Photoshop CS6 One-on-One: Advanced
Illustration by Richard Downs

Camera Raw Smart Objects


Photoshop CS6 One-on-One: Advanced

with Deke McClelland

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Video: Camera Raw Smart Objects

In this movie I'll show you how to open an image from Camera Raw into Photoshop as an editable Smart Object, so that you can revisit Camera Raw anytime you like. So I've got this fairly dank image of the California coast here. Fortunately, of course, Camera Raw is so fantastic that I can sweeten it. So I'll go over to the flyout panel menu, choose Apply Snapshot and then choose ACR7 conversion, and we end up with this much more cheerful scene here. All right, at this point I figured this would make a great black-and-white shot.
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 59s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 51s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Watch the Online Video Course Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Photoshop Camera Raw
Deke McClelland

Camera Raw Smart Objects

In this movie I'll show you how to open an image from Camera Raw into Photoshop as an editable Smart Object, so that you can revisit Camera Raw anytime you like. So I've got this fairly dank image of the California coast here. Fortunately, of course, Camera Raw is so fantastic that I can sweeten it. So I'll go over to the flyout panel menu, choose Apply Snapshot and then choose ACR7 conversion, and we end up with this much more cheerful scene here. All right, at this point I figured this would make a great black-and-white shot.

Now, we've already seen how to make a black-and- white image in Camera Raw back in Chapter 20 of the Intermediate course, so I'll move through the process pretty quickly here. I'll switch to the HSL/Grayscale panel and then I'll turn on Convert to Grayscale, which gets rid of all my other tabs and leaves me with just one grayscale mix. Now, I don't care about the Reds value, its fine where it is, but I took the Oranges value up to +50, because I wanted to emphasize the cliff walls, which are more of a muddy brown, but that still falls in the Oranges category.

And I took the Yellows value up to 30, which helps brighten some of the foliage. And I took the Greens value up to 15. Then I took the Aquas value down to -35, which affects some of the ocean of course. And I took the Blues value down to -100. I really wanted it to be nice and dark. And then I took the Purples value up to 20 and I ended up leaving the Magentas value alone. All right, now let's go ahead and apply some Split Toning here. Now, we need to start things off by increasing the Saturation value, so I'll take the first one up to 30, and I'll take this second one up to 5.

Then I'll change the Hue value for Highlights to 45, so that we have a kind of sepia tone going, and I'll take the Hue value for the Shadows up to 240, which lends the scene just a little bit of dark blue. And finally, I'll change this Balance so that we're waiting the colors on the side of the Highlights as opposed to the Shadows, and we end up with this final scene. All right, now take a look at the Open Image button at the bottom of the screen. If you click on it, then you'll open the image inside of Photoshop and you'll also save your new metadata settings to the DNG file.

If you press the Alt key or the Option key on the Mac and click on the Open button, you'll open the image inside Photoshop, but you will not save your settings to the DNG file, so the DNG file will be left entirely alone. Sometimes useful, not a great idea in our case. If you press the Shift key, you'll notice the button changes to Open Object and that's telling you that you're going to open the image as a Smart Object in Photoshop, and that's what I'm going to do. So I'll Shift+Click on that Open Object button and a few moments later we end up seeing the image opened here in Photoshop.

Then let's say you're just sort of looking around at the image, checking it out, and you suddenly realize how blotchy it is, what in the world is going on with this blotchy ocean, and you just can't even believe you didn't notice that when you were working inside Camera Raw. And even though you may have spotted that problem at the time, you will encounter other times where you think you've come up with some just great settings in Camera Raw and then they turn out not too fare so well as you modify the image in Photoshop.

Well, fortunately, this layer is a Smart Object, so all you have to do is double-click on its thumbnail to open the image again inside Camera Raw. Now I'll switch back over to my HSL/Grayscale settings and I'll go ahead and take this Aquas value down to -40, let's say, and I'll tab to Blues and press Shift+Up Arrow until that blotchiness goes away, which happens at -70. And then I'll scoot ahead to the Purples value and I'll take it down to -40, because there is some other sort of color issues at work here, and that helps to remedy them.

Now, if you take a look at the bottom of the screen here, you'll see we no longer have an Open button, we now have an OK button, because all you can do at this point is either Cancel out and not make any changes or click OK and return back to Photoshop. The thing to remember is when you return to Photoshop, you're not modifying the original DNG file, because that link is broken; now you're saving your changes back to the Photoshop composition. So if you find that you want to modify that original California coast.dng file on disk, then you're going to have to open it from Bridge and once again make your changes to the Aquas, Blues, and Purples values.

All right, there is one more change I want to make. I'll go ahead and click on this blue link at the bottom of the window that begins Adobe RGB (1998). That brings up a dialog box of settings that will allow you to change how the image opens in Photoshop. And notice this final one, Sharpen For, you can actually specify that you want to sharpen for a certain output, such as Glossy Paper in my case, and I'm going to set the Amount to High so we can see what happens. Now, you're not going to see anything happen in Camera Raw, but you will see the Sharpen details in Photoshop.

Also notice this checkbox right here, Open in Photoshop as Smart Objects, if you turn that checkbox on, then the Open button permanently changes to an Open Object button, and when you click on it, you open your RAW images in Photoshop as Smart Objects by default. If you want to override that, then you'd press the Shift key to change back to the Open Image button. So whether you select it is entirely up to you, I am going to leave it off and click OK. But before you click OK, you should note that Sharpen For becomes a saved setting and we'll see that in just a moment.

All right, I'll click OK and then click OK again in order to return to Photoshop. And now notice if I zoom in on the image, I can see those sharpened details like so. All right, I'm going to zoom back out, my sea is not nearly so blotchy, so that's a good thing. Now, at this point you'd go ahead and save your image as a PSD document, because after all it contains a layer in the form of a Smart Object. I'm going to go ahead and return to Bridge for just a moment here by going to the File menu and choosing Browse in Bridge.

And then I'll select that California coast. dng file, then I'll press Ctrl+R or Cmd+R in the Mac to revisit Camera Raw. There is our blotchy sea, just like we left it, because this file didn't get fixed. So let's go ahead and take care of the problem by changing those values once again; -40, -70, and -40 for Aquas, Blues, and Purples respectively. Then what you want to do is click on that Blue link again and make sure to set Sharpen For back to None, assuming of course that you don't want to sharpen future images.

Then I'll click OK and then I'll click Done. And that's how you open an image from Camera Raw as a Smart Object so that you can edit your Camera Raw settings anytime you like.

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