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In Photoshop CS5 for Photographers: Camera Raw 6, Chris Orwig provides in-depth training on Camera Raw 6, the CS5 component that enables photographers to open and manipulate images in non-destructive and now even more efficient ways. This course covers the benefits of the raw processing, which makes it possible to more precisely control an image's appearance—exposure, shadow and highlight detail, color balance, sharpness, and more—including new workflow procedures and technical concepts and issues. Learn the entire Camera Raw workflow, from opening and resizing, toning and cropping, to sharpening and saving. Exercise files are included with the course.
Just for the fun of it, and just in order to learn how to work with the Adjustment Brush more effectively, let's take a look at how we could change a color in one of our photographs. For example, let's say that with this image what we want to do is change the color of the shirt. What we can do here is press the K key to select the Adjustment Brush. Next, we want to go ahead and turn on Auto Mask. That will enable this so that it's just working on a particular area. We also want to show our Mask. That will show us the area we're painting on. In this case, I'm simply going to choose a negative Saturation amount.
This amount won't really matter right now, because the Mask is going to cover over any effects that we dial in up here. We can then go back and change that later. All right. Well, let's lower our Feather Amount, Flow, we can leave nice and high. I'll go ahead and make my brush just a little bit bigger here, and I'm going to simply paint around the image. I'm just really paying attention to the Crosshairs, and making sure the Crosshairs are covering over the important content in this image. Now, as I make my way through this image, I'm also being careful to not select anything else.
So, I'll go ahead and make my brush smaller to get into the small little details around here. I also want the collar there and a couple of other little areas, then we could fix this up more if we wanted to take a bit more time, but for the most part that looks okay. Well, the next step of course is going to be to turn off that Mask, which is currently green. So, we can hide the Mask by pressing the Y key. Now, once I do that, I don't see much of an effect. It's really just a little bit of desaturation. So, if I click and drag this you can now see that I'm really just targeting that blue shirt.
But what if I want to change the color here? Well, one thing we could do is we could lower Saturation, and then we could choose a new color. We'll go ahead and click on this color chip here, and in this Color Picker, I'm going to go ahead and click on a new color. Let's say that I want to convert this to a nice, deep red. When I go over to my reds, all I'm seeing is something which looks like pink. That's really not going to work here for this image. Well, how can I get a deeper or a darker color? What I would need to do would be to click OK.
Then I would have to go to one of my other controls, like Exposure, or Contrast. And here you can see as I control the Luminance value of this area, I can really change the overall tone or color one way or another. So, I'll go ahead and make this nice and deep, maybe increase the Contrast a little bit there as well. Now, at this juncture, I notice that there are a few areas of my Mask which need to be cleaned up, so I'll just go ahead and paint over those areas. And the nice thing about this Mask is it's incredibly dynamic, and we can add to it, or erase from it as needed.
So, I'm just going to sweeten up a few of these little edges here. And now we have successfully changed the color of this shirt in a really short amount of time. Well, let's take a look at the Before and after. We'll press the P key. Here we have Before. Press again. There we have after. Now, I know that we're not necessarily going to be changing colors a lot using Adobe Camera Raw, yet I feel like there are a couple of important principles here. And one of the principles is that Color and also Brightness value are intimately related.
We have this huge range from this deep red all the way up to something like this, this bright pink. In this case, we're going for something a little bit more realistic, and this nice dark red looks good. The other thing that I want to illustrate is that we can begin to make selections in some pretty powerful ways. And sometimes we'll make a selection to do something dramatic, like color change. Other times it may simply be that what we want to do is reset all of these controls here, and all that we need, or all that the client needs, is for us to add a little bit of Clarity.
So I'll go ahead and go down to my color chip, turn that option off, and here, I'm simply going to add some Clarity, some Midtone Contrast, a little bit of Sharpness, so that that garment looks that much better. So just keep in mind that with the Adjustment Brush you can paint in so many different types of adjustments. And in addition, keep in mind that sometimes by combining these different controls together, it can then lead to some interesting results.
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