 00:10 | Well, here we are inside of
the Lens Corrections panel.
| | 00:12 | We can access that by
clicking on this icon here.
| | 00:16 | Let's say that what I want to do is I
want to work on Lens Vignetting Amount,
| | 00:19 | and I want to remove the Vignette here
in this photograph of my daughter Annika.
| | 00:23 | One of the things that I can do is I
can target the amount by clicking on this
| | 00:27 | here, but once this area is active, or
once I have clicked into this field here,
| | 00:32 | what I can do is press the Up or
Down Arrow keys in order to increase or
| | 00:36 | decrease this amount.
| | 00:37 | Now as I press the Up Arrow key,
it's moving one point at a time.
| | 00:41 | That's going to take me quite a
while to add that much vignetting.
| | 00:44 | Well, to add more, hold down the Shift
key, then the Up Arrow, and here you
| | 00:48 | can see it's going in 10-point increments
or press the Down Arrow key, and same thing.
| | 00:53 | It will move up and down that way.
| | 00:55 | Let's say we then we
want to change the Midpoint.
| | 00:57 | We'll press the Tab key in order to
select or target the next field, and then
| | 01:02 | again, Shift+Up Arrow or Shift+Down Arrow
will move this in a little bit larger
| | 01:06 | increments, so that you can get this just right.
| | 01:09 | Finally, to look at our before and after,
we will press that P key. Here we have
| | 01:13 | it, before and then after, a really
simple, yet significant correction made with
| | 01:18 | those Lens Vignetting controls.
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| Correcting chromatic aberration and defringing| 00:00 | Here we are going to go ahead and take
a look at how we can work with Chromatic
| | 00:03 | Aberration, or how we can correct
Chromatic Aberrations, and also how we can work
| | 00:07 | with the Defringe option
inside of the Lens Correction panel.
| | 00:12 | Let's go ahead and navigate to that panel.
| | 00:14 | Let's do so by way of a shortcut.
| | 00:16 | If you're on a Mac, that's Command+Option+6.
| | 00:19 | If you're on Windows, Ctrl+Alt+6 or of course,
you can always simply click on the icon here.
| | 00:25 | Next thing I want to do
is zoom in on this image.
| | 00:27 | I will go ahead and zoom into 100% so
I'll double-click the Zoom tool, then
| | 00:32 | press the Spacebar key, and
click and drag this image around.
| | 00:35 | Now as I drag around this image, I noticed
there is just a ton of noise problems here.
| | 00:40 | I will zoom in even a little bit closer
so that you can see those even better.
| | 00:45 | Now one of the areas of noise that I'm
noticing is that around the highlight
| | 00:49 | edges, there are just a lot of different
colors that are showing up and a lot of
| | 00:52 | different color variation around the eye,
on the face, around the skin, also on
| | 00:57 | the jersey here, we can see this purple edge.
| | 00:59 | All we can do is we can
choose a Defringe option.
| | 01:02 | I am going to go ahead and select All
Edges, so it works on the highlight edges,
| | 01:07 | as well as the other edges.
| | 01:08 | And what we are going to see is that
it's all of a sudden removed a lot of
| | 01:11 | the problematic color.
| | 01:13 | Now I am going to zoom in even further
so you can take a look at how this works.
| | 01:17 | Take a look at the strap here
and also the background over here.
| | 01:20 | Well, again, if I turn this to off, we can
see we have all this weird color variation.
| | 01:24 | We also see that in the face.
| | 01:26 | We choose All Edges, now all that color
variation and all those strange colors
| | 01:30 | have been reduced or removed. All right.
| | 01:33 | Let's turn that back to off for a
second and then zoom out, and then let's say
| | 01:38 | we want to work on perhaps
this purple edge over here.
| | 01:41 | Well, a lot of times this edge
happens as a result of Chromatic Aberration.
| | 01:45 | We have a couple of
different ways we can deal with this.
| | 01:48 | If you ever see kind of a highlight
fringe color, what you can do is use these
| | 01:53 | controls and drag them one way or
another. Because in this case it's purple,
| | 01:57 | let me go with this blue-yellow control here.
| | 01:59 | If I click and drag to the left,
it's going to become more blue.
| | 02:02 | We can kind of see how that's
standing out even more there along the edge.
| | 02:06 | Click and drag to the right, what I can
try to do is just soften that, or reduce
| | 02:11 | that, or for that matter, remove that.
| | 02:13 | And a lot of times what you can do is
get out altogether by simply moving the
| | 02:17 | slider. Other times, like in this case,
if we combine this with our Defringing
| | 02:22 | either of the highlight edges or of all
edges, we are going to see that that's
| | 02:26 | going to then reduce that color in
that area, and by combining these two
| | 02:30 | controls together, we can really get that out.
| | 02:32 | Well, let me zoom in a little bit
further so you can see this, and I have
| | 02:35 | realized that we're seeing this really
at a pixel level, but it can help
| | 02:38 | deconstruct things a bit.
| | 02:40 | So again, here is the Defringing off.
| | 02:43 | We can see all that purple there.
| | 02:45 | Here's Defringing all edges reducing
that, but it's still there, and then when
| | 02:49 | we go ahead and crank this up, we can
start to see that we can really remove
| | 02:53 | that color altogether. All right.
| | 02:54 | Well, let's zoom out a little bit and
examine the photo, and of course, one of
| | 02:58 | the things with this photo that we
will want to do is we want to reduce the
| | 03:02 | noise, and in order to do that we
would simply go over to our Detail panel.
| | 03:07 | Because this image has so much noise, I
am going to do that really quickly, just
| | 03:10 | reduce the Luminance Noise, bring my
Detail down, Contrast up a bit and then
| | 03:15 | just try to find a nice spot there for
that and also reduce that Color Noise,
| | 03:19 | and that will then make
the image look much stronger.
| | 03:22 | Now if we want to view our overall
before and after, we will go over here to our
| | 03:26 | Presets panel, then press the P key.
Here we have it before, and then after we
| | 03:32 | have dealt with the color
fringing, we've also reduced the noise.
| | 03:36 | Now the only other thing we would want to do
to this image is to sharpen it a little bit.
| | 03:40 | We can then go back to that Detail panel,
add a bit more Sharpening and reduce
| | 03:45 | our Radius and Detail here,
and increase the Masking.
| | 03:48 | The reason that I wanted to jump into
the Detail panel is just to get you to
| | 03:52 | begin to think about
| | 03:53 | howwhen you are working on
certain areas, like in this Lens Correction
| | 03:57 | area, nothing is really completely
isolated; rather, if we can combine our
| | 04:02 | skills with what we know about
different panels and different controls, we can
| | 04:06 | many times come up with the best results.
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18. EffectsUnderstanding the Effects controls| 00:00 | Here we are going to take a look at a
brand-new panel inside of the latest
| | 00:03 | version of Adobe Camera Raw,
and it's called the fx panel.
| | 00:07 | What are we going to do here is deconstruct
how some these effects work here in this panel.
| | 00:11 | Let's go ahead and click on the fx icon
in order to access the fx panel, or we
| | 00:16 | can press the shortcut: Command+Option
+7 on a Mac, Ctrl+Alt+7 on Windows.
| | 00:22 | All right, for starters you can
see here that we can do a few things.
| | 00:25 | We can either add creative effect, which
is adding Film Grain, or we can do some
| | 00:30 | Post Crop Vignetting.
| | 00:31 | Let's start off at the
top and work on Film Grain.
| | 00:34 | We are going to double-click the Zoom
tool to take this demo file up to 100%,
| | 00:39 | and all it is is a gray image.
| | 00:41 | Now if we increase the Amount of the
Film Grain, here we can see that we have
| | 00:44 | a lot of Film Grain.
| | 00:46 | The size is relatively small.
| | 00:48 | We can control its size
with this controller here.
| | 00:51 | Now what's interesting about this, as
this becomes smaller, the size becomes a
| | 00:55 | little bit more sharp, or precise.
| | 00:58 | Let me show you what I mean.
| | 00:58 | I am going to zoom in on this. See, we
have no size or zero size. When I click
| | 01:03 | and drag this up, see how it's
much more soft or much less defined?
| | 01:08 | So again, you should think of this as sharpness
almost in regards to the type of grain we have.
| | 01:13 | Let's double-click the Zoom tool to zoom out.
| | 01:15 | What about Roughness?
| | 01:17 | Roughness, has to do with how uniform
or not uniform the grain is. Click and
| | 01:22 | drag to the left. It's completely
100% uniform. It's all the same.
| | 01:26 | Click and drag the right. Now all of
a sudden there's these kind of random
| | 01:29 | varieties that are showing up
here in this Film Grain. All right.
| | 01:33 | Well, let's go ahead and reset these controls.
| | 01:35 | We will do so by pressing Option or
Alt and then clicking on Cancel, which
| | 01:40 | has now become reset.
| | 01:42 | The next I want to look at is Post
Crop Vignetting. In order to have work with
| | 01:46 | Post Crop Vignetting I am going to zoom
out a little bit, and we can zoom out by
| | 01:50 | pressing Command+Minus or Ctrl+Minus.
| | 01:53 | Next, I'll select the Crop
tool by pressing the C key.
| | 01:57 | I am going to go ahead and click and
drag over an area of this demo file.
| | 02:01 | What we can do is we can click and drag to
the left in order to add a darkening effect.
| | 02:07 | Click and drag to the right in
order to have a brightening effect.
| | 02:10 | Now this works in similar ways to
Lens Vignetting, but it's different.
| | 02:14 | Let me show you what I mean.
| | 02:16 | When I drag to the left and darken
this, if I resize my crop, it's going to
| | 02:20 | completely follow my crop, and it's
going to actually change based on the type
| | 02:24 | of crop that I have, and here you can
see the shape is shifting a little bit to
| | 02:28 | fit this particular type of a crop.
| | 02:30 | We also have some controls in
here, which are quite interesting.
| | 02:34 | We can control the Midpoint.
| | 02:35 | We've seen that before with Lens Vignetting,
but now we can also control the roundness.
| | 02:40 | The best way to see this is to first
remove the Feathering, so I am going to go
| | 02:43 | ahead and decrease that.
| | 02:45 | Now here with the roundness you can see
that I can change the type of shape that
| | 02:49 | this is, and we can make this a complete circle.
| | 02:52 | Now Feathering, as you can imagine,
allows us to add a soft or transitional edge
| | 02:57 | here, and we can go and
change that one way or another.
| | 03:01 | Now all these controls work the same
way, whether we're darkening, or for that
| | 03:05 | matter if we're brightening, and here
again, you can see that we can control or
| | 03:08 | dial in these type of
effects in this sort of way.
| | 03:11 | Now that we seen that, let's go
ahead and move on to our next demo file.
| | 03:15 | It's titled demo02.jpg.
| | 03:18 | What I want to do here, again, is make a
crop over this gradient that I've added
| | 03:22 | to this gray background image here.
| | 03:25 | And what I want to do is go ahead
and let's say darken up the image.
| | 03:28 | Now currently you can see that we've
selected a style of highlight priority.
| | 03:33 | If we go ahead and change this,
we can choose Color Priority.
| | 03:36 | It will look very similar.
| | 03:37 | And the one that's going to look
pretty different initially is Paint Overlay.
| | 03:41 | When I choose Paint Overlay, you
notice that what it's doing is is as if
| | 03:44 | it's more paining a dark color over the
entirety of the image. Compare that to Highlight,
| | 03:50 | here you can see that the Highlight is
kind of responding to the highlights a
| | 03:53 | little bit differently, and
the shape is a touch different.
| | 03:57 | It's not so much graying out or blackening
the image as it is kind of responding to it.
| | 04:02 | We also have access to this
controller down here called Highlights.
| | 04:07 | Click and drag this to the right, and
you can see how I'm bringing back my
| | 04:10 | highlights here, and you can see that
the Edge Effect is not affecting this
| | 04:14 | portion of the image here
where cropping the image.
| | 04:17 | Now this also follows with you wherever you
go in regards to making a crop adjustment.
| | 04:23 | Now if I change this to Paint
Overlay, take a look at the difference.
| | 04:27 | Well now the option is really stark.
| | 04:30 | We can see that it's just
kind of dimming out everything.
| | 04:32 | When I go back to Highlight Overlay,
I still have nice, bright highlights.
| | 04:36 | It's not going on top of those areas.
| | 04:39 | All right, let's take a look at demo file 03.
| | 04:42 | In here, what we are going to do is simply
apply the effect without cropping at all.
| | 04:46 | I will go-ahead and darken up the
image, I am going to bring my Midpoint in
| | 04:50 | pretty significantly, and then I am going to
compare this to the style of Paint Overlay.
| | 04:55 | Now Paint Overlay, as we have mentioned,
is just a little bit more of kind of a
| | 04:58 | diffused darkening effect.
| | 05:00 | On the other hand, let's go to Color or
Highlight Priority, and when we choose
| | 05:05 | one of those options, it's now
paying attention to the highlights.
| | 05:08 | It's trying to protect those a little bit more.
| | 05:10 | We can use this Highlight slider to
bring those highlights back, and you can
| | 05:14 | see how the highlights which were covered by
that darker tone are now being brought back.
| | 05:20 | I should point out, of course, that
this is only going to work when we are
| | 05:22 | darkening the image.
| | 05:23 | If we go ahead and brighten those same
corners, we don't have access to that,
| | 05:27 | because obviously highlights
are kind of becoming irrelevant.
| | 05:30 | Now what you'll find is that these
different styles will work better on
| | 05:33 | certain images and not on others, so
what you are going to need to do is
| | 05:36 | experiment a bit with these different
styles to see which style will work best on
| | 05:41 | whatever the task is at hand. All right.
| | 05:43 | Well, now that we briefly deconstructed
these two effects, Film Grain and Post
| | 05:48 | Crop Vignetting, let's go ahead and take
a look at how we can apply what we know
| | 05:52 | to a couple of images.
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| Using the Post Crop Vignette for creative effects| 00:00 | Here we're going to take a look at how
we can do some post-crop vignetting work
| | 00:04 | with this particular image.
| | 00:06 | So let's navigate over to our Effects panel.
| | 00:08 | We are going to do that by way of a shortcut.
| | 00:10 | If you're on a Mac, Command+Option+7;
| | 00:12 | on Windows, Ctrl+Alt+7. Well now that
we are here, I am going to go ahead and
| | 00:18 | press the C key to select the Crop tool.
| | 00:20 | I will go ahead and simply
click and drag over the image.
| | 00:24 | I'm not really too concerned about the
crop area, but I simply want to extend
| | 00:27 | the crop out to show, or highlight,
how this post-crop vignetting works.
| | 00:31 | Well, once we have a crop area defined,
what we can do is then add some vignetting.
| | 00:37 | In this case, I am going to go
ahead and darken up the corners.
| | 00:40 | Now if I change my crop, the darken
effect will travel with this crop area.
| | 00:45 | Now, of course, you don't always
work with this tool in this view.
| | 00:48 | Many times what you will do is press
Enter or Return to apply the crop and then
| | 00:53 | dial in the post-crop vignetting.
| | 00:55 | Now that we have the crop here that we
want to work with, let's take a look at
| | 00:59 | how these controls
actually work on a photograph.
| | 01:01 | Well, here we have our amount.
| | 01:03 | Our midpoint is going to bring that
effect into the center of the image.
| | 01:07 | If we change the amount to a positive
side, we can then brighten up those edges.
| | 01:12 | Negative, that's darken. Roundness, we
can control the overall shape if we just
| | 01:16 | want an edge darkening effect, or for
that matter, an edge brightening effect.
| | 01:20 | We could dial that in this
way by changing the Roundness.
| | 01:24 | And we can also control the overall
Feather, either having a real precise edge
| | 01:28 | or having an edge that has some diffusion to it.
| | 01:32 | Now for the sake of a demo, I am going
to add quite a bit of diffusion here, and
| | 01:36 | I am going to go ahead and reduce some
of that Roundness so that we can really
| | 01:40 | pay attention to this
transition area of the edges.
| | 01:43 | We have a few different styles:
| | 01:45 | Highlight Priority, Color Priority,
which is going to focus in on some color,
| | 01:50 | and then Paint Overlay, which is just a
little bit more of a diffuse darkening effect.
| | 01:54 | We will see the huge differences
between these styles, really highlight color
| | 01:58 | priority versus paint, when
| | 02:00 | we make a selection of one of these and
increase the highlights, and you can see
| | 02:04 | here that it's as if that dress has
just been painted back in. It's allowing us
| | 02:09 | to maintain the detail that we had there,
not darken that portion of the image.
| | 02:14 | Now, we take this to Paint Overlay
and again, it's just diffused all the
| | 02:17 | way around the board.
| | 02:18 | Same thing will be true with Highlight Priority.
| | 02:21 | It will save those details there, and we
can see that as we make our way through.
| | 02:25 | Now in this case, this affect is much
too strong, but it does really illustrate
| | 02:30 | what's happening here.
| | 02:31 | So what we can do is we can slowly find
a nice spot for this, and we'll go ahead
| | 02:36 | and modify this effect and then let's say
we just want to darken up those edges
| | 02:40 | to create kind of a moody,
romantic look with this image.
| | 02:44 | So I will go ahead and find a nice
darkening amount, saving my highlights there,
| | 02:48 | so we still have nice dress detail.
| | 02:51 | Then the last thing I am going to want
to do here is to go back to the Basic
| | 02:55 | panel and make any adjustments, and I
find that sometimes it's nice just to
| | 02:59 | sweeten this up a bit,
modify some of our controls here.
| | 03:03 | Next thing I want to do is just fix my
crop because there is a person in the
| | 03:06 | background. Press the C
key to access the Crop tool.
| | 03:10 | I am just going to do a free-form crop.
| | 03:11 | I will go ahead and pull that in.
| | 03:13 | You'll notice it will bring my edge in
as well. Press Enter or Return, and we
| | 03:18 | have wrapped up our work on learning
how to work with post-crop vignetting.
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| Adding film grain to a black-and-white image| 00:00 | We're going to take a look at how we
can work with film grain in the Effects
| | 00:03 | panel, and here I thought it would be
fine to also perhaps add a little bit of a
| | 00:07 | vignette and a toned effect to this
image as well, just to finish it off.
| | 00:12 | Let's go ahead and
navigate to the Effects panel.
| | 00:15 | You can press the shortcut on a Mac,
Command+Option+7; Windows, Ctrl+Alt+7, or
| | 00:21 | simply click on Effects there.
| | 00:23 | Now let's zoom in to at least
something close to 100%, doesn't have to be
| | 00:28 | 100, but a little bit closer so that we can
see some of the details here in this image.
| | 00:32 | So I will click on the image with the
Zoom tool in order to zoom in a bit.
| | 00:36 | Next, all that we want to do is to use
these three controls until we create a
| | 00:41 | grain effect that looks good.
| | 00:43 | So here I'll go ahead and increase my
amount, and as I do that, one of the
| | 00:47 | things that I am going to notice, let's
say we crank this all the way up, is
| | 00:50 | that grain is kind of sitting on top
of the image or blocking the image.
| | 00:54 | So what we want to do is find the sweet
spot where it's almost blending into the file.
| | 00:59 | We can do that by modifying our size and
also our roughness and here again, I am
| | 01:04 | just going to try to find a nice spot
ware I have some film grain, where the
| | 01:07 | film grain isn't overpowering. Press the P key.
| | 01:10 | There we have before, and then now after.
| | 01:13 | Well, let's press Command+
Minus or Ctrl+Minus to zoom out.
| | 01:17 | Let's go ahead and add a little bit of
an edge effect, and there are so many
| | 01:20 | different types of edges that we could add here.
| | 01:22 | But in this case, I am just going to
kind of have some fun with this and add a
| | 01:25 | little bit of a darkening effect there
on the edges, just to try to make this a
| | 01:29 | little bit more vintage-like.
| | 01:31 | I think that's kind of fun.
| | 01:33 | Next step, we'll go ahead and
navigate over to our Split Toning sliders.
| | 01:37 | I am going to add a little bit of color
in my highlights and then a bit more in
| | 01:41 | my shadows, and all I'm interested in
doing here is just kind of having a real
| | 01:46 | subtle, toned look here to this photograph.
| | 01:49 | Let's see if I can find a nice color
that I think might work good for those
| | 01:52 | shadows, something like that perhaps.
| | 01:55 | Let's zoom in, Command+Plus or Ctrl+Plus.
| | 01:58 | Here's our before and after on our color.
| | 01:59 | It's pretty subtle.
| | 02:00 | I will crank it up a bit
more, so you can see it.
| | 02:03 | Yeah, that's nice, a little bit of
yellow I think works well, and perhaps a
| | 02:06 | little bit of red in those shadows.
| | 02:08 | All right. We'll click on the Presets
tab, then press the P key.
| | 02:12 | Here we have our before and then our after.
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| Adding film grain with Camera Raw and Photoshop| 00:00 | Here, we're going to take a look at
how we can add some film grain to a color
| | 00:03 | image, yet we're going to go beyond that.
| | 00:05 | This is going to be a little bit of an
advanced movie, so just hang tight. Stick
| | 00:10 | with me here, because what I want to do
is take a look at how we can create two
| | 00:13 | files in Adobe Camera Raw, how we can
then combine those two files together
| | 00:18 | inside of Photoshop.
| | 00:19 | Well, to keep things simple, let's go
ahead and click on our fx icon, and then
| | 00:24 | let's zoom in on the image by
clicking on it with the Zoom tool.
| | 00:27 | Next, we'll go ahead and increase
our Amount and our Size, and all that I
| | 00:31 | want to do here is just have an
Amount and Size, which looks pretty nice in
| | 00:35 | regards to this photograph.
| | 00:36 | Well, here, I think that looks pretty good.
| | 00:39 | I really like how it treats Highlights.
| | 00:42 | That was true with film grain or
actual film grain, versus digital.
| | 00:46 | It kind of clips Highlights.
| | 00:48 | You have all of a sudden
this drastic loss of detail.
| | 00:51 | Before, there was kind of this nice gradation.
| | 00:53 | I like what that did up here in this
top part of the image. Press the P key.
| | 00:57 | Here is our before.
| | 00:58 | And then press again. There is after.
| | 01:00 | Another technique that advance
retouchers use is they add a little bit of film
| | 01:04 | grain to the skin to kind of smooth it out.
| | 01:07 | It puts a uniform texture over skin,
making it look a little bit more uniform,
| | 01:11 | without making it look smudgy or unnatural.
| | 01:14 | Well here, we can see a couple of those
improvements. The skin looks fine, yet
| | 01:18 | one of the downsides of this is this
screen has been applied to the eyes and
| | 01:22 | the lips and the nose.
| | 01:23 | I especially don't want it over the eyes.
| | 01:26 | So, here's what we're going to do.
| | 01:28 | We're going to simply click Open Image.
| | 01:29 | This will then open the file up in Photoshop.
| | 01:32 | Next, we'll go back to Adobe Bridge.
| | 01:35 | We can do so by clicking on this icon here.
| | 01:37 | Then we'll press Command+R
or Ctrl+R to open this one up.
| | 01:41 | Let's go to that Effects panel,
remove the film grain. All right.
| | 01:44 | Well, now that we've removed that, let's go
over here to our Sharpening or Detail panel.
| | 01:49 | I'm going to increase my Sharpening just a bit.
| | 01:51 | Add a little bit more detail under
those eyes, and then I'll click Open Image.
| | 01:56 | Now here that I have two images.
| | 01:58 | We can see we have these side by side.
| | 02:00 | What we can do is combine these two together.
| | 02:04 | To do that, press the V key.
| | 02:05 | That will make you select the Move tool.
| | 02:07 | Then click in one of the images, hold
on the Shift key and click and drag, and
| | 02:12 | drop that image into the other.
| | 02:14 | Here I'll press the F key to go to Full
Screen View and then Command+Plus to zoom in.
| | 02:19 | Now, once I've zoomed in, you can see
that I have one layer, the Background
| | 02:22 | layer, no film grain, top
layer, lots of film grain.
| | 02:25 | Well, all that I need to do now is
either erase part of this image or create a
| | 02:30 | mask, and limit what's coming
through in a particular area of this photo.
| | 02:35 | Now, if you're not familiar with
masking, this will be a bit of a stretch,
| | 02:38 | and you may want to watch some of my other
movies, where I talk about masking in Photoshop.
| | 02:42 | Yet for here, let's just go ahead
and take a look at how this works.
| | 02:45 | All we'll do here is simply
click on the Add Layer Mask icon.
| | 02:49 | Then we'll press the B key.
| | 02:50 | Select our Brush tool.
| | 02:52 | Here we want to paint with black.
| | 02:54 | We'll choose a nice, soft
edge brush, no hardness there.
| | 02:57 | As far as the size, we want a pretty small
brush, actually, a little bit smaller than that.
| | 03:02 | The Opacity, it's nice to start with
a low Opacity, so that you can kind of
| | 03:05 | build this effect up.
| | 03:06 | Here, I'm just painting in a
few brush strokes over these eyes.
| | 03:10 | As I do this, it's going to be a
pretty subtle, little effect, that's kind of
| | 03:13 | nice to start to bring this down a bit.
| | 03:16 | Let's zoom in even further, so
you can see how we've done here.
| | 03:19 | If we Shift+Click this layer,
we'll see the before and after.
| | 03:23 | Here we have before and then after.
| | 03:25 | If we turn off the underlying layer
visibility, we'll see that what we've
| | 03:29 | done here is just said, "Hey, limit this area.
Don't allow the film grain to be visible."
| | 03:34 | We've done that by creating a mask.
| | 03:36 | Then we can go ahead and
click on that Background layer.
| | 03:39 | We can see now that we have the film
grain applied, but not into certain
| | 03:42 | areas of the photograph.
| | 03:44 | The other nice thing about this is
we can experiment with a number of
| | 03:47 | different techniques here, one, simply
lowering the Opacity, and finding the
| | 03:51 | sweet spot for the grain.
| | 03:52 | This was a little bit too intense,
but now, before and then after.
| | 03:56 | That actually looks really good.
| | 03:58 | Zoom out a little bit, and
you can see before and after.
| | 04:00 | It's a really nice, subtle amount of film grain.
| | 04:03 | I'm loving that look!
| | 04:04 | Maybe hard to see here in this movie,
but at least on my monitor, it's
| | 04:07 | looking really nice.
| | 04:09 | We can also do some other things.
| | 04:10 | If we feel it getting really creative,
sometimes, we can crank this up and then
| | 04:14 | take this to a Blend mode of say Soft Light.
| | 04:17 | Now when we go to that Blend mode
of Soft Light, it will increase the
| | 04:20 | Contrast and whatnot.
| | 04:21 | But we can always lower the Opacity
here and do some of our other Photoshop
| | 04:24 | tricks, or do some advance blending, or whatnot.
| | 04:27 | Well, that's a little bit outside of the
scope of what we're talking about here today.
| | 04:31 | So, I'll just leave this on Normal.
| | 04:33 | I'm going to simply lower the
Opacity and just take that down.
| | 04:37 | The other thing I might want to do is
add a bit of a Feather to my mask edge.
| | 04:40 | That will just soften the transition area.
| | 04:43 | Now, here at this juncture, we've successfully
used Adobe Camera Raw to add some film grain.
| | 04:48 | Then we combined that with some of our
Photoshop skills, in order to create an
| | 04:52 | image, which looks even better.
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|
|
19. Camera CalibrationIntroducing the Camera Calibration panel| 00:00 | Here we are going to go ahead and take
a look at the Camera Calibration panel.
| | 00:04 | Now this isn't a panel that
many of us go to very often.
| | 00:07 | Yet nonetheless, I thought it'll be
helpful to deconstruct this one a little bit
| | 00:11 | so we can figure how we can take
advantage of the controls over here.
| | 00:15 | Well for starters, we will go
ahead and click on that Camera icon.
| | 00:18 | We first want to talk about our Process Options.
| | 00:21 | We can either choose 2010 or the
current Adobe Camera Raw Processing, or many
| | 00:27 | of our images, when we open them up, will have
the older version of processing here, say 2003.
| | 00:33 | When I select that, you'll notice that
there's an exclamation point down here.
| | 00:37 | Well what's this all about?
| | 00:38 | What's happening here is this is
telling us that this image was processed in a
| | 00:43 | previous version of Adobe Camera Raw.
| | 00:45 | If that is, we open our image up and
we see this little exclamation point.
| | 00:49 | Well in that case what Adobe Camera Raw
is going to do is say hey you know what
| | 00:53 | I'm not going to update this file
to the latest and greatest Camera Raw
| | 00:57 | technology, Noise Reduction,
Sharpening, all those things.
| | 01:00 | I'm going to leave it as is.
| | 01:02 | And you may want to leave the file as is
simply if you want consistency with how
| | 01:06 | you've previously processed the file.
| | 01:08 | On the other hand, most likely what
you're going to want to do is update this to
| | 01:12 | the latest and greatest.
| | 01:13 | So you have the ability to take
advantage of the new demosaicing algorithm,
| | 01:17 | the Noise Reduction, the stuff with Lens
Corrections, all these things have been improved.
| | 01:21 | Well if we want to do that, simply
click on the exclamation point. That will
| | 01:25 | update the process version, or you
can always just select that right here
| | 01:28 | from this pulldown menu. All right.
| | 01:30 | Well next let's go to Camera Profile.
| | 01:32 | What we are going to do with Camera
Profile is we can select different profiles,
| | 01:36 | or kind of starting points for our photographs.
| | 01:39 | Now these are never going to be perfect,
but color, for that matter, is never perfect.
| | 01:43 | There is no such thing as accurate
or perfect color, rather it's color
| | 01:47 | relationships and what happens is is
how our camera renders or creates color
| | 01:52 | is going to be different from camera to
camera, from manufacturer to manufacturer.
| | 01:57 | In Camera Raw, what we are trying to do
here is find color that works well for
| | 02:01 | the intent of the photograph.
| | 02:03 | So one of things that's interesting
to do is to just click through all of
| | 02:06 | these different options.
| | 02:08 | Now as I do this, we are going to see
pretty significant differences here.
| | 02:12 | Let's say we go to this Standard or
Faithful. Well this is going to be a pretty
| | 02:15 | muted color palette.
| | 02:16 | To see the before and after, press the P key.
| | 02:18 | Here is before and here is
after, a little bit more muted.
| | 02:21 | Well, the one right after this is really
going to bring up our Color Saturation,
| | 02:25 | make everything nice and vibrant.
| | 02:27 | And then we can continue to go
through these options and just see what
| | 02:30 | particular profile works well with this image.
| | 02:33 | Now let's say I want to go for
something pretty saturated, maybe like this.
| | 02:37 | I'll press the P key. Here is my before.
| | 02:40 | Press the P key again. Here is my after.
| | 02:42 | Or let's say I want to take it those
bright vivid colors of Camera Landscape.
| | 02:46 | Again, here is before, and then here is after.
| | 02:50 | What I can do is I can use
this as a starting point.
| | 02:53 | I can then of course, go to my other
panels, like let's say the Basic panel.
| | 02:57 | Here I could change the Color Temperature,
| | 02:58 | if I want to warm this up even more or
cool it off. I could also go ahead and
| | 03:02 | process the image as I see fit.
| | 03:05 | Now in order to see the entire before
and after, what I am going to need to do
| | 03:09 | is go to either the
Presets or the Snapshots panel.
| | 03:14 | Once in Presets, I'll then press the P key.
| | 03:16 | And when you press the P key, it
toggles your Preview on and off.
| | 03:20 | So here we have before, and now here we
have after, simply by starting off by
| | 03:25 | choosing that particular profile.
| | 03:27 | So again just to reiterate, what
profile you actually choose is really going to
| | 03:31 | be contingent upon your overall intent,
what type of color you like, what type
| | 03:36 | of color you think looks best.
| | Collapse this transcript |
| Comparing color options with Snapshot| 00:00 | In order to get familiar with how
these Camera Calibration profiles actually
| | 00:04 | work, I find it's helpful to take
some snapshots of some of the different
| | 00:08 | profiles and color combinations,
just so you can begin to compare and
| | 00:12 | contrast how these work.
| | 00:13 | Let's take a look at how we can do that
here so that we can really deconstruct
| | 00:17 | this, and also so that we can use it
perhaps a little more effectively.
| | 00:20 | Well, let's head to our Camera Profile options.
| | 00:23 | What we'll do is just click through
these and try to find one that I think looks
| | 00:26 | kind of interesting.
| | 00:27 | I am just going to make my way
through all of these different options.
| | 00:30 | And let's say that one
that I like is standard here.
| | 00:33 | Let's say with Standard, I want to go
into my Basic panel, open up my Exposure a
| | 00:37 | little bit, add a little bit Contrast and
just de-saturate a touch there. All right.
| | 00:43 | Well so far so good, little bit of Vibrance.
| | 00:46 | I am going to make my way
now to the Snapshots panel.
| | 00:49 | In the Snapshots panel,
click on the New Snapshot.
| | 00:51 | I'll name this option 1.
| | 00:54 | Next, I'll go back to my Camera
Calibration tab and here let me choose something
| | 00:58 | different, say Landscape.
| | 00:59 | Well, now very different color interpretation.
| | 01:02 | I'll go over here to my Snapshots panel,
click on the New icon, choose this one
| | 01:07 | 2, and then again go back to Camera Calibration.
| | 01:10 | I am just going to choose another
option that I think might work for this
| | 01:13 | photograph, and I'll look through here,
and then once again to the Snapshots
| | 01:17 | panel, we'll click the New
icon and name this one 3.
| | 01:20 | Well, now here all I have are these
three different options for the image.
| | 01:25 | And again, sometimes I find it's helpful
to be able to click through these options.
| | 01:30 | Now keep in mind, each of these
different snapshots, or options here, have the
| | 01:34 | Camera Calibration profile, also all of
the basic settings that we've applied.
| | 01:39 | So in this case, I'm getting the best of
kind of both worlds, and it helps me to
| | 01:43 | quickly jump between these three options.
| | 01:46 | As I do that, I notice certain things
that I like about certain versions and
| | 01:51 | other things that I don't
like about other options.
| | 01:53 | For example, I think this one just a
little bit too muted, and the Contrast
| | 01:58 | doesn't look very nice.
| | 01:59 | This one is pretty nice, but perhaps a
touch oversaturated, and then this one
| | 02:03 | somewhere in the middle, pretty
neutral color, looks pretty sharp.
| | 02:07 | So what I might do is say,
well, I really like this one.
| | 02:11 | I'm attracted to those bright vibrant
colors, but I'll go back to my Basic
| | 02:14 | panel, and I'll just pull little bit
more of that color out, so it's not
| | 02:17 | quite so saturated.
| | 02:19 | Then once I do that, I can say, hey, yeah,
this is a pretty good place for this image.
| | 02:23 | I think this looks nice.
| | 02:25 | To view my overall before and after at
this juncture, I am going to go back over
| | 02:30 | here to either Presets or
Snapshots, then I'll press the P key.
| | 02:34 | That will toggle the Preview on and off.
| | 02:36 | Here we have it, before and then after.
| | 02:39 | So not a huge color shift, but
nonetheless a nice subtle yet significant way to
| | 02:44 | process this photograph.
| | Collapse this transcript |
| Creative color with the Camera Calibration controls| 00:00 | The Camera Calibration panel was created
to help photographers achieve or create
| | 00:05 | more accurate color.
| | 00:06 | We are going to talk a little
bit about that in the next movie.
| | 00:09 | Yet here what I want to do is take a
look at another use for this panel, and that is
| | 00:13 | for creating some interesting and
distinct colors and color combinations.
| | 00:17 | Let's take a look at how we could
process this image in perhaps a distinct way.
| | 00:21 | Maybe what we want to do is process
this image so it looks a little bit more
| | 00:25 | vintage, a little bit more like a
film photograph or perhaps has a bit of a
| | 00:29 | cross toning or a cross
processing aesthetic to it.
| | 00:32 | Well, how could we do that?
| | 00:33 | What we can do is we can use
these different controls here:
| | 00:36 | Shadows, Reds, Greens and Blues, and then
we can dial in a particular color effect.
| | 00:41 | For example, let's just increase the
Shadow color amount here to something that
| | 00:46 | brings in a nice kind of
magenta shift to the image.
| | 00:49 | If you press the P key or click on the
Preview before and then after, already
| | 00:54 | the image is taking on a
distinct or different look and feel.
| | 00:58 | Next, let's go into our Reds and
saturate those and shift the color a little bit.
| | 01:02 | Again, I'm just moving these sliders
just to a point where I like how it looks.
| | 01:07 | Again, press the P key, here
is our before and then after.
| | 01:11 | Moving down to the Green slider here, I am
going to simply bring up the Greens there.
| | 01:15 | I can work on that Saturation as well.
| | 01:17 | Then this Blue one over here, I might
as well just desaturate this, and again,
| | 01:20 | because I'm going for a little bit
more of a vintagey feel. All right.
| | 01:23 | Well next, I am going to combine
this with some of my other controls.
| | 01:29 | For example, we'll go over to Split
Toning, and in Split Toning, what I really
| | 01:33 | want to do here is say I want to add
a bit of yellow into my Highlights.
| | 01:37 | So I am going to go ahead and add those
into the Highlights here, just trying to
| | 01:39 | find a nice yellow, and then my Shadows,
I'll bring in some blues, and again,
| | 01:44 | just trying to create kind of
a interesting toned look here.
| | 01:48 | I just try to find something
that might work with this image.
| | 01:51 | Next, I'll go over to the Basic panel.
| | 01:54 | Basic panel, I am going to bring up
some Fill Light, little bit of Contrast,
| | 01:57 | little bit of Vibrance there, but we have
this really distinct kind of look with the image.
| | 02:02 | I'll increase my Exposure a touch as
well, bring up a little bit of recovery,
| | 02:07 | then I'm going over here to my Lens
Corrections panel, and then I am going to
| | 02:11 | actually remove some of
the vignetting. All right.
| | 02:13 | Well, at this juncture, we've come
to an interesting way that we could
| | 02:17 | potentially process this photograph.
| | 02:19 | Now I am not saying that you have to
process your images this way, but what I am
| | 02:23 | trying to do is open up the
possibilities of working with Camera Calibration in
| | 02:28 | the controls there in order to come up
with some unique and distinct ways to
| | 02:33 | process your photographs.
| | 02:34 | Well, let's go back to the
Camera Calibration Tab for a moment.
| | 02:38 | Were all of these adjustments worth it?
| | 02:39 | Well, we can determine that by
pressing the P key. Here is our before, and
| | 02:44 | then here is our after.
| | 02:46 | So yeah sure, these controls allowed
us to dial in this particular type of a
| | 02:50 | look, which we then used as a
foundation and took it further with some of
| | 02:54 | our other controls.
| | 02:56 | And a lot of times that's what
you're going to want to do, right?
| | 02:58 | Use this as a foundational little shift.
Other times you may simply completely
| | 03:03 | process your image here with using
one of these controls, maybe a little
| | 03:07 | Shadow Tint or shifting the Reds to be a
little bit more yellow or a little bit more magenta.
| | 03:11 | We are going to pull out some of the
Reds for that matter and to desaturate
| | 03:14 | some of those colors.
| | 03:15 | Let's say that at this juncture, you
come up with something you kind of like,
| | 03:19 | like this particular aesthetic here.
| | 03:21 | What you can do is simply go over to your
Presets panel and then click on the New icon.
| | 03:26 | I am going to go ahead and call
this one muted -- blue yellow.
| | 03:30 | Well, to apply this preset to another
image, or to a set of images, we simply
| | 03:36 | would need to select another image
like this one here that hasn't been
| | 03:39 | processed, and then we could go ahead
and choose that Preset, and now we have
| | 03:43 | this applied in a different scenario.
| | 03:45 | And what this can do is it can start
to bring two different images shot in
| | 03:49 | completely different times,
a little bit closer together.
| | 03:52 | Now there's still a pretty big
variation between these two, and what we might
| | 03:57 | want to do then once we've applied
this preset, let's say going to the Basic
| | 04:00 | panel, and here I am going to
lower the Contrast on this one.
| | 04:03 | I think it needs to be removed there a
bit more to add a little bit more of that
| | 04:07 | vintage aesthetic, and then
add a bit more Fill Light.
| | 04:11 | Again, just to even things out a bit,
but again, we can build off of that.
| | 04:16 | What this can do for us obviously is
help us to just get creative, to try
| | 04:19 | something we possibly haven't tried before.
| | 04:22 | Well, the nice thing about this, of
course, is that if at any point we don't
| | 04:26 | like the processing of this
particular image, hold down the Option key on a
| | 04:29 | Mac, Alt key on a PC.
| | 04:31 | That will change Cancel to Reset,
then we can go ahead and reset all those
| | 04:35 | changes and take this back where it was.
| | 04:37 | Then we can go back to our image, and
we could start over again or for that
| | 04:41 | matter, we could always navigate back
to those Presets, click on that Preset,
| | 04:46 | and then modify it even further.
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| Camera Calibration resources| 00:00 | The Camera Calibration panel was really
designed to help us create accurate color.
| | 00:05 | And if you are interested in digging
deeper into this topic, what you can
| | 00:08 | actually do is learn a little bit about
how you can create a profile for your camera.
| | 00:15 | And then you can access that
profile from this pulldown menu here.
| | 00:18 | Now in order to do this, you need to get
some other devices, like you need to get
| | 00:22 | a ColorChecker chart, and then you
need to have something which actually
| | 00:25 | generates a profile.
| | 00:27 | So what I want to do here is simply
recommend one option for you if you are
| | 00:31 | interested in digging deeper into this topic.
| | 00:33 | Well, the option that I use is
called the ColorChecker Passport.
| | 00:38 | It's put out by the folks at X-Rite, and
it is a phenomenal tool. It works so well.
| | 00:43 | The nice thing about this is that if you
scroll down here to the right, you will
| | 00:46 | notice there are a number of different
movies, which describe how you can use
| | 00:50 | this tool and how you can use it with
Photoshop or with Lightroom, and that's
| | 00:54 | really helpful because you don't
just have something that you buy.
| | 00:58 | You have to figure out.
| | 00:59 | You have these tutorials which
can walk you through this process.
| | 01:02 | Now the other thing that I want to
highlight here is that if you navigate
| | 01:05 | to X-Rite's blog, there is a great
post, and this post talks about how you
| | 01:10 | can create profiles with this ColorChecker
chart, whether in Photoshop or in Lightroom.
| | 01:16 | And here you can see it's focusing on
Photoshop and Camera Raw and how you can
| | 01:20 | access those profiles.
| | 01:22 | Now one of the things that I have to
point out is that when you are using this,
| | 01:25 | you, of course, need to create
profiles for different lighting situations,
| | 01:28 | different times a day, studio, open
shade, outdoor, full sun, whatever it is.
| | 01:33 | But the advantage of creating those
profiles, of course, is that it can then help
| | 01:38 | you create much more accurate and also
more intriguing and interesting color.
| | 01:42 | So I want to go ahead and scroll to the top
just so you can see the name of this post here.
| | 01:46 | The name of it is CREATING DNG
PROFILES WITH THE COLORCHECKER PASSPORT.
| | 01:51 | So again, if you go to their blog
and do a search for that, CREATING DNG
| | 01:56 | PROFILES WITH THE COLORCHECKER
PASSPORT, you can read more about this.
| | 02:00 | Now it will start off by talking about
Lightroom, but then as you make your way
| | 02:04 | down the page, just pass Lightroom, you
will see that you can also create these
| | 02:08 | profiles in Photoshop.
| | 02:10 | And it does point out that if you are not
working with the DNG format, that's no big deal.
| | 02:15 | You simply open up a raw image with a
ColorChecker chart in it or that Passport in it.
| | 02:20 | You can then create that DNG file.
| | 02:23 | And what we will do next is we will use
this software, which will then guide you
| | 02:27 | through this process.
| | 02:28 | It will allow you to create this profile
for your particular camera. All right.
| | 02:32 | Well I just wanted to highlight that resource.
| | 02:34 | Again, if you are interested in digging
deeper, into getting more accurate color
| | 02:39 | with Adobe Camera Raw, check that out.
| | 02:41 | And if nothing else, at least navigate to X-
Rite site and watch a few of these movies.
| | 02:46 | I think you will find those to be
informative and also pretty helpful.
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|
|
20. PresetsIntroducing presets| 00:00 | In this chapter, we are going to take a
look at how we can work with the Presets
| | 00:03 | panel in order to speed up our workflow,
and in particular here, I simply want
| | 00:08 | to begin to talk about how we can
create just two really basic presets.
| | 00:12 | Now, the first one you want to
create is based on your default settings.
| | 00:16 | So in the Basic panel, you click on Default.
| | 00:19 | That kind of takes
everything back to normal, so to speak.
| | 00:22 | Next, we are going to go ahead and
navigate over to our Presets panel, either
| | 00:25 | by clicking on the tab or by pressing
Command+Option+8 on a Mac, Ctrl+Alt+8 on Windows.
| | 00:32 | The next thing we want to do is
simply click on the New icon down here.
| | 00:36 | We will go ahead and call this one default.
| | 00:38 | And currently, what its doing is
it's going to apply this to all of these
| | 00:42 | different settings here. That sounds fine.
| | 00:45 | We will click OK.
| | 00:46 | Well, now that we have this default
preset, let's go back to the Basic panel,
| | 00:51 | or for that matter, go back to any of the
other panels that we want to make changes in.
| | 00:56 | In this case, I am going to make
just a couple of simple changes.
| | 00:59 | I will warm the image up, add a
little bit of Fill Light, little bit of
| | 01:02 | Recovery, decrease the Contrast a bit,
and just try to find a way to process
| | 01:07 | this image so that it looks nice, and
this distinct sunset type of light here,
| | 01:12 | and I think this is looking better.
| | 01:14 | I will press the P key.
| | 01:15 | Here we have our before.
| | 01:16 | Press the P key again.
| | 01:18 | There we have after.
| | 01:20 | The only other thing I want to do is
correct the vignetting around the corners.
| | 01:24 | So I will go over here to my Lens
Correction panel, and I will just click and
| | 01:28 | drag this to the right a little bit. All right.
| | 01:29 | Well now that I have made some changes
in one or more panels, I need to go back
| | 01:35 | to the Presets panel.
| | 01:37 | Now in the Presets panel, I will click
on that tab, and then I will go ahead and
| | 01:40 | click on the New icon.
| | 01:41 | What I am going to do is give this one a name.
| | 01:44 | Because these photos were part of an
engagement session, I will go ahead and
| | 01:48 | name this one eng for engagement.
| | 01:50 | I will just call this eng - c1 for Correction 1.
| | 01:55 | And then, I will go ahead and click OK.
| | 01:57 | Now, the nice thing about having
these two presets is that if I think that
| | 02:01 | this preset isn't very good, well to able to
go back to the previous or the default setting,
| | 02:06 | I can simply click on that, and it will
take it back to normal, or I can click
| | 02:10 | on this new particular preset here.
| | 02:13 | Now, what we can also do is extend
this a little bit further so that we have
| | 02:17 | even more functional control over how
to use these presets, and then apply
| | 02:21 | them to other images.
| | 02:22 | So let's go ahead and take a look at
how we can do that in the next few movies.
| | Collapse this transcript |
| Applying presets to multiple images| 00:00 | In the previous movie, we started to
talk about how we could create a simple
| | 00:03 | preset and also have a default
preset so we could always go back to it.
| | 00:08 | Well, let's say that what we want to do
here is we want to create another preset
| | 00:11 | based on this, but perhaps
pushed a little bit further.
| | 00:14 | On this case I'll go back to my Basic
panel, and then I am going to go ahead
| | 00:18 | and warm this image up a little bit
more, add a little bit more Fill Light, a
| | 00:22 | little bit more Recovery there, and then I'm
going to lower the Saturation a touch as well.
| | 00:26 | All right.
| | 00:27 | Well now that I have yet another way to
process this image I'll go back to my Presets panel.
| | 00:33 | Next I'll click on the New icon there,
and I'll go ahead and name this one eng
| | 00:37 | for engagement, - c2 for
corrections 2, and click OK.
| | 00:42 | Now how you name these presets is going
to be completely up to you, but here you
| | 00:46 | can see we have a couple of different options.
| | 00:48 | We have the default, and then we have
corrections 1 and corrections 2. All right.
| | 00:52 | Well what we can do is we can apply one
of these presets, or if we don't want to
| | 00:57 | use these at all, we'll simply
click Cancel to exit out of Camera Raw.
| | 01:01 | Now the nice thing about that is
that Camera Raw will remember all of the
| | 01:05 | presets that we've saved.
| | 01:07 | We don't have to do anything to save those.
| | 01:09 | We simply have to create them.
| | 01:10 | Well, let's say that what we want to
do now is apply those presets to all of
| | 01:14 | these images, which were captured at
the same time in relatively similar
| | 01:18 | lighting situations.
| | 01:20 | What all we need to do is to select all
the images, click on one and Shift+Click
| | 01:24 | on another, then press Command on a Mac,
Ctrl on Windows and the R key to open up
| | 01:29 | all of these images in Camera Raw.
| | 01:32 | Here we'll simply click on Select
All, choose all of those images.
| | 01:35 | We'll make our way over here to the
Presets panel, and in this case, we can make
| | 01:40 | a selection, and as I'd select one of
my presets, you'll see over here that I
| | 01:44 | can use my arrow keys to scroll through
all these images to see how these images
| | 01:48 | look with this particular preset.
| | 01:51 | Now to view the before and after, press
the P key. Here is before and then after.
| | 01:55 | And of course here what I can do as
well is simply click on one of the other
| | 01:58 | presets to see how that might look.
| | 02:00 | Now if I want to apply these preset
settings to these images, what I can do
| | 02:05 | here is simply click Done.
| | 02:07 | When I go back to the Adobe Bridge, it
will then update all of my thumbnails
| | 02:11 | with this new distinct look, and
now the images look a ton better.
| | 02:15 | Another way that we can apply these presets
is by single-clicking one of these images.
| | 02:20 | I'll go ahead and click on this one,
and then we can right-click or Ctrl+Click.
| | 02:25 | Next, we can scroll down to Develop Settings.
| | 02:27 | In Develop Settings, it actually will
record all of our different presets, so if
| | 02:32 | I want to return this one to the
Default Settings, I'll click on Default, then
| | 02:36 | it will take this image back to
those Default Camera Raw settings.
| | 02:39 | Or right-click or Ctrl+Click again,
and what we can do here is go back to
| | 02:44 | perhaps one of the other options, like
correction 1 or correction 2, make that
| | 02:48 | selection, and it will update the image.
| | 02:51 | I should also point out that you can do
the same thing by selecting more images.
| | 02:55 | Click on one, hold down the Shift
key, click on another, right-click or
| | 02:59 | Ctrl+Click, and then here we'll go
ahead and then choose one of these
| | 03:02 | different preset settings.
| | 03:03 | You'll notice how it will update
the images, once we've made that
| | 03:06 | preset selection.
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| Preset resources| 00:00 | Here I want to highlight a great free
resource that you can use, and that can
| | 00:04 | really help you expand how you
work with Adobe Camera Raw presets.
| | 00:09 | If you do a quick Google search for
onOne Camera Raw presets, and then click on
| | 00:14 | the link, it will take you to this page
where you can find over 100 free Presets
| | 00:19 | that were created by friend
and Photoshop guru Jack Davis.
| | 00:22 | Jack is a great guy, and he created
this Presets, and onOne Softwares is
| | 00:26 | distributing them for free.
| | 00:27 | And it's actually really easy to use these.
| | 00:30 | You simply click on Free Download, and
then it will walk you through the install
| | 00:34 | process once it's been downloaded.
| | 00:36 | And then once you've gone through that
process, all you need to do is to head
| | 00:40 | over to Adobe Camera Raw.
| | 00:42 | Now, in Adobe Camera Raw, if you click
on your Presets panel, what you'll be
| | 00:46 | able to see is that you have all of
these Presets listed here, and as I
| | 00:50 | scroll through these, you're going to notice
there are a number of different types of Presets.
| | 00:54 | Some are a little bit more
functional and some are really quite creative.
| | 00:58 | So to apply a preset, all you do is
click on the name, and that will then apply
| | 01:03 | all of the different
settings for that particular image.
| | 01:06 | Now, if you choose another one, what's
going to happen is it's going to start to
| | 01:09 | build up this effect.
| | 01:10 | Now, if ever you want to reset,
there's also a nice preset here, which
| | 01:15 | takes this back to normal, and
you'll see those listed throughout these
| | 01:18 | different groups of presets.
| | 01:20 | Let's say that what I want to do here
is I simply want to tint this image.
| | 01:24 | I can go ahead and tint it warm.
| | 01:26 | And I can do that now, and I have this
really nice little Tint there, and as I
| | 01:29 | build up this Tint, I realize I've gone too far.
| | 01:32 | We will click on that preset.
| | 01:34 | First, what I want to do, convert to
black and white and then add that Tint.
| | 01:37 | And the only reason I want to do that
is to just illustrate that what you can
| | 01:41 | do is you can combine these presets
together in order to come up with the best results.
| | 01:46 | Now, let's say that you like
one of the tinting effects.
| | 01:49 | Well, you can really
deconstruct how this is working.
| | 01:52 | Let's say we click on one of our
images where we like this particular effect.
| | 01:55 | We can then go into the different
panels and see how this was created.
| | 01:59 | All that was created here was
a little bit of a Shadow Tint.
| | 02:01 | Well that's too strong for our liking.
| | 02:03 | We can then back that off, or
we can modify the color as well.
| | 02:07 | I like a little bit more of a
brown tint in my photographs.
| | 02:10 | Next, I'll go ahead and select all of
these, click Select All, and then I'll
| | 02:14 | synchronize them and click Synchronize.
| | 02:17 | What I want to do is synchronize everything.
| | 02:19 | So from this pulldown menu, I'll
choose Everything and click OK.
| | 02:22 | You'll see that it will then
update the other photographs.
| | 02:25 | I'll click on the arrow keys to scroll
through them, and you can see now I've
| | 02:29 | created my own specialized
version of this particular Preset.
| | 02:33 | Well, because I've created that and
because I like this one better, and
| | 02:37 | that's how it works a lot.
| | 02:38 | You use someone else's as a starting point.
| | 02:40 | You tweak it a little bit to make it your own.
| | 02:42 | What I then want to do is
create or save this as my own Preset.
| | 02:46 | So, I'll go back to that Presets panel,
click on the New icon and here what
| | 02:50 | I'm going to do is just add my initials, co,
and I'll name this one bw + tint and click OK.
| | 02:58 | Well, then I can access that at
any time here in the Presets panel.
| | 03:02 | And now I have the ability to simply
click on that in order to choose that
| | 03:05 | Preset and apply to it all of my images.
| | 03:09 | The other thing that I want to point
out is that whenever you install someone
| | 03:12 | else's presets, there invariably
will be presets that you won't like.
| | 03:17 | Like let's say, for example,
these Antique looks here.
| | 03:20 | Now, with this particular image it
doesn't really look for a good to me.
| | 03:23 | Let's go back to the Default and
apply some of these other ones.
| | 03:27 | Again, going back to the default and
applying these effects. Well, they look okay
| | 03:31 | but nothing really outstanding to me.
| | 03:33 | Well if ever I find one that I don't like,
to delete it simply click on Trashcan
| | 03:38 | icon, and that preset has now been
removed from your Preset library.
| | 03:43 | So as you can see, managing and using
these presets is actually quite simple.
| | 03:48 | Well here, just to end this movie let's
go back to Default, and then we'll click
| | 03:52 | on the Preset that we created there.
| | 03:53 | I think that's look pretty nice, and
along the way we learned about how we can
| | 03:57 | take other presets that someone else
have created and then use those and
| | 04:01 | integrate them into our overall workflow.
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|
|
21. Speeding Up the Camera Raw WorkflowQuick raw processing of multiple files| 00:00 | One of the reasons why I love working
with Adobe Camera Raw is because it really
| | 00:04 | enables and empowers me to work quickly.
| | 00:07 | What I want to do here is share with
you a couple of speed tips in regards to
| | 00:11 | working on multiple files.
| | 00:13 | We'll be working on these three
photos of my sister and her family.
| | 00:17 | You just got to love this little guy.
| | 00:19 | Look at those cheeks and that smile, love it.
| | 00:22 | Let's say we want to convert
these images to black-and-white.
| | 00:24 | I'll hold down the Command key on the
Mac, Ctrl key on Windows, click on the
| | 00:28 | images, then press Command or Ctrl+
R to open these up in Camera Raw.
| | 00:33 | Well, there are a couple of
different ways we can work here.
| | 00:36 | One thing that we could do
would be to simply desaturate.
| | 00:39 | Let's say we decide to do that.
| | 00:41 | Next, we want to synchronize
these settings to all the images.
| | 00:44 | We'll click Select All and then, if we
click on Synchronize... whenever you see
| | 00:49 | dots that means a dialog is about to be open.
| | 00:52 | Here, what we can do is we can
choose a lot of different options like
| | 00:55 | synchronize everything or just
synchronize something, like let's say the sliders
| | 01:00 | in the basic panel.
| | 01:01 | Whatever your option is, all we need to
do is to dial that in and then click OK.
| | 01:05 | It will then synchronize those
settings across these images.
| | 01:08 | Now, if ever you don't want to see that dialog,
| | 01:11 | I'll hold down Option or Alt, those
dots disappear, click Synchronize then, and
| | 01:16 | basically, what it's going to do is it
synchronize based on whatever options you
| | 01:22 | previously checked off inside of that dialog.
| | 01:25 | So, that dialog box has
built-in memory. All right.
| | 01:28 | Well now that we synchronized these
images, we go ahead and click Done in order
| | 01:33 | to apply those settings.
| | 01:34 | We are back here in Bridge, and in
Bridge move over to another image.
| | 01:38 | But then we say, you know what, I
want to go back to this other photograph.
| | 01:41 | I am not quite content with that.
| | 01:43 | So, we reopen this image in Camera Raw.
| | 01:45 | Press Command or Ctrl+R.
| | 01:46 | All right. Well now that I am in Camera Raw I realize,
you know what this image needs more Exposure.
| | 01:51 | It needs more Fill Light,
a little bit more Contrast.
| | 01:54 | All right, now the image is starting to snap.
| | 01:56 | Now that I have modified this a bit more,
| | 01:58 | here I go ahead and click Done.
| | 02:01 | When I go back, I realize, I wish I had
applied these settings to these other images,
| | 02:06 | because when I scroll through them or
compare them this is just muted and muddy,
| | 02:11 | this is bright and vibrant. I love it.
| | 02:14 | So, if only there was a way, of course,
to apply the Camera Raw settings that
| | 02:17 | we've applied here to the other images.
| | 02:21 | This comes up a lot, especially when
we shoot a high volume of photographs.
| | 02:25 | For example, let's say we are
photographing a wedding, and we have a wedding
| | 02:29 | where we have a hundred images,
which we want to process a similar way in
| | 02:33 | regards to the White
Balance, or Contrast, or Exposure.
| | 02:36 | Well what you can do is process one image.
| | 02:39 | You can then apply those settings to the other
files a couple of different ways. First, a shortcut:
| | 02:45 | you can press Command+Option+C
on Mac, Ctrl+Alt+C on Windows.
| | 02:50 | Next, you can click on one or more
images here and then press Command+Option+V
| | 02:55 | on a Mac, Ctrl+Alt+V on Windows.
| | 02:58 | This will then say hey!
| | 03:00 | What you want to paste?
| | 03:01 | In my case, what I want to do is I want
to paste all of my Camera Raw settings
| | 03:05 | that I did previously --
remember, this has built-in memory.
| | 03:08 | Remember, when I checked off last time.
| | 03:11 | So, I'll go ahead and click OK.
| | 03:12 | It now updates all those photos so they
are now all processed the exact same way.
| | 03:18 | Now, let's take this even further.
| | 03:20 | Let's say we go back to the
original image, the first one.
| | 03:23 | We reopen this in Camera Raw.
| | 03:25 | Press Command+R on a Mac, Ctrl+R on Windows.
| | 03:28 | Here, we are going to make a
change in the Split Toning panel.
| | 03:32 | I am just going to add a bit of a
dark, nice, little sepia tone there, and
| | 03:36 | then I'll click Done.
| | 03:37 | I am doing this just so we have a
visual difference. Now, let's say oh!
| | 03:42 | Gosh, I wish I could apply
that to these other images.
| | 03:44 | Well we could of course use our shortcut,
or we can click on one or more images
| | 03:50 | by holding down the Command key on a Mac,
Ctrl key on Windows and then we can
| | 03:54 | right-click or Ctrl+Click.
| | 03:56 | Here we can make our way
down to Develop Settings.
| | 04:00 | What we can choose is Previous Conversion.
| | 04:03 | In other words, what I want to here is
I want to apply the Camera Raw settings
| | 04:08 | that I most recently used.
| | 04:10 | In this case, it was those black-and-
white settings, Contrast, Exposure and also
| | 04:15 | that little bit of a Split Toning effect there.
| | 04:17 | Well, now when I simply
choose Previous Conversion,
| | 04:20 | it will then apply those settings to
these images so that now I've processed all
| | 04:26 | three of these images in the same way.
| | 04:28 | Along the way, we learn some really
valuable speed tips for processing multiple
| | 04:33 | files while using Adobe
Camera Raw and Adobe Bridge.
| | Collapse this transcript |
| Recording an action| 00:00 | One of the ways that you can speed up
your Camera Raw workflow is by taking
| | 00:04 | advantage of actions that you can
write inside of Photoshop and then by batch
| | 00:08 | processing your photographs.
| | 00:11 | Let's take a look at how we can do that here.
| | 00:13 | We will start off by
writing or recording the action.
| | 00:16 | So first let's jump to Photoshop.
| | 00:18 | Inside of Photoshop, we're going to
navigate to our Window pulldown menu, and
| | 00:22 | then we're going to select
Actions to open up the Actions panel.
| | 00:25 | Here, I will go ahead and click and drag
this out so that we can expand this and
| | 00:29 | really focus in on the Actions panel.
| | 00:30 | Well, what I want to do
is first create a new set.
| | 00:33 | I will go ahead and name
that CO for my initials.
| | 00:36 | Next, click on the New Action icon.
| | 00:38 | Now, we go ahead and call this ACR + PS.
| | 00:42 | What I want to do is I want to open
this image up in Adobe Camera Raw. Then I
| | 00:46 | want to process it in Photoshop.
| | 00:48 | So I will click Record here.
| | 00:50 | Well, what I can do is I can
actually exit out of Photoshop.
| | 00:53 | Go back to Adobe Bridge, then open
this image up in Camera Raw. Here I will
| | 00:58 | press Command+R on a Mac, Ctrl+R on Windows.
| | 01:02 | Let's say that what I want to have
happen here in Camera Raw is I want this
| | 01:05 | image to be resized to something smaller.
| | 01:09 | So I will click on this little
Workflow Options Link here, and I'll take this
| | 01:13 | down to a nice small size, 1024 x 1365,
a little bit of resizing there, also some
| | 01:19 | sharpening and whatnot.
| | 01:20 | Let's crank that up a bit actually and click OK.
| | 01:23 | Next step, I will go ahead and click Open Image.
| | 01:26 | This will then open the
image up inside of Photoshop.
| | 01:29 | Now it's going to remember those
settings that I dialed in my workflow options
| | 01:33 | inside of Adobe Camera Raw, which is nice.
| | 01:36 | Now once you're in Photoshop, I can do a
number of things, but just for the sake
| | 01:40 | of argument, let's say we click on Curves.
| | 01:42 | We click and drag up and click and
drag down to go ahead and increase our
| | 01:46 | Contrast, and then we'll go ahead and
click on Hue/Saturation, grab our Target
| | 01:50 | Adjustment tool, Sample yellow, and
then click and drag one way or another to
| | 01:55 | change that background color. Let's go Red.
| | 01:57 | Well, now that we've done this, I
want to save and close this file.
| | 02:00 | So I will press Command+S on a Mac,
Ctrl+S on Windows, Click Save and OK there,
| | 02:07 | and then we will go ahead and press
Command+W on a Mac, Ctrl+W on Windows in
| | 02:13 | order to close the file.
| | 02:14 | It now remembered all these
different steps inside of this action.
| | 02:18 | Well, now that we've recorded this
action, let's go ahead and click on the Stop
| | 02:23 | button to stop the recording,
and let's examine what we've done.
| | 02:26 | If we click on the Open Expand
triangle icon here, what we can see is that
| | 02:30 | it's opened this image with Camera Raw,
and it's applied all these different
| | 02:34 | Camera Raw settings.
| | 02:35 | Now we didn't do much in Camera Raw, but
we can see that it's remembered what we
| | 02:38 | did, or how we dialed that in, in Camera Raw.
| | 02:42 | That's incredibly handy because what
we can do is fully take advantage of all
| | 02:47 | the different things that we
can do inside of Camera Raw.
| | 02:50 | Let's go ahead and close that.
| | 02:51 | We can see next, it came in
Photoshop, we created a couple of Adjustment
| | 02:54 | layers and then we saved and closed the file.
| | 02:57 | Well, now that we've recorded this one
action, let's go ahead and take a look at
| | 03:02 | how we can take advantage of this, all
of the Raw Processing power and settings
| | 03:06 | and also Photoshop together.
| | 03:09 | And let's take a look at how we can
do this and apply this across multiple
| | 03:12 | images in the next movie.
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| Batch processing multiple images| 00:00 | In the previous movie, we used
Photoshop to record an action, which took
| | 00:04 | advantage of both Camera Raw and
Photoshop together, which the final output was
| | 00:09 | an image, which looked like this.
| | 00:12 | Well let's say that what we want to do
now is we want to Batch Process the other
| | 00:15 | images in this set in that same way.
| | 00:18 | Well, all that we need to do is to click
on one image, hold down the Command key
| | 00:22 | or the Ctrl key and click on the other
images, and next, make our way to the
| | 00:26 | Tools pulldown menu.
| | 00:28 | Here we are going to select
Photoshop and then click on Batch.
| | 00:31 | Remember, whenever you see dot, dot, dot,
that means we're about to see a new dialog.
| | 00:35 | Well, it's going to remember the last
Set and Action that I used in Photoshop, in
| | 00:40 | this case CO, and ACR + Photoshop.
| | 00:43 | What we want to do next here is
click on Override Action Open Commands
| | 00:48 | because we actually have an Open
command built-into, or recorded into, the action
| | 00:54 | we previously recorded.
| | 00:56 | So all we need to do now that defined
a set and the actual action and clicked
| | 00:59 | on this option is to click on OK.
| | 01:03 | Next, we simply kick back and watch
Photoshop and Camera Raw do all of its work.
| | 01:08 | Here you can see that as we go into
Adobe Bridge, we now have all of these other
| | 01:11 | images processed in the same way as well.
| | 01:14 | Now, the nice thing about this
workflow is it of course takes advantage of
| | 01:18 | Camera Raw and also Photoshop.
| | 01:20 | Now we can't go back and make any
changes to Camera Raw, but what we can do at
| | 01:24 | this action is we can simply double
-click on one of these PSD files.
| | 01:28 | If we want to make a change say to
Hue/Saturation, we can go back to that
| | 01:32 | Yellow channel that we worked on
before and make another change and process
| | 01:36 | this image in a different way.
| | 01:37 | Well, in this case I don't want to do
that, but I just want to highlight that
| | 01:40 | you do have that built-in flexibility.
| | 01:43 | I'll go ahead and click to close
that image, don't want to save that.
| | 01:46 | I will go back to the Adobe Bridge.
| | 01:49 | Now the last thing I want to say about
this particular technique is that while
| | 01:52 | I'm demonstrating this, there were
some pretty creative results changing the
| | 01:55 | color, making the image much more vivid,
| | 01:58 | keep in mind that this technique, or
this concept, can be used in so many
| | 02:02 | different types of situations,
whether functional or creative.
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|
|
22. Getting Creative with Camera RawCreative vivid color| 00:00 | You can think of this chapter
as a bit of a bonus chapter.
| | 00:03 | And here, all we are going to do is
just have some fun with color and take a
| | 00:06 | look at how we can use Adobe Camera Raw
in some non-traditional ways, in order
| | 00:11 | to come up with some interesting
and creative color combinations.
| | 00:14 | We are in this first image, what I
want to do is create perhaps a couple of
| | 00:18 | different kind of surreal,
kind of interesting color effects.
| | 00:20 | Well, because this image only really has
a couple of colors in it, what I can do
| | 00:25 | is push things pretty far.
| | 00:27 | Let's say I want to warm this image up,
and I also want to change the overall tint.
| | 00:31 | Well, already the image is
looking kind of interesting.
| | 00:34 | I could next then the Contrast
and the Blacks and also add a little bit
| | 00:39 | of Fill Light there, and then
desaturate a touch as well, in order to come up
| | 00:43 | with this interesting kind of muted look.
| | 00:46 | Now from here we could go into
some of our other panels to have even
| | 00:49 | more precise control.
| | 00:51 | For example, let's say that we want to
go over here to our HSL/Grayscale panel.
| | 00:56 | We can go under Luminance.
| | 00:57 | What I can do is I can
control the density of the sign.
| | 01:00 | I can bright that up or darken it.
| | 01:02 | I could find just the right spot for
that particular area of the photograph.
| | 01:05 | In Saturation, well, I can
control the color of that sign.
| | 01:08 | And again, it depends on the
effect that I am going for.
| | 01:11 | But you can see here you can come up
with some pretty interesting combinations
| | 01:15 | without a lot of effort.
| | 01:18 | Next, I will go over to my Split Toning
panel, and here I am just going to add a
| | 01:21 | different little color shift in the image,
and it gives me quite a different way
| | 01:26 | to process this image.
| | 01:27 | I am just going to try to
find a nice spot for this here.
| | 01:30 | And I will lower the saturation until I
find a good way to bring in these colors.
| | 01:34 | And then again, I have yet
another way to process the image.
| | 01:38 | Now of course, if ever at any point we want to
take this back, we can scale back these tones.
| | 01:42 | But you can see here by kind of
layering these different color adjustments
| | 01:46 | together, we can come up with
some really fascinating results.
| | 01:51 | Now whenever working with colors, it's always
a nice idea to go back to working with Tone.
| | 01:55 | One of the ways I like working with
tone is inside of the Tone Curve panel, and
| | 01:59 | in particular in the Point Curve.
| | 02:01 | Because I know in Photoshop that what
I can do is lower density by clicking
| | 02:05 | and dragging down, or I can increase
contrast by clicking and dragging this slider up.
| | 02:10 | I have just precise control over the
different areas of the photograph, and I
| | 02:14 | can bring brightness into the
image in some pretty interesting ways.
| | 02:18 | Well, the next thing I want to do here
is go back to my Basic panel, and then I
| | 02:23 | am going to lower the Saturation just
to create a much more muted and kind of
| | 02:27 | vintage type of a look here.
| | 02:29 | And I think that one looks pretty good.
| | 02:31 | Now, one of the things that is fun
to do is to go through the different
| | 02:34 | adjustments that you have made, to press
the P key to toggle your preview on and off.
| | 02:40 | For example, what did we do here
inside of Basic. Here is our before and
| | 02:43 | then our after, when we consider
how this particular set of adjustments
| | 02:48 | interacts with the other adjustments.
| | 02:50 | We will go over here to our Tone Curve.
| | 02:52 | Here is our before and then after.
| | 02:54 | We will make our way to HSL/Grayscale,
press the P key, before and after, pretty
| | 02:58 | subtle, but nice way to brighten up
the colors there in the Saturation.
| | 03:02 | And then next, we will click
Split Toning. Press the P key.
| | 03:05 | Here is our Before and then after,
and again, a subtle adjustment but yet,
| | 03:10 | nonetheless a significant adjustment.
| | 03:12 | And what we are doing here is we are working
a little bit like how we work in Photoshop.
| | 03:16 | In other words, we have a layer.
| | 03:18 | We apply adjustments to the layer.
| | 03:19 | And then we have a new layer, then a new layer.
| | 03:21 | And as we go through it, it's a
combination of all of these different layers
| | 03:25 | together, which many times
leads to interesting results.
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| Working with split toning| 00:00 | Here we're going to take a look at an
example where we're going to use some Toning
| | 00:03 | to affect the overall look
and feel of this photograph.
| | 00:06 | What I'm going to do here is simply
go ahead and increase my Exposure to
| | 00:09 | brighten this up, add a little bit of
Fill Light, a touch of Contrast and Clarity.
| | 00:14 | Next, I'm going to Desaturate.
| | 00:16 | Now a lot of times when you're
working with Toning, it can be fun to remove
| | 00:19 | color and then add color on top of it.
| | 00:23 | Now, how you dial in all of these
controls in the Basic panel is really going to
| | 00:26 | be contingent upon what type of affect you want.
| | 00:29 | Here I want an image which has a strong
tone to it, so I kind of brighten it up,
| | 00:33 | so that I can have a little
bit of a brighter color palette.
| | 00:35 | And I also Desaturate it a little
bit, so I can have a little bit of a
| | 00:39 | stronger color shift.
| | 00:41 | Next, I'll navigate over to Split Toning,
and here all I'm going to do is just
| | 00:45 | bring in some yellows into those highlights.
| | 00:47 | And then in my shadows, I want to find
some blues, nice deep dark blues there,
| | 00:52 | and I'll just look to try to
find a nice spot for those colors.
| | 00:55 | Then I'll bring my yellows back and
make my way back and forth until I find a
| | 00:59 | good color combination
with this image. All right.
| | 01:01 | Well, now that I have some interesting
colors here, let me go back to my Basic
| | 01:06 | panel and increase the Contrast.
| | 01:08 | That Contrast is really going to help
those colors come to life, and we're
| | 01:11 | going to see that really start to
happen right about here. I think that's
| | 01:14 | looking pretty interesting.
| | 01:16 | Now, I may want to modify my color
Temperature. Sometimes swinging it one way or
| | 01:20 | another can help bring
out a touch more of that.
| | 01:23 | They get a little bit more
yellow in the image. It's nice.
| | 01:27 | And what I want to do now is
look at the before and after.
| | 01:30 | So I'll go ahead and navigate over to
my Presets panel or my Snapshots panel,
| | 01:35 | then I'll press P key.
| | 01:36 | Here is the before, and then press
the P key again; here is the after.
| | 01:40 | And without a lot of effort, we came up
with this really distinct and unique look.
| | 01:46 | Now the work in Camera Raw
isn't really rocket science.
| | 01:48 | It's not that difficult to
achieve this type of a look.
| | 01:52 | And so, one of the things you want to
do is start experimenting with this.
| | 01:55 | And the intent of this movie is to just
give you a little bit more inspiration,
| | 01:59 | to show you another example, to say,
hey, you know, you got to start
| | 02:02 | experimenting with your own photos.
| | 02:03 | You got to start playing with these
controls, because a lot of times with just a
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