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Photoshop for Designers: Textures
Illustration by John Hersey

Adding grain to a Camera Raw image


From:

Photoshop for Designers: Textures

with Nigel French

Video: Adding grain to a Camera Raw image

If you're a professional or a semi-professional photographer you're probably shooting your images in the Camera RAW format, because you have an image that is not much more data rich, you can do so much more with it in terms of adjusting the exposure without degrading it, and you'll always have your original digital negative to return to because you cannot overwrite that. So there are great benefits to working within the Camera Raw format. Now the reason I'm bringing this up now is because in the latest version of Camera RAW you can add film grain within the Camera RAW plug-in.
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  1. 1m 30s
    1. Welcome
      1m 2s
    2. Using the exercise files
      28s
  2. 6m 52s
    1. Working with textures
      6m 52s
  3. 30m 19s
    1. Creating a rocklike texture with Clouds
      6m 17s
    2. Improving a flat sky with Difference Clouds
      3m 43s
    3. Creating a grunge effect with Fibers
      11m 30s
    4. Applying a texture channel with Lighting Effects
      4m 22s
    5. Adding an effect and blending with Lens Flare
      4m 27s
  4. 15m 20s
    1. Applying textures with Texturizer
      6m 8s
    2. Applying realistic cracks with Craquelure
      5m 11s
    3. Preparing an image for a stained glass effect
      4m 1s
  5. 30m 48s
    1. Adding noise to an overlay layer
      1m 33s
    2. Adding film grain
      6m 5s
    3. Painting with grain
      4m 10s
    4. Adding grain to a Camera Raw image
      2m 21s
    5. Matching grain when cloning
      5m 32s
    6. Accentuating texture with Speckle grain
      3m 4s
    7. Creating a split-toning effect with Stippled grain
      4m 20s
    8. Beyond the Mezzotint filter
      3m 43s
  6. 18m 5s
    1. Creating deckled edges and sepia tone
      8m 6s
    2. Adding water stains
      5m 41s
    3. Adding cracks
      4m 18s
  7. 38m 16s
    1. Blending textures with Soft Light
      4m 15s
    2. Blending textures with Hard Light
      54s
    3. Blending groups
      3m 59s
    4. Blending textures with layer masks
      3m 49s
    5. Creating an antique poster
      5m 59s
    6. Blending mode sandwich
      4m 34s
    7. Blending texture from a pattern fill
      4m 9s
    8. Applying texture to an uneven surface
      10m 37s
  8. 42m 43s
    1. Creating a watercolor effect
      5m 30s
    2. Painting on canvas
      9m 57s
    3. Creating a rubber stamp
      8m 42s
    4. Converting a photograph to a drawing with Find Edges
      2m 58s
    5. Combining a black-and-white halftone with color images
      5m 6s
    6. Creating a textured duotone effect with Conté Crayon
      2m 33s
    7. Creating an abstract image with Mosaic
      6m 2s
    8. Creating a reticulation effect
      1m 55s
  9. 59m 11s
    1. Finding and installing brushes
      2m 19s
    2. Creating a shatter effect
      3m 58s
    3. Creating a smoke brush
      3m 50s
    4. Combining Photoshop with Illustrator to create a sample brush
      9m 56s
    5. Creating coffee rings
      4m 13s
    6. Creating a Bokeh texture
      9m 50s
    7. Creating corner brushes
      4m 24s
    8. Sampling a brush stroke
      3m 3s
    9. Creating a rust jewel brush
      5m 43s
    10. Building density with brush settings
      6m 45s
    11. Painting with the Mixer Brush
      5m 10s
  10. 17m 30s
    1. Adding texture to type using clipping masks
      2m 25s
    2. Applying texture to type with layer effects
      2m 53s
    3. Applying texture to type using a layer mask
      5m 33s
    4. Painting with a texture brush
      4m 31s
    5. Blending type into background texture
      2m 8s
  11. 17m 55s
    1. Using the texture actions set
      3m 12s
    2. Editing an action
      3m 18s
    3. Creating your own texture action
      5m 14s
    4. Finding, downloading, and installing actions
      3m 2s
    5. Applying texture styles
      3m 9s
  12. 20s
    1. Goodbye
      20s

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Photoshop for Designers: Textures
4h 38m Intermediate Sep 06, 2011

Viewers: in countries Watching now:

In this course, author Nigel French shows how to use textures to create visual interest, heighten realism, and add dimension to Photoshop artwork. The course demonstrates how to apply multiple filters and paint in effects with layer masks, combine textures with images using layer blending modes, use brushes to paint in and accentuate texture, and create brush presets by sampling textures from photographs. The course also shows how to automate the application of textures with actions.

Topics include:
  • Using render filters
  • Applying textures with the Texturizer filter
  • Adding noise and film grain
  • Matching grain when cloning
  • Aging photos
  • Blending textures with layer masks
  • Applying texture to an uneven surface
  • Creating texture brushes
  • Building density with brush settings
  • Applying texture to type
  • Finding, downloading and installing actions
Subjects:
Textures Design Design Techniques
Software:
Photoshop
Author:
Nigel French

Adding grain to a Camera Raw image

If you're a professional or a semi-professional photographer you're probably shooting your images in the Camera RAW format, because you have an image that is not much more data rich, you can do so much more with it in terms of adjusting the exposure without degrading it, and you'll always have your original digital negative to return to because you cannot overwrite that. So there are great benefits to working within the Camera Raw format. Now the reason I'm bringing this up now is because in the latest version of Camera RAW you can add film grain within the Camera RAW plug-in.

Here I am in Bridge and this is a Camera RAW image, I'm in the Filmstrip Workspace of Bridge, and we have this thumbnail here which has a badge attached to it. And that badge signifies that some exposure adjustment has been made to this image. So the grain is already there, I'm just going to point out where it was added. I'm going to double-click on that in my Content window and that's going to launch this image in the Camera RAW plug-in. Now amongst other things what I've done is added some film grain and I have done that in the Effects area over here and I've added rather a lot, may be too much.

If I look at this at 100% view size and it's at that view size that you really need to evaluate these kind of changes. I'm going to double-click on my Zoom tool top-left to get to 100%. I'm just repositioning my image, holding down the spacebar and dragging. Now this isn't a particularly crisp image, it was taken in low light in the early morning, but without the grain it's going to look like that and, well I do want some, I don't want quite as much as I had originally added. And I'm also going to take down the Roughness.

So we're just giving the image a bit more presence than it would have without the grain, and in fact, what I'm doing is since this was taken with a relatively high ISO of 320, in low light, it's already quite a grainy image and I'm sort of going with that. I'm accentuating the grain rather than trying to hide it. Once I've made my changes I can just click on Open Image and that's going to take me into Photoshop itself where I can continue and do whatever else is I need to do to the image.

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