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This course provides in-depth training on Camera Raw 7, the Photoshop CS6 component that enables photographers to open and manipulate raw format images. Raw images are minimally processed in the camera; they're effectively the exact data recorded by the camera's sensor. Author Chris Orwig shows you how to control a raw image's appearance—exposure, shadow and highlight detail, color balance, and sharpness—with far more precision than is possible with JPEG images. The course also introduces the new workflow procedures and technical concepts and issues associated with raw content, so that photographers can best leverage this powerful format.
In this movie, we'll be working with this fun photograph of my daughter Sophia here, who is very intently making and decorating cookies, and one of the things that I notice with this picture is that there are some issues with the background. You can see there's a color shift on the right, that's a little different than the color or brightness on the left. So I want to dial in a few adjustments using the Adjustment Brush, and then also make a couple of subtle adjustments using the Basic Panel and try to combine all of these tools together in order to improve this picture.
Alright, well let's select the Adjustment Brush by pressing the K key. Next, I'm going to first increase my Exposure on the right-hand side. So I'll click and drag this a little bit to the right. If you've made other adjustments previously, it may be helpful just to click on the Plus icon for your Exposure and then go ahead and decrease that a little bit. The reason why that might be helpful is because that will reset those other sliders. Next let's scroll down. Here we want to have a relatively high Feather amount. For Flow, I'll decrease that a little bit and also decrease my Brush Size.
With this image, I want to turn Auto Mask on and off quite a bit. So you can press the M key to toggle back and forth between that. Let's start with Auto Mask on, and let's click along these edges here. This well help us just get some good, kind of edge work on the image. Next press M to turn that off and now let's paint in the other area of the photograph. Here the more we paint in certain areas, the more we can build up, in this case, this increased Exposure, and then I'll press M again and I'm going to go ahead and just paint along this edge down here, and I think we have a pretty decent selection on the right side of the image.
Next, I want to work on its overall color. One way that you can do this, is you can desaturate, and so by desaturate, I can remove some of the color I'm seeing there in the background. I could also click and drag my Temperature slider to left a little bit. In this way it's now much more neutral. I like that. Yet it's not quite bright enough. So I'm going to click New to create a new adjustment. Here I'll decrease the Exposure even more. I'm just going to paint over some of the areas where I think this is still a little bit too bright.
So in other words, in this case I'm kind of stacking up these adjustments, so that I have one on top of another and I've done that so that I can start to kind of work with the shadows there and kind of brighten up that area. Now it looks a little bit too cool, a little bit too neutral. Yet we'll be fixing that in a moment. Next, I want to work on the other side of the image. So once again, let's click New. Here on this other side, what I need to do is I need to remove some of the color I'm seeing here. So I'm going to click on the Minus sign for Saturation.
I'm also going to increase my color Temperature just a bit. Next, we'll go down to our Brush options here, Brush Size. We know how that works right? Pretty small brush size here. We want to turn on Auto Mask. We want to turn that on, as we start to work on the edges and you typically want to do that around the subject. After you've made that first pass around the subject and if you feel like you have some good edges there, well then you can go ahead and turn that off. To turn off Auto Mask press the M Key and then paint away in the other areas.
As we make these adjustments, I'm not looking to make really big, bold, dramatic, huge adjustments. Rather, I want these to be pretty subtle. So let's go back to the top here, and you can see how we can warm that up a little bit more and also perhaps increase the Exposure there as well. In doing that, really I'm just find it kind of neutralize my background. Click on the Preview button and you can see before; let's zoom in a little bit more, so you can actually see that. Here's is before, and then we'll click again and you can see after. Alright, now that I've made those corrections, just a little bit more that I need to do.
On this side, I'm not really feeling the green, so I'm adding some Magenta. Okay great, well now that we've made all those adjustments, I'm going to go to the Basic Panel and in the Basic Panel, we're going to make some Color and Tone and Contrast adjustments. So we'll click on the Zoom Tool. Here I'll increase my overall color Temperature just a few points, because I want this to be nice and warm. Let me zoom out and show you what I mean. So here we can see we're adding a little bit of this warming effect. Next I'll increase my Clarity a little bit, also a touch of Contrast there, and maybe bring in some details into the Shadows.
And by using these controls, what I'm basically doing now is I'm bringing out some more of my colors. You can see, I'm using Vibrance and Saturation and Exposure, Shadows; I'm basically using my typical Basic Panel workflow. With this workflow, I can apply these adjustments because I've already kind of previously corrected the major color issues. This then allows me to bring in some more of these colors. Let me try to get a good zoom right here, so you can see this a little bit, so that here we have our before and then now our after.
Had we not made those Adjustment Brush corrections, well these corrections would have exaggerated the problem, and it just would have kind of looked weird. So we first needed to navigate to the Adjustment Brush. With the Adjustment Brush we're able to get into some of those specific areas and deal with a couple of issues, and then together by combining all of these adjustments, it allowed us to improve this image. So as you start to work with the Adjustment Brush, start to think about how you can make these specific corrections, but then also keep in mind that these corrections many times don't live by themselves.
Rather, you're going to integrate this tool into the rest of your workflow, and by doing that, many times, you can come up with even better results.
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