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Opening and editing multiple images

From: Photoshop CS6 One-on-One: Advanced

Video: Opening and editing multiple images

In this movie, I'll show you how to both open and modify multiple images at a time in Camera Raw, which is something you can't do inside Photoshop. So in Photoshop, it's just one image or composition at a time, whereas in Camera Raw, you can modify as many images as you like. I'm currently working in Bridge, and you can get to Bridge by choosing Browse in Bridge from the File menu inside Photoshop. And I've got Bridge trained on the 27_camera_raw folder inside the exercise files folder, and I'm looking at four images here; Swim meet-1 through 4.

Opening and editing multiple images

In this movie, I'll show you how to both open and modify multiple images at a time in Camera Raw, which is something you can't do inside Photoshop. So in Photoshop, it's just one image or composition at a time, whereas in Camera Raw, you can modify as many images as you like. I'm currently working in Bridge, and you can get to Bridge by choosing Browse in Bridge from the File menu inside Photoshop. And I've got Bridge trained on the 27_camera_raw folder inside the exercise files folder, and I'm looking at four images here; Swim meet-1 through 4.

They're all DNG files which stands for Digital Negative, which is Adobe's open standard for RAW digital photographs. But you might be working with CR2s or NEFs or ORFs, there's all kinds of file formats out there depending on your camera vendor. Now, you may see more images than this inside this folder, I am populating the folder as I go along. I'm going to click on Swim meet-1, Shift+Click on Swim meet-4 to select all four files, and there's a couple of different ways to open RAW images in Camera Raw.

One way is to go to the File menu and choose the Open command or press Ctrl+O or Cmd+O on a Mac, and that's going to open Camera Raw as a plugin inside Photoshop, which means you'll be occupying Photoshop's attention and freeing up Bridge. If you'd rather go the other way around, if you'd rather run Camera Raw as a plugin inside Bridge, and leave Photoshop free, then you go down here to this command, Open in Camera Raw or you'd press Ctrl+R or Cmd+R on the Mac. And that's the way that we'll be working, because that will allow us to see our modifications in Bridge when we're done.

So I will go ahead and choose the command and that brings up Camera Raw. And if this is a first time you've entered Camera Raw, then you'll see the plugin inside of the dialog box. If you'd rather consume the entire window, which you might as well, because you can't switch back to Bridge by clicking on it here, then click on this icon, or press the F key to fill the entire screen. Now, notice that we're seeing the open images in a vertical filmstrip, and we're seeing the selected image of my youngest son with a scratch on his face here inside the Image Preview. And currently, just one image is selected as you can see, so if I make any modifications, I will affect that image, and none of the others.

If you want to edit all the images at the same time, then either click on the Select All button or press Ctrl+A or Cmd+A on the Mac, and that will go ahead and select all of them. Now, if you want to switch from one image to another, that is, you want to see a different image inside the preview, then press the Down Arrow key to advance to the next image or you can press the Up Arrow key to advance to a previous image. Another way to work, if you want to skip down to an image for example, is not to click on it, because if you click on that thumbnail there in the filmstrip, you will not only switch to it, but you also deselect all the other images.

So I will press Ctrl+A or Cmd+A on a Mac in order to select them all once again. Instead what you do is you Alt+Click or you Opt+Click on the thumbnail, and that not only switches to that image, but it keeps all the other images selected as well. Now, notice all these correction options that are available to us in the Basic panel, and we'll be running through exactly how these options work in future movies. But for now, what I'd like you to do is just click on this Auto button; so yet another automatic means of correcting the color of images inside Photoshop.

And this one often works very well. I will go ahead and click on Auto, and we can see that just like that, we've changed the luminance of all of the selected images. And notice the Auto button just affects these 6 options right here; so Exposure, all the way down to Blacks. Now, we're not seeing any numerical values anymore, because each and every one of the images has been modified differently, and to varying degrees of success. So, if I go ahead and just click on one of the thumbnails to select it independently of the others, then you can see the numerical values that Camera Raw has automatically applied.

And in the case of this image, Camera Raw has done a pretty good job, you can check out the uncorrected version of the image by turning off the Preview checkbox and you can also toggle that checkbox by pressing the P key. So this is before, and this is after. I will go ahead and switch down to this next one, this one looks pretty good as well, this is before and this is after. And finally, we've got this guy here again, looks pretty darn good, this is before, and this is after. Now let's say you decide that you want to apply the modifications assigned to one of the images to all the images, because for example, this very first one, Swim meet-1 didn't come out too well, it's way too bright.

So what I'd like to do is go ahead and select all the images again, I will press Ctrl+A or Cmd+A on the Mac, and then you want to switch to the image that you like. So I will Alt+Click or Opt+Click on Swim meet-4 for example, and then you've got this Synchronize button, that will assign the settings that you've applied to this image, to all of them. And there are two ways to use Synchronize; one is just to click on the button, and you'll get this massive dialog box of options that are available to you. So basically, you're synchronizing every single development setting and the only things you're not synchronizing are things like Crop and Spot Removal and Local Adjustments, which would just work for one image at a time anyway.

So, you could go ahead and click OK at this point, but what I like to do is just skip this dialog box, because it seems to me that it's set up exactly the way I'd want it to be by default. So I will click Cancel, and if you want to skip, you press the Alt key or the Option key on the Mac, that gets rid of the little dot, dot, dot, after synchronize, then you just go ahead, and click on the button and everything happens automatically. And now, if I click on the thumbnail for Swim meet-1, we see a much better development. And by the way, keep an eye on the upper-right corner of the Preview here.

If you switch to a different image and you see a yellow caution sign for a moment, that doesn't mean anything is wrong, that just means that Camera Raw is trying to keep up with you, so it needs to refresh the preview on screen. All right. Now that we're done, a couple of different ways to work; one is to press Ctrl+A, again, Cmd+A on the Mac, and then you can click on this Open Images button, and that's going to open all four images inside Photoshop. If you just have one thumbnail selected, then it changes to the Open Image button, and you'll open just that one image.

And that's great if you want to apply more modifications inside Photoshop, but it's not necessary if you just want to save these images to a different file format. In that case, if you want to save all these images as JPEGs or TIFFs for example, you'd press Ctrl+A, once again, Cmd+A on the Mac, to select them all, and then you click on the Save Images button, and then you can go ahead and decide which file formats you want to use. For example, you can select JPEG, TIFF what have you. However, what I am going to do is cancel out of this dialog box, and just click on Done, because that goes ahead and applies our changes to the images without opening them in Photoshop, and then you see, when we return to Bridge, that all of the thumbnails update to reflect our modification and we have these little icons in the upper-right corners of the thumbnails that show us that the images include development settings.

However, and it's worth noting, that these modifications have been saved as metadata. In other words, not a single pixel has been permanently modified inside the image. And because I'm working with DNG files which is the Adobe standard, the metadata is saved directly to the file, and I can see that metadata by moving down here to the Metadata panel, which by default lives in the lower-right corner of the screen. And if I go ahead and twirl close File Properties, you can see there's this item called Camera Raw, you may have to scroll down to it, and I will go ahead and twirl it open, and then I can see my Exposure, Highlight, Shadows, Whites, Blacks, and Contrast settings, all of which were modified automatically when I clicked on that Auto button.

And that's how you open and modify multiple images at a time in Camera Raw.

Show transcript

This video is part of

Image for Photoshop CS6 One-on-One: Advanced
Photoshop CS6 One-on-One: Advanced

124 video lessons · 19650 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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 57s
    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 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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