Introducing Camera RawWelcome| 00:00 |
(MUSIC). Welcome.
| | 00:05 |
My name is Chris Orwig.
I'll be your host and guide in this course
| | 00:08 |
as we focus in on those Camera Raw
fundamentals that you'll want to learn in
| | 00:11 |
order to start to achieve professional results.
| | 00:16 |
Now, in this course, we'll cover how we
can work on an image from start to finish
| | 00:19 |
using Camera Raw.
So that you can get a feel for overall
| | 00:22 |
Camera Raw workflow.
We'll also talk about how we can improve
| | 00:26 |
in correct exposure.
We'll look at how we can with with the
| | 00:29 |
Crop tool, in order to crop and recompose
our photographs.
| | 00:32 |
And we'll talk about how we can create
some compelling black and white
| | 00:35 |
conversions of our color photographs as well.
| | 00:37 |
We'll be covering all of these topics and more.
| | 00:40 |
Let's begin.
| | 00:42 |
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| Using the exercise files| 00:00 |
If you're a premium member to the
lynda.com online training library, you
| | 00:04 |
have access to the exercise files.
Once you have downloaded the exercise
| | 00:08 |
files, locate the folder and there you can
open up the folder.
| | 00:12 |
Here, you'll discover that the exercise
files for this course are organized into
| | 00:16 |
folders based on the different chapters.
In order to start working on the files,
| | 00:20 |
just open up the folder for the chapter,
say for Chapter 1.
| | 00:24 |
Here, you'll discover all of the images
that we'll be working on in that chapter.
| | 00:28 |
Now, if you don't have access to the
exercise files, no big deal.
| | 00:31 |
You can always follow along or, of course,
you can always work on your own images.
| | 00:35 |
Alright, without further delay, let's
begin.
| | 00:39 |
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| Begin with Camera Raw and finish with Photoshop| 00:00 |
In this movie, we're going to talk about
the relationship between Camera Raw and
| | 00:04 |
Photoshop.
And we're going to do that because in this
| | 00:07 |
course you'll encounter and discover many
of the benefits of working with Camera
| | 00:11 |
Raw.
And along the way you may be wondering,
| | 00:14 |
well, should I be using Camera Raw or
should I be using Photoshop?
| | 00:18 |
In order to talk about this topic, I
want to show a few image examples and walk
| | 00:21 |
through a few slides.
So let's begin by taking a look at this
| | 00:25 |
photograph here.
Now this photograph obviously didn't
| | 00:27 |
appear this way when I pushed the shutter
release button.
| | 00:31 |
This image has been through a workflow or
it's been through a process.
| | 00:35 |
And if we examine that process, I think
we'll learn something important about the
| | 00:38 |
relationship between Camer Raw and Photoshop.
| | 00:42 |
In this next slide, you can see the
overall process.
| | 00:45 |
In the far left corner, you see the
original image as the camera recorded it.
| | 00:49 |
Then, in the middle, you'll encounter the
image after it was worked on in Camera
| | 00:52 |
Raw.
And last, but not least, in the
| | 00:54 |
background, we have the photograph after
it was processed or edited in Photoshop.
| | 00:59 |
And so here we're encountering that there
is a workflow, which begins in Camera Raw
| | 01:03 |
and often ends in Photoshop.
In many times, the difference between our
| | 01:08 |
work in Camera Raw and Photoshop will be
dramatic like this.
| | 01:11 |
In other situations, like in this next
example, the results are a bit more
| | 01:15 |
subtle.
On the far left hand side, we have the
| | 01:18 |
original photograph.
Then the right, we have the image after
| | 01:21 |
it's worked on in Camera Raw.
Now if I show you the results in Photoshop
| | 01:25 |
you have to look really closely.
Here's the image after it was processed in
| | 01:29 |
Photoshop.
The differences between Camera Raw and
| | 01:32 |
Photoshop are really subtle.
Yet you can see those.
| | 01:35 |
Again, here's Camera Raw and here's Photoshop.
| | 01:38 |
They're subtle yet, nonetheless, significant.
| | 01:40 |
And, again, they reiterate this point that
it's about Camera Raw and Photoshop
| | 01:44 |
together.
It isn't an either/or question.
| | 01:48 |
Rather, it's both/and.
And if we can use these two tools together
| | 01:52 |
and if we can use both of their strengths,
this will allow us to accomplish and to
| | 01:56 |
create sunny results.
Let me illustrate this with a few more
| | 02:00 |
slides.
On the left hand side, you can see we have
| | 02:03 |
an image which is representative of our
work with Camera Raw.
| | 02:07 |
On the right, we have a photograph or a
screen grab which is representative of our
| | 02:10 |
work with Photoshop.
And if we had to distill this a little
| | 02:13 |
bit, we might say that our work in Camera
Raw is all about making big, broad, or
| | 02:18 |
global adjustments.
Now of course, this is a little bit of an
| | 02:23 |
oversimplification, but in typically what
we do, is we start off making adjustments
| | 02:27 |
to the entire photograph, then when we go
to Photoshop, we're able to make really
| | 02:31 |
small or precise or really creative local adjustments.
| | 02:36 |
These allow us to work on our image in
really particular or really specific ways.
| | 02:41 |
Another way that we might think about this
is that in Camera Raw, we can work
| | 02:44 |
quickly.
Because we're raw processing our image,
| | 02:47 |
this allows us to be really quick and also flexible.
| | 02:51 |
In contrast, when we work in Photoshop, we
have larger file size.
| | 02:55 |
This allows us to work with precision.
It also allows us to do things which are
| | 02:59 |
incredibly creative.
You know, with Photoshop, you can
| | 03:02 |
accomplish almost anything.
Now, it doesn't mean that one tool is
| | 03:06 |
better than another.
Rather it's about both of these tools
| | 03:09 |
together.
And typically in most effective workflow,
| | 03:13 |
our workflow begins with Camera Raw.
And then often it ends or finishes with
| | 03:17 |
Photoshop.
And again, it’s about the combination of
| | 03:20 |
both of these tools together, which will
allow us to accomplish great results.
| | 03:25 |
Now I should also point out that we don’t
always have to finish our photographs in
| | 03:29 |
Photoshop.
Sometimes you’ll finish your work in
| | 03:31 |
Camera Raw and you’ll be done.
Yet in other situations, you may need to
| | 03:35 |
bring an image over to Photoshop in order
to apply a creative effect or to retouch
| | 03:38 |
an image in a certain way.
And so again, it's all about combining
| | 03:43 |
these two tools together in order to
achieve the best results.
| | 03:47 |
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| What is Adobe Camera Raw?| 00:00 |
In photographic circles, Adobe Camera RAW
has become quite a hot and popular topic.
| | 00:05 |
There's so much excitement about RAW
capture and RAW processing, yet sometimes,
| | 00:09 |
some of this is a little bit mysterious.
It's a little bit confusing.
| | 00:14 |
So what I want to begin to do here is to
distill things a bit.
| | 00:18 |
And the first thing that we need to do is
take a look at two terms, Raw Capture and
| | 00:21 |
Raw Processing.
For starters, Raw Capture has to do with
| | 00:25 |
how we're actually capturing the image on camera.
| | 00:28 |
On the other hand, Raw Processing is all
about using Adobe Camera Raw.
| | 00:33 |
Let's define these even further, starting
off with Raw Capture.
| | 00:37 |
Whenever you capture an image with a
digital camera.
| | 00:41 |
The images captured on the sensor.
And if you're capturing in JPEG mode, that
| | 00:45 |
information goes through a whole sequence
of steps here; Bayer interpolation, white
| | 00:50 |
balance contrast, so on, compression, and
then we get the JPEG.
| | 00:57 |
On the other hand, we can capture a file
in its RAW format.
| | 01:00 |
In other words, the information simply
comes straight off the sensor, and we have
| | 01:04 |
all of this raw data.
So in this scenario, we're talking about
| | 01:09 |
raw capture.
Now, in contrast, when we talk about Adobe
| | 01:12 |
Camera Raw, we're talking about something
completely different.
| | 01:17 |
This has to do with how we process an
image in software, which is called Adobe
| | 01:20 |
Camera Raw.
So one of the things that happens, when
| | 01:24 |
we're using Adobe Camera Raw, is that we
have these actual pixels.
| | 01:28 |
We have image information.
Well we then apply a set of instructions
| | 01:32 |
to these actual pixels, and the
instructions are actually kind of
| | 01:36 |
interesting.
There's simply a laundry list of
| | 01:39 |
information which describe how we want
this image to be displayed, whether the
| | 01:43 |
crop, or the color, and so what happens
then is this set of instructions Displays
| | 01:47 |
an image in a particular way.
Now the nice thing about Adobe Camera raw
| | 01:53 |
is that working in this context it's
completely non-destructive.
| | 01:58 |
In other words, no pixels are harmed, no
pixels are affected.
| | 02:01 |
We're not actually pushing pixels per say.
Rather We have pixels that were applying
| | 02:07 |
some instructions to, which then in turn
display the image, perhaps in a different
| | 02:11 |
way.
This in turn gives us a lot of flexibility
| | 02:16 |
and we can always undo whatever we've done.
| | 02:20 |
This can also really speed up our overall workflow.
| | 02:24 |
Because if you think about it, with Adobe
Camera Raw there's not render time because
| | 02:28 |
you're not actually doing something to
pixels, rather you're simply changing the
| | 02:32 |
set of instructions.
So again, this can result in a different
| | 02:37 |
format, and here you can see I have yet
another version of this image.
| | 02:41 |
The other thing that's kind of interesting
about Adobe Camera Raw is that we can
| | 02:45 |
process images, whether they're Raw, DNG,
TFF Or JPEG in this format.
| | 02:50 |
So, we're not limited to just working on
files that were captured in the Raw
| | 02:54 |
format.
Rather, we can use these different types
| | 02:58 |
of formats.
Alright, well, if we had to distill this,
| | 03:01 |
how would we do that?
Well, think of Adobe Camera Raw as a way
| | 03:05 |
to nondestructively edit and work on your photographs.
| | 03:09 |
And what it does for you is it helps
things to be a little bit more flexible,
| | 03:12 |
because you can always undo whatever
you've done.
| | 03:16 |
It also will really speed up your overall
workflow because while working in Camera
| | 03:19 |
Raw, there's no render time, there's
really no save time and so it speeds
| | 03:22 |
things up by leaps and bounds.
And then lastly, I like to think of Adobe
| | 03:27 |
Camera Raw as a really creative space.
It's not just functional, but it can help
| | 03:31 |
you come up with some really creative ways
to process images.
| | 03:35 |
And it's because of these reasons and
more, as you'll soon discover, that Adobe
| | 03:39 |
Camera Raw really has become one of the
most premiere and prominent tools of our
| | 03:42 |
time.
| | 03:44 |
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|
|
1. Preferences and File FormatsBridge overview and preferences| 00:00 |
In this movie, I want to review a few
essentials and share a few tips of how you
| | 00:03 |
can work with Bridge more effectively.
If you're already comfortable at Bridge,
| | 00:08 |
feel free to skip ahead to the next movie.
The reason why we're starting off with
| | 00:13 |
Bridge is because, in order to get good at
Camera Raw, we have to have a strong
| | 00:16 |
working understanding of using Bridge,
because Camera Raw, it isn't a stand alone
| | 00:20 |
application.
There's isn't a button you can press in
| | 00:24 |
order to launch Camera Raw.
Rather, all of your Camera Raw work will
| | 00:28 |
begin with Bridge, and here we'll select
photographs and then we'll open those
| | 00:31 |
images up in camera raw inside a bridge,
or in camera raw inside a Photoshop.
| | 00:37 |
Now, I'll talk more about opening up our
files later, yet here let's focus in on
| | 00:41 |
bridge.
For starters, you'll notice that we have
| | 00:45 |
different panels.
On the left hand side you have a folders
| | 00:47 |
panel.
Here I've clicked into the folder, 01
| | 00:50 |
getting started.
Next we have thumbnails inside of the
| | 00:53 |
content panel.
Here we can click on these thumbnails in
| | 00:56 |
order to view a larger version of the
image inside of the preview panel on the
| | 00:59 |
right hand side.
You can also scroll through your
| | 01:02 |
photographs by using the arrow keys.
In this way, you can move through your
| | 01:06 |
images, until you find one you want to review.
| | 01:09 |
Now, whenever you find a photograph that
you want to review, and perhaps let's say
| | 01:12 |
you want to see this image even larger,
we'll just tap the Spacebar key.
| | 01:17 |
That will take the photograph to full
screen, as you can see here.
| | 01:21 |
And this is a picture of my wife and our
oldest daughter, and I just love their
| | 01:24 |
sparkling eyes.
Well, here let's say, we want to go back
| | 01:27 |
to Bridge and exit full-screen view, just
tap the spacebar key once again.
| | 01:32 |
Another thing that might be helpful to do
is to change the size of the thumbnails
| | 01:36 |
that you find here in the Content panel.
You can do that either by using the
| | 01:40 |
thumbnail slider, as you can see here.
Simply click and drag to the left or the
| | 01:44 |
right in order to increase or decrease the
size of the thumbnails, or you can also
| | 01:48 |
use a handy shortcut.
On a Mac, press Cmd+Plus.
| | 01:52 |
On Windows, press Ctrl+Plus in order to
increase the size of the thumbnails.
| | 01:57 |
In order to decrease the size, on a mac,
press command minus.
| | 02:00 |
On Windows, that's control minus.
And this way, you can quickly change the
| | 02:03 |
size of those thumbnails.
Another thing that might be helpful to do
| | 02:07 |
in regards to accessing your photographs
is to change the overall work space.
| | 02:12 |
One easy way to do that is to navigate to
the Window pull-down menu and then the
| | 02:15 |
Select Workspace.
And here to choose another workspace
| | 02:19 |
configuration.
A very common one for photographers is
| | 02:22 |
Filmstrip.
When we click on this option, you'll see
| | 02:25 |
that the workspace completely changes.
Now we have the content panel below and
| | 02:29 |
the preview panel above.
Here, we can use the same technique to
| | 02:33 |
navigate.
Simply click on the images in order to
| | 02:35 |
view a larger preview of the photograph.
Or press your arrow keys.
| | 02:39 |
When it comes to changing the size of the
content panel thumbnails, you just hover
| | 02:43 |
over the dividing line and then click and
drag up or click and drag down in order to
| | 02:47 |
increase or decrease the size of those thumbnails.
| | 02:52 |
Next, if you ever want to navigate back to
the default workspace configuration, well
| | 02:57 |
just choose Window, then select Workspace.
And then here select Essentials.
| | 03:02 |
This will then reset the work space to the
default essential setting.
| | 03:06 |
Now when you start to work with Bridge,
what you'll discover is that you'll click
| | 03:09 |
on a photograph like this.
This is a picture of Linda herself, one of
| | 03:13 |
the co founders of linda.com.
And here, let's say that we want to get a
| | 03:18 |
closer look of this image, but we don't
want to view this image in full screen.
| | 03:22 |
Rather, we want to evaluate if this image
is sharp.
| | 03:25 |
Well, we can position our cursor over the
preview, and here you'll notice that the
| | 03:29 |
icon changes, it has a magnifying glass.
Well if we click on the photograph, we can
| | 03:34 |
then see a magnified view of this part of
the image.
| | 03:37 |
Here we can click and drag this around,
and in this case we can see that this
| | 03:40 |
photograph is tack sharp.
In order to remove this, just click again
| | 03:44 |
and then that will disappear.
And in this way, you can start to see how
| | 03:47 |
you can use Adobe Bridge in order to view,
evaluate, and access your photographs, and
| | 03:51 |
really having a good working understanding
of how Bridge works can really help you
| | 03:56 |
out, as you start to dig deeper into
Camera Raw.
| | 04:01 |
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| Optimizing the performance of Bridge and Camera Raw| 00:00 |
In this movie, I want to highlight and
explain a few simple steps that you can
| | 00:04 |
take in order to optimize or improve the
performance of Bridge in Camera Raw.
| | 00:10 |
In particular, we'll take a look at how we
can customize a few preferences in our
| | 00:13 |
Bridge in Camera Raw preference settings.
So let's navigate first to our Bridge
| | 00:18 |
preferences.
To do that, click on the Bridge pull-down
| | 00:21 |
menu, and then select preferences.
If you're on Windows, choose edit
| | 00:25 |
preferences.
When you click on this menu item, it will
| | 00:28 |
launch our preferences dialog.
Now, for the most part the default
| | 00:32 |
settings here work well.
Yet, what we're interested in taking a
| | 00:35 |
look at are our cache settings.
Go ahead and click on the word cache in
| | 00:39 |
order to view a few options.
Now you may be wondering, what is cache?
| | 00:43 |
What is the word cache mean?
Well, if you look up the word in the
| | 00:46 |
dictionary, what you'll discover is that
cache is typically a place where you'll
| | 00:50 |
store provisions.
Or it may be a location where you safekeep
| | 00:53 |
something which is valuable.
Well, what then is the valuable item which
| | 00:58 |
is stored in the Bridge cache?
Well, what it is is the preview of the
| | 01:02 |
photographs that you've been working on.
You know, whenever you click on an image,
| | 01:07 |
many times that will be a high-resolution file.
| | 01:10 |
And what Bridge will have to do is to
render or create or draw a preview.
| | 01:15 |
Now this preview is something which helps
us to quickly view the data that we have
| | 01:19 |
in that file.
Now what you can do is you can save your
| | 01:22 |
previews in the default location as you
can see listed here.
| | 01:26 |
Or you can turn on this option to increase
the performance and flexibility of the way
| | 01:30 |
that Bridge creates these previews.
Here, when you click on this option, it
| | 01:35 |
exports those cached previews to the
folder when possible, so that you can work
| | 01:39 |
more quickly on the files.
If you want to expedite your overall
| | 01:43 |
workflow, typically, it works best to turn
on this option.
| | 01:47 |
So I recommend that you do so.
In order to save an apply this preference
| | 01:51 |
change, simply click on the OK button in
order to apply that.
| | 01:55 |
Next, let's navigate back to the Bridge
pull-down menu.
| | 01:58 |
And here, let's go to our Camera Raw Preferences.
| | 02:01 |
Again, on Windows, select Edit > Camera
Raw Preferences, and then click on this
| | 02:05 |
option to open our Camera Raw Preferences dialog.
| | 02:08 |
Now, keep in mind that Bridge and Camera
Raw, they are separate applications.
| | 02:13 |
That's why we have two different
Preferences dialogs.
| | 02:16 |
Well here, again, most of the default
settings will work really well.
| | 02:20 |
We're just interested in customizing our
Camera Raw Cache settings.
| | 02:24 |
Now you remember that I said that a cache
is something where you can safekeep
| | 02:27 |
something which is valuable.
Again, here with our Camera Raw Cache,
| | 02:32 |
what this is, is all of the settings we've
applied to a photograph.
| | 02:37 |
So in other words, let's say that we've
used Camera Raw to sharpen an image,
| | 02:40 |
convert it to black and white, and add
some contrast.
| | 02:43 |
Well, those settings are stored in our
Camera Raw Cache Preview.
| | 02:47 |
And as we work on multiple files,
inevitably, what we'll do is we'll go back
| | 02:51 |
to a file that we've worked on previously.
Now, if the preview for all of the
| | 02:56 |
settings which we've applied to that image
previously are saved, well we can view
| | 03:00 |
them really quickly.
Yet if they aren't saved, it will take
| | 03:04 |
some time to actually recreate that preview.
| | 03:08 |
So here's where those previews are saved.
Again, all of the Camera Raw work that
| | 03:12 |
we've done on the image, that preview is
saved here in the Camera Raw cache.
| | 03:17 |
Now why am I taking all of this time to
explain why this is.
| | 03:19 |
I'm taking this time to explain this
because what I want you to do is to
| | 03:23 |
increase your Camera Raw cache size.
If you have a Camera Raw cache size of,
| | 03:28 |
say, of 1 gigabyte, what this will do is
will remember, say, a few hundred images
| | 03:32 |
which you have recently worked on.
Yet, if you will increase this to a size
| | 03:36 |
say like 20 gigabytes, well, that will
then save a few thousand of those
| | 03:40 |
previews.
And this way, this can speed up your
| | 03:44 |
overall workflow as you're revisiting
folders of images which you've already
| | 03:48 |
worked on.
Now, on the other hand, if your workflow
| | 03:51 |
is one on which you simply work on an
image and then you never go back to it
| | 03:54 |
again, well, you may want to decrease the
size of the cache setting.
| | 03:58 |
You could also choose a more conservative size.
| | 04:01 |
I have some colleagues that prefer to use
5 gigabytes.
| | 04:04 |
Yet, either way, what I recommend you do
is that you increase this over the size of
| | 04:08 |
the default setting of 1.
The size that I use in my own work flow is
| | 04:13 |
20 gigabytes.
So here I'll change that to this number.
| | 04:16 |
In order to apply this Camera Raw
preference change, simply click OK.
| | 04:21 |
And here, by simply taking those two
steps, we have now optimized or improve
| | 04:25 |
the way that we can work with Camera Raw
and Adobe Bridge.
| | 04:30 |
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| Why raw files work best| 00:00 |
In one of the previous movies, I mentioned
that we can work with different file
| | 00:03 |
formats in Camera Raw.
We can work with Native Raw files or TIFs
| | 00:07 |
or JPEGs.
And here, I'm simply want to highlight how
| | 00:10 |
we can start to work with these file
formats, and I also want to point out some
| | 00:13 |
of the strengths or weaknesses of working
with the different files.
| | 00:17 |
Well in the content panel you'll notice
that I have three different images.
| | 00:20 |
If we click through these they all appear
exactly the same.
| | 00:24 |
Yet you may notice that one is a RAW file.
This one is the native RAW file.
| | 00:28 |
Straight out of the camera.
If you make your way down to the metadata
| | 00:31 |
panel, you can see the resolution and file size.
| | 00:34 |
And as I click through these images, what
you'll notice is that the resolution here
| | 00:38 |
is exactly the same.
The amount of pixels is identical.
| | 00:42 |
Yet the file size differs.
Here, when we go to the JPEG file, you can
| | 00:46 |
see that, again, we have the same
dimensions yet we have a much smaller
| | 00:49 |
file.
And that's typical of JPEG files.
| | 00:53 |
And so here, let's open up all three of
these files in Adobe Camera Raw.
| | 00:57 |
To do that, hold down the Cmd key on a
Mac, Ctrl key on Windows, and then click
| | 01:01 |
on the files which you want to open.
Next, navigate to the File pull-down menu,
| | 01:06 |
and here select Open in Camera Raw.
We'll talk more about opening up files in
| | 01:11 |
Camera Raw in one of the subsequent chapters.
| | 01:14 |
Yet, for now, simply click on this menu
item in order to open up Camera Raw with
| | 01:17 |
all of these three images accessible.
Now here with these photographs, as we
| | 01:22 |
click through them, you'll see that they
all appear exactly the same.
| | 01:26 |
And again, they all have the same dimension.
| | 01:29 |
Yet one of the things which will be
different is the amount of information
| | 01:32 |
which we actually have in each image.
And in order to illustrate this, what I
| | 01:37 |
want to do is zoom in to a certain area of
the photograph.
| | 01:40 |
In order to highlight a couple of the differences.
| | 01:43 |
So with the zoom tool selected, I will
then double click it.
| | 01:46 |
That will take the image to 100 percent.
Then, select the hand tool.
| | 01:50 |
And click and drag in order to reposition,
so that we can look at the front of the
| | 01:53 |
truck here.
Next, I'll click on another photograph.
| | 01:56 |
Double click the zoom tool.
Grab the hand tool.
| | 01:59 |
And click and drag to reposition this.
In this way, this will allow me to view
| | 02:03 |
these images in the same way.
Again, double-clicking the zoom tool and
| | 02:07 |
with the hand tool repositioning.
Now, why did I want to do that?
| | 02:11 |
Well, I wanted to do that so that we can
then evaluate a certain area in the
| | 02:14 |
photograph.
And if we go back to the raw file, what
| | 02:17 |
you can do is turn on what's called the
clipping indicator.
| | 02:21 |
Again, we'll talk more about this later,
yet for now, I simply want to highlight
| | 02:24 |
how you can do this.
If you make your way to the histogram,
| | 02:28 |
you'll notice there's a small icon.
When you turn that icon on, it will show
| | 02:32 |
you a few areas where the image is
overexposed and where you have Loss of
| | 02:35 |
detail and it will highlight that area in red.
| | 02:39 |
If I were to increase my exposure more,
what we would see is that more of this
| | 02:43 |
area shows me that I have a problem.
I’ll reset the exposure slider by
| | 02:48 |
double-clicking the tab.
Now just the native file, the file as is,
| | 02:52 |
has a bit of overexposure in this area and
that’s the RAW file.
| | 02:56 |
Well, let’s compare the difference, say,
to the TIF file.
| | 02:59 |
When we click on the TIF file, we see that
it’s pretty similar.
| | 03:02 |
Again we have a lot of information here
and a lot of information to work with.
| | 03:06 |
Next if we navigate to the jpeg file,
here's where we'll discover the big
| | 03:10 |
difference.
Notice that while the jpeg file does have
| | 03:14 |
the same overall dimensions, it doesn't
have as much information there.
| | 03:19 |
I wanted to show you this, just to
highlight that as you start to work with
| | 03:23 |
camera raw.
While you can work with different file
| | 03:27 |
formats, ideally, the best file format
that you can work on is the native raw
| | 03:31 |
file.
And by having the native raw file, you
| | 03:34 |
have the most amount of information in the
file, so you can then easily make a
| | 03:38 |
correction.
If you can start off by working with the
| | 03:42 |
raw file, that will always lead to the
best results.
| | 03:46 |
| | Collapse this transcript |
| The advantages of using DNG| 00:00 |
Here we're going to continue our
conversation about working with different
| | 00:03 |
file formats in Adobe Camera Raw.
And in particular, I want to pick up on
| | 00:07 |
this thread that I mentioned which when
you're working with Camera Raw, it's
| | 00:11 |
almost always best.
To work with the raw file format because
| | 00:15 |
that gives you the most flexibility,
creativity and control.
| | 00:19 |
Like with the image that we see here in
the background of this slide, in order to
| | 00:22 |
create those rich, vibrant and saturated
colors we just have to start off with the
| | 00:26 |
raw file.
And working with camera raw gives us more
| | 00:31 |
flexibility and creative control.
Yet there are two different types of raw
| | 00:36 |
files that we can work with.
We can either work with the native raw
| | 00:39 |
file that our camera captures.
Here we can see an image of that on the
| | 00:43 |
left hand side.
And when we're capturing images we can set
| | 00:47 |
up our camera so that we capture Raw files
and then we can open up those files in
| | 00:50 |
Adobe Camera Raw.
And when we process one of those images
| | 00:54 |
all of the processing that we performed,
well that would be saved in what's called
| | 00:58 |
a sidecar XMP file.
Now it's important to remember that these
| | 01:03 |
two files, well they are separate,
distinct and different.
| | 01:07 |
And the advantage of this approach is it
allows us to work really quickly on our
| | 01:10 |
images.
Because remember, as we process our
| | 01:13 |
photographs, we are actually changing
pixels rather than changing the
| | 01:17 |
instructions which allow us to display the
image in a different way.
| | 01:22 |
Now one of the disadvantages of this
approach is that these two files might get
| | 01:27 |
separated.
In other words, if we lose that XMP file,
| | 01:30 |
well we lose all of our work.
Well this is where DNG comes into play.
| | 01:36 |
Another file format, which is our Raw file
format is DNG.
| | 01:40 |
And what DNG does is something a little
bit different.
| | 01:44 |
You can take a RAW file and convert it to
the DNG format, and then process it in
| | 01:48 |
Adobe Camera RAW.
And when you do so, you'll notice that
| | 01:52 |
there isn't a sidecar xmp file.
That's because the XMP information, well
| | 01:57 |
it's saved inside of the container of the
DNG file format.
| | 02:02 |
And here, we're starting encounter one of
the benefits of using this format.
| | 02:07 |
Now, before I get too far along, you may
be wondering, Well what is DNG an why does
| | 02:11 |
this matter?
The DNG format stands for digital
| | 02:15 |
negative.
This is a format that Adobe invented, an
| | 02:18 |
it's their proposed standard, for an open,
non proprietary raw format.
| | 02:24 |
In other words, rather than a raw format,
which is created and controlled by the
| | 02:28 |
camera manufacturer, this one is open source.
| | 02:31 |
Why might you want to use this format or
why might you want to convert your images
| | 02:35 |
to DNG?
Well, here are a couple of reasons.
| | 02:38 |
First, you have no need for those sidecar
XMP files, as I illustrated in the
| | 02:42 |
previous slides.
Second, the DNG file format it can contain
| | 02:47 |
a full size or a medium JPEG preview.
In that way, you can then view the
| | 02:52 |
settings which you've applied with other applications.
| | 02:55 |
Next, you can have a DNG file which has
lossless compression.
| | 02:59 |
In other words, it allows you to have a
smaller file size without any loss of
| | 03:02 |
information or details.
Next, another reason is for archival
| | 03:07 |
confidence.
Because this is an open source format,
| | 03:10 |
there's a greater security that we'll be
able to work with these files in the
| | 03:14 |
future.
For example, perhaps you shoot with a
| | 03:17 |
camera, raw file format, and that camera
manufacturer goes out of business or stops
| | 03:21 |
Supporting that particular format.
In that case you might be out of luck.
| | 03:26 |
With the DNG file format, there's a bit
more of a confidence that we'll be able to
| | 03:29 |
access and work on our files in the future.
| | 03:33 |
Last but not least it provides a single
raw processing solution.
| | 03:37 |
So that you can then work on your images
in a consistent way.
| | 03:40 |
What then are the negatives?
Well there are a few.
| | 03:43 |
One of the negatives is that you have to
convert your proprietary raw files so
| | 03:47 |
there is a conversion process.
And that takes some time.
| | 03:51 |
Next, these files can't be opened by
proprietary RAW converter.
| | 03:56 |
In other words, let's say you shoot with a
Canon camera.
| | 03:59 |
Well, if you convert to that DNG format
you won't be able to use Canon software.
| | 04:05 |
In order to work on the image.
Now in my own workflow that isn't a
| | 04:08 |
problem.
Because I use bridge, camera raw, and
| | 04:10 |
Photoshop.
And I don't use my camera manufacturer's
| | 04:13 |
software in order to work on my images.
So in making the decision of whether or
| | 04:18 |
not to convert your images to DNG, these
are some of the things to consider.
| | 04:22 |
In my own workflow, it's something that
I've embraced wholeheartedly because of
| | 04:25 |
the advantages that I've listed here.
Yet, either way, whatever your decision
| | 04:30 |
is, I hope that this information is
helpful as you start to think about what
| | 04:33 |
type of raw file you want to work on as
you start to work in Camera Raw.
| | 04:39 |
| | Collapse this transcript |
| Comparing RAW and DNG| 00:00 |
Now that we know a little bit about the
difference between the native Raw format
| | 00:03 |
and the DNG, here I want to take things a
step further.
| | 00:07 |
I want to try to make this conversation a
little less abstract by comparing two
| | 00:11 |
files.
Here in Adobe Bridge, you can see I've
| | 00:14 |
selected the demo folder.
And I have two images.
| | 00:17 |
I have one which is the native RAW file,
and another which is a DNG.
| | 00:21 |
Here, before we start to compare these
files Navigate to the View pull-down menu,
| | 00:25 |
and then choose Show Hidden Files.
In doing that, that will show you all of
| | 00:30 |
the files in the folder.
In this case, it's showing us the sidecar
| | 00:34 |
XMP file, which belongs to the native RAW format.
| | 00:40 |
The DNG in contrast, well it stands on its own.
| | 00:43 |
Another way that we can compare the two
files is to take a look at their
| | 00:46 |
dimensions and file size.
If we click on the native raw file
| | 00:50 |
straight out of the camera, here we can
see our dimensions and file size.
| | 00:54 |
In this case we have a file which is about
2000 by 3000 pixels wide and tall.
| | 00:59 |
And it's about ten megs.
In contrast, when we click on the dng
| | 01:02 |
we'll discover that we have exactly the
same dimensions.
| | 01:07 |
But a much smaller file.
In fact, it's two megs smaller.
| | 01:10 |
Now you may be thinking, well, is this
file a lower quality image?
| | 01:14 |
Not at all.
Remember, in DNG, you can do what's called
| | 01:17 |
lossless compression, so these files are
smaller without any loss of quality.
| | 01:23 |
Now with one image, it's not that big of deal.
| | 01:25 |
But in many photo libraries, we have
hundreds or maybe even thousands of
| | 01:29 |
photographs.
So in those situations, this little bit of
| | 01:32 |
extra file size can really help out.
So here we can really see that the DNG
| | 01:36 |
file is a smaller file in regards to its
file size.
| | 01:40 |
Yet it still has all of the quality.
Well next lets take a look at this image
| | 01:44 |
here.
Well at this image as I mentioned it has a
| | 01:47 |
side car XMP file.
And sometimes, what can happen
| | 01:50 |
accidentally, is the connection between
these two files can be lost.
| | 01:54 |
One of the ways that it can be lost is
that the XMP file can be deleted.
| | 01:59 |
Or sometimes, what can happen is it can be
accidentally renamed.
| | 02:02 |
Here I'll go ahead and rename this XMP file.
| | 02:05 |
I'll do so by clicking into the file name
and I'll add a new number to it and then
| | 02:08 |
just press Enter or Return.
In doing that, all of the sudden you can
| | 02:12 |
see the original file, without all of the
work that I did on this image in Camera
| | 02:15 |
Raw.
Now if I click on both of these images
| | 02:19 |
while holding down the command key, I can
then press the space bar key to go to
| | 02:22 |
full-screen.
So here's the image without all of those
| | 02:26 |
raw settings.
And then, here's the photograph after some
| | 02:29 |
work.
I this way, you can see that the work that
| | 02:31 |
was done on this photograph was pretty significant.
| | 02:34 |
So the disconnection between the RAW file
and its sidecar XMP file was pretty
| | 02:39 |
significant.
Now, you don't need to be worried about
| | 02:42 |
losing the sidecar XMP files.
It's not something you need to be afraid
| | 02:46 |
afraid of, rather, I think this helps to
illustrate the point how RAW files work in
| | 02:51 |
comparison to DNG.
| | 02:53 |
| | Collapse this transcript |
| Converting or saving to the DNG format| 00:00 |
Because there are a few distinct
advantages of working with the DNG format,
| | 00:03 |
here I wanted to show you a couple of
techniques that you can use in order to
| | 00:07 |
convert your files to this format.
First we'll take a look at how we can use
| | 00:12 |
Adobe Camera RAW, and second, we'll
explore how we can use a tool which is
| | 00:15 |
called the DNG converter.
First, select an image inside of Bridge.
| | 00:20 |
Next, navigate to the file pull-down menu,
and here choose open in Camera RAW.
| | 00:25 |
When you click on that menu item, it will
launch the image in Camera Raw.
| | 00:29 |
And after you've worked on the file, you
can click on the Save Image button.
| | 00:33 |
You'll find this in the lower left-hand corner.
| | 00:36 |
When you click on that, it will open up
the Save Options dialogue.
| | 00:40 |
Well, down near the bottom, you have the
ability to save your image out in
| | 00:43 |
different file formats.
If you click on this, one of the options
| | 00:46 |
is Digital Negative.
Here when you select that, it then allows
| | 00:50 |
you to save out digital negative files.
And it allows you to customize a few
| | 00:54 |
settings.
First of all, you can choose
| | 00:56 |
Compatibility.
Typically, what you want to do is choose
| | 00:59 |
the most recent or most current version of
Camera Raw that you have access to.
| | 01:03 |
If you know that this file though will be
worked on, on a computer which doesn't
| | 01:06 |
have access to the latest version of
Camera Raw, you could choose one of the
| | 01:09 |
previous versions.
Yet typically, you'll want to leave that
| | 01:13 |
on that setting as is.
Next, we have a JPEG Preview.
| | 01:17 |
As I mentioned, the DNG format has a JPEG
preview inside of it.
| | 01:20 |
Here.
we can define the size of this.
| | 01:23 |
Often, what you want to use is a Medium
Size preview, so that it doesn't increase
| | 01:26 |
the file size too much.
Next, we have an option to be able to work
| | 01:31 |
more quickly with this file format.
And turning on this option is especially
| | 01:35 |
helpful, because it will speed up your
overall workflow.
| | 01:39 |
Now, the only downside of turning on that
option is it does slightly increase your
| | 01:42 |
overall file size.
So you want to make that decision.
| | 01:46 |
Yet in my own workflow, I find that having
this on definitely pays off.
| | 01:50 |
Then if you want to create a DNG file
format, which has some compression to it,
| | 01:54 |
you can use this option.
Now, this would be only in one of those
| | 01:58 |
situations where you're trying to create
perhaps an archive version of the file.
| | 02:03 |
So in most scenarios, leave this checkbox
turned off.
| | 02:06 |
Next, you have an option which allows you
embed the original raw file in this DNG
| | 02:10 |
container, so to speak.
Now, you might want to do this in case
| | 02:15 |
you're going to consider using the camera
manufacturers software.
| | 02:18 |
The downside is that you have a dramatic
increase in file size.
| | 02:22 |
So unless you really really want to save
the original RAW file, I recommend that
| | 02:26 |
you turn that option off or just leave
that unchecked.
| | 02:30 |
In order to save this out, you would
simply click Save.
| | 02:33 |
And what that would do is it would then
save this DNG file in the same folder.
| | 02:37 |
So here, I'll click Done in order to exit
out of Camera Raw.
| | 02:40 |
And then back in Bridge, we can scroll
down and see that we now have our DNG
| | 02:44 |
file.
Another way that you can convert a file to
| | 02:48 |
the DNG format is to use what's called the
DNG Converter.
| | 02:52 |
If you do a Google search for Abode DNG
Converter and then click on the top link,
| | 02:55 |
it will take you to the place where you
can download for free this application.
| | 03:01 |
And it's just a small tool which you can
use in order to batch convert files to DNG
| | 03:05 |
rather than selecting a few files at a
time and using Camera Raw which would be
| | 03:09 |
incredibly tedious.
Here you can select a folder of images and
| | 03:14 |
then you can quickly convert those files
to this format.
| | 03:18 |
So navigate to this page and then scroll
down until you find the Download button
| | 03:21 |
and then you can download and install this application.
| | 03:25 |
Once you've done that, you can launch your
application and let me show you what that
| | 03:29 |
looks like.
Here, I'll go ahead and hide everything
| | 03:32 |
and navigate to where I have the DNG Converter.
| | 03:35 |
In this case, you can see that you can
select images to convert and you can
| | 03:38 |
select an entire folder.
Then you can determine where you'll save
| | 03:42 |
the files.
In other words, you won't overwrite the
| | 03:45 |
original files, rather you'll take the
original file.
| | 03:49 |
And convert it to DNG, and save it in a
new location.
| | 03:52 |
Here, you can define file naming options.
And then you have a few Preferences.
| | 03:56 |
Let's click on the Change Preferences
dialog in order to open up the preferences
| | 04:00 |
that we have for our DNG Converter.
In this case, you can see we have similar
| | 04:05 |
Preferences to what we saw in the Camera
RAW Dialog.
| | 04:09 |
Remember how we could select some
compatibility options?
| | 04:11 |
And how I recommended that you typically
choose the most recent version of Camera
| | 04:15 |
RAW?
Again, the same thing applies.
| | 04:18 |
Next, we have the ability to preview Fast
Load data.
| | 04:21 |
You want to turn that option on so that
you can work more quickly with these DNG
| | 04:24 |
files.
And in most scenarios, that medium-sized
| | 04:27 |
JPEG preview is what you want to go with.
Then I recommend you leave this option
| | 04:32 |
turned off.
No need for any compression, because we
| | 04:35 |
want all of the data.
Again, we want to be able to process our
| | 04:38 |
images in the most flexible and creative
ways possible, so leave this option turned
| | 04:41 |
off.
Last but not least, if you really want the
| | 04:45 |
original RAW file to be included with this
DNG file, you can turn that option on.
| | 04:50 |
But here again, I recommend that you don't
do that because that's just going to
| | 04:53 |
increase your file size and really bog
down your overall workflow.
| | 04:57 |
In order to save these settings, simply
click OK.
| | 05:00 |
And then after you've selected your folder
and dialed in all of your settings, in
| | 05:04 |
order to convert files to the DNG format,
simply click on the Convert button in
| | 05:07 |
order to convert a folder of images to
this format.
| | 05:12 |
| | Collapse this transcript |
|
|
2. Camera Raw Essentials Workflow Project overview| 00:00 |
Throughout this course, we're going to
focus in on many of the essential controls
| | 00:04 |
that you'll need to use in order to
accomplish professional results using
| | 00:07 |
Adobe Camera Raw.
Yet before we start to dig into the
| | 00:11 |
specifics, what I want to do here is
provide you with a bit of an overview.
| | 00:15 |
Because sometimes, the best way to get
familiar with Camera Raw, and to start to
| | 00:19 |
learn how to use it is to really see it in action.
| | 00:22 |
So, here we take a look at a real world workflow.
| | 00:25 |
We work on an image from start to finish.
We'll start off with this photograph here.
| | 00:29 |
This is a picture that I captured of a
world class athlete.
| | 00:32 |
He's an Iron Man World champion.
Now, the client is interested in printing
| | 00:36 |
this image full page, but they want a
different look.
| | 00:39 |
They're interested in an image which is
black and white, and looks a little bit
| | 00:42 |
more gritty.
Well, when I first opened up this image, I
| | 00:45 |
realized that it was underexposed.
So, we'll look at how we can correct the
| | 00:49 |
exposure and also how we can create a
distinct look.
| | 00:52 |
Then next, we'll work with this photograph here.
| | 00:54 |
Now, the point of this chapter, again, is
to give you some insight into this overall
| | 00:57 |
process of how we're going to use Camera Raw.
| | 01:00 |
And then, after having finished this
workflow, well then we'll dive in deep and
| | 01:04 |
we'll start to look at some of the
specific controls that we can use in order
| | 01:07 |
to improve our photographs.
| | 01:10 |
| | Collapse this transcript |
| Correcting exposure with the Basic panel| 00:00 |
In this movie, we'll begin our workflow overview.
| | 00:03 |
And we'll begin by taking a look at how we
can open up an image in Camera Raw.
| | 00:07 |
Next, we'll explore how we can take Camera
Raw to what's called full screen mode.
| | 00:11 |
From there, we'll look at how we can apply
some automatic exposure corrections.
| | 00:15 |
And then, last but not least, we'll look
at how we can customize the overall color
| | 00:19 |
tint on our photographs.
Let's start off by selecting the thumbnail
| | 00:23 |
inside of the content panel.
And next, navigate to the File pull-down
| | 00:27 |
menu and here select Open in Camera Raw.
When you click on this menu item, it will
| | 00:32 |
launch Camera Raw and open up your
photograph, yet here you can see behind
| | 00:35 |
Camera Raw.
You notice that there are some distracting
| | 00:40 |
menu items.
Well, we want to remove all of those
| | 00:42 |
distractions, and to do that, we want to
take Camera Raw to what's called Full
| | 00:45 |
Screen Mode.
You can access full screen mode two ways.
| | 00:49 |
You can either click on this button here,
or you can simply press the F key.
| | 00:54 |
So let's go ahead and click on this button
in order to launch full screen mode, and
| | 00:57 |
here now we can finally really focus in on
the image.
| | 01:00 |
And as I start to focus on the image, I
realize that it's underexposed.
| | 01:04 |
So I want to ask Camera Raw to help me out.
| | 01:07 |
One of the ways that you can do that is by
making some automatic corrections to the
| | 01:11 |
exposure.
Now, on the right-hand side, you'll find
| | 01:14 |
many different controls.
These controls are grouped into panels.
| | 01:18 |
The first panel is the basic panel.
If you click on these little icons, you
| | 01:22 |
can see these other panels as well.
Often, when you work in Camera Raw, you
| | 01:25 |
start off in basic.
Now in basic, one of the things that we
| | 01:29 |
can do is we can work on the overall
brightness and contrast and details that
| | 01:32 |
we have in the photograph.
And one easy way to begin your workflow is
| | 01:36 |
to click on the Auto button.
When we click on Auto, what it will do is
| | 01:40 |
analyze the photograph.
And then try to figure out how I can
| | 01:43 |
modify these sliders in order to make a correction.
| | 01:46 |
And in this case, it did a pretty good job.
| | 01:49 |
If we go up to the top of the interface,
we can click on the Preview checkbox to
| | 01:51 |
see the before and after.
When I click on that, you can see there's
| | 01:55 |
before, now here's after.
Again, the image looks a lot better.
| | 01:59 |
Now, if ever you apply automatic
corrections and you realize that they just
| | 02:03 |
don't look very good, you can always reset
all of these sliders.
| | 02:07 |
by clicking on the Default button.
This will then bring them back to their
| | 02:10 |
default settings. Alright.
| | 02:12 |
Well, as you can see automatic can be a
great way to begin your workflow.
| | 02:16 |
So here I want to share with you a
shortcut that you can use in order to
| | 02:20 |
access Auto.
Press Command+U on a Mac or Control+U on
| | 02:23 |
Windows, and that does the same exact
thing as clicking on the Automatic button.
| | 02:29 |
If ever you forget that shortcut, no big
deal just simply click on the button.
| | 02:33 |
Now after you've used automatic as a
starting point for your image, what you
| | 02:36 |
might need to do is customize the sliders.
Now without getting too deep into the
| | 02:41 |
sliders, I simply want to highlight that
what you can do is click and drag.
| | 02:45 |
I can drag this to the left in order to
darken, or I can drag it to the right in
| | 02:47 |
order to brighten.
In this way, I can customize this slider
| | 02:50 |
so that I can create the look that I'm
going for.
| | 02:53 |
Now that we've corrected the overall
exposure and tone, I want to look at the
| | 02:57 |
color.
Currently the color in this image is a
| | 03:00 |
little bit too warm.
Well, you may have noticed that there are
| | 03:04 |
some sliders above called temperature and
tint, these allow us to color correct and
| | 03:07 |
also just customize the color in our photographs.
| | 03:11 |
So, here, I'll use the temperature slider
and I'll drag this to the left.
| | 03:14 |
In doing that the image will become a bit
more cool.
| | 03:17 |
If I drag this really far its going to
look blue.
| | 03:19 |
If I drag it way to the right, well that's
going to look yellow.
| | 03:22 |
What I want to do is just cool this off
just a bit so that the image has a little
| | 03:25 |
bit more of a natural appearance.
Well after having customized a few sliders
| | 03:29 |
and made a few adjustments, we've now
wrapped up our first look at using the
| | 03:33 |
basic panel.
| | 03:35 |
| | Collapse this transcript |
| Cropping and composing| 00:00 |
Here, let's continue our workflow overview.
| | 00:03 |
And next, let's look at how we can begin
to use the Crop tool in order to crop and
| | 00:06 |
recompose our photographs.
You can select the Crop tool by pressing
| | 00:11 |
the C key on the keyboard.
Or you can simply click on the Crop icon,
| | 00:15 |
which you'll find here up top.
Up top, you'll find a number of different
| | 00:18 |
valuable tools.
And here we'll focus in on the Crop tool.
| | 00:22 |
So go ahead and click on the icon or press
the shortcut key.
| | 00:25 |
And next what you can do is you can click
and drag to extend this out over the
| | 00:28 |
image.
You'll notice that there are little
| | 00:31 |
bounding boxes, or corner points, where
you can click and drag to bring those in
| | 00:34 |
so that I can crop in on my photograph.
In this way, I'm just performing a bit of
| | 00:39 |
a free-form crop.
You see that the area that's grayed out,
| | 00:42 |
well that will be the area which is
cropped away.
| | 00:45 |
One of the ways that you can apply the
crop is simply by pressing return on a Mac
| | 00:49 |
or enter on Windows.
Here you can see I've cropped and
| | 00:53 |
recomposed the photograph.
Yet in this case, I don't really like it.
| | 00:57 |
So what I need to do is to undo what I've
just done.
| | 01:00 |
To do that, once again select the Crop tool.
| | 01:03 |
Next, you need to press the Escape key.
And that brings everything back to normal.
| | 01:07 |
Once again I'll go ahead an click an drag
over the image, in order to extend the
| | 01:11 |
crop over the photograph.
Then what I want to do, is I want to
| | 01:15 |
recompose the image so that the aspect
ratio is exactly as the native file.
| | 01:20 |
In order to constrain the aspect ratio,
hold down the Shift key, and then click
| | 01:24 |
and drag on one of the corner points.
In doing this, you can see that it will
| | 01:28 |
constrain that overall aspect ratio.
Next what you can do is click and drag
| | 01:32 |
around, in order to reposition the crop.
And here I'll reposition this crop until I
| | 01:37 |
get it to a location where I like it.
And in this way, we can customize the way
| | 01:41 |
that the crop appears.
Next what we need to do is to apply the
| | 01:45 |
crop.
Press Return on a Mac, and then Enter on
| | 01:48 |
Windows.
| | 01:49 |
| | Collapse this transcript |
| Converting to black and white| 00:00 |
You may have remembered that in the first
movie in this chapter, I talked about how
| | 00:03 |
I wanted to look at a real world workflow.
And how the client was interested in
| | 00:08 |
having this image in black and white.
Let's take a look at a couple of options
| | 00:12 |
that we have when it comes to converting
our images to black and white.
| | 00:16 |
We'll start off in the basic panel.
In the basic panel, you may have noticed
| | 00:19 |
that there's a saturation slider.
So if I drag this to the right, the image
| | 00:23 |
becomes more saturated.
Drag it to the left and we can remove the
| | 00:27 |
color.
Now, one of the challenges with converting
| | 00:29 |
to black and white is that you can't
simply remove color because, all of the
| | 00:33 |
sudden, the image looks like it needs a
little bit more.
| | 00:37 |
It needs more contrast and some other
adjustments as well.
| | 00:41 |
So as you work with creating black and
white adjustments, just keep that in mind.
| | 00:45 |
Many times you'll need to take more than
one step.
| | 00:48 |
Well so far we've seen how we can start
off by using the Saturation slider,
| | 00:51 |
another way that we can remove color is by
navigating to a different panel.
| | 00:56 |
Here let's reset the saturation slider by
double-clicking the triangle icon, and you
| | 01:00 |
can reset any of your sliders by doing that.
| | 01:04 |
Next, we're going to navigate to a whole
new set of controls.
| | 01:07 |
If you hover over these tabs, you'll
notice that one of them is called
| | 01:10 |
HSL/Grayscale.
That's the tab that we are looking for, so
| | 01:14 |
go ahead and click on it.
What we want to do is click on the option
| | 01:17 |
to convert the image to grayscale.
Here it's created a default conversion.
| | 01:22 |
Yet, what's fascinating about this panel
is that this allows us to control the
| | 01:26 |
density or the brightness of the different
areas in the image based on their color.
| | 01:31 |
So, for example, we know that skin tone in
this image is primarily made up of reds
| | 01:35 |
and yellows and oranges.
So, here I can drag this slider in order
| | 01:39 |
to brighten or darken this part of the image.
| | 01:42 |
And by doing that, you can see that we can
control the way that that part of the
| | 01:45 |
image looks.
And here we can simply drag through these
| | 01:48 |
different sliders in order to create a
different type of black and white
| | 01:50 |
conversion.
Well after we’ve removed color, either by
| | 01:54 |
using the saturation slider in the basic
panel, or by using these sliders here in
| | 01:57 |
the greyscale panel, what you most likely
will want to do is navigate back to the
| | 02:01 |
basic controls.
To do that, click on the icon for basic.
| | 02:07 |
Next, often when it comes to black and
white images, I find that I like the
| | 02:11 |
images which have a bit more contrast better.
| | 02:14 |
So here, in the basic controls, we’ll
increase the contrast a little bit.
| | 02:18 |
I'm also going to add a touch of clarity.
Clarity allows you to add a bit of snap,
| | 02:23 |
or mid-tone contrast to your photograph.
Again, just click and drag in order to
| | 02:27 |
increase that amount, and you can further
customize these controls as well, until
| | 02:31 |
you've created the desired look.
| | 02:34 |
| | Collapse this transcript |
| Sharpening and noise reduction| 00:00 |
The goal of this chapter has been to
provide you with a bit of an overview
| | 00:03 |
workflow, so that you can start to get
familiar regards to how you're going to
| | 00:06 |
use Camera Raw to improve your pictures.
Now, each of your photographs will require
| | 00:12 |
different steps.
Yet here we've seen a few different steps.
| | 00:15 |
And eventually, after you've finished
working on your photograph, one of the
| | 00:18 |
last steps that you'll want to take is to
focus in on the small details.
| | 00:23 |
In other words, you'll want to start to
focus in on sharpening the photograph and
| | 00:26 |
also reducing the noise.
So here, let's navigate to the Details
| | 00:30 |
panel where we can find some controls
which will allow us to sharpen our
| | 00:33 |
photograph and also reduce the noise.
You can find the Details panel by simply
| | 00:38 |
clicking on the third icon here, so go
ahead and click on that.
| | 00:42 |
Next, one of the things that you'll
want to do is zoom in on your picture.
| | 00:46 |
And you'll want to zoom in so that you
have a more accurate view of your
| | 00:48 |
photograph, so you can dial in an
appropriate amount of sharpening and also
| | 00:51 |
noise reduction.
One way to zoom in quickly on your image
| | 00:56 |
to 100% to a 1 to 1 view is to double
click the zoom tool.
| | 01:01 |
So here, go ahead and double-click the
zoom tool and it will zoom in on your
| | 01:04 |
image all the way to 100%, as you can see here.
| | 01:08 |
Next, if it's showing you a part of the
image, which isn't really relevant, click
| | 01:11 |
the Hand tool which is located next to the
Zoom tool, and then go ahead and click and
| | 01:14 |
drag.
And this way, we can drag this around, so
| | 01:17 |
that we can view a better area of our photograph.
| | 01:20 |
Now in seeing this area, one of the things
that I notice is that there's a lot of
| | 01:23 |
noise in the background.
And this type of noise is called luminance
| | 01:28 |
noise.
Luminance noise is noise which is the
| | 01:30 |
result of areas which are bright, which
really shouldn't be.
| | 01:34 |
So as I drag this slider to the right,
what you'll discover is that, that will
| | 01:37 |
become much more soft.
Notice how all of the small noise there is
| | 01:42 |
gone, and now, here it is back.
As you drag this up though, you want to be
| | 01:46 |
careful not to go too far because this can
over-soften the image.
| | 01:50 |
So just bring this up until you see that,
unwanted noise disappear.
| | 01:54 |
Now if it's a color photograph, you may
also have some color artifacts, some
| | 01:57 |
strange little colors in the background or
in the shadow areas.
| | 02:02 |
So here you can use this slider.
Again, drag this up to remove those
| | 02:05 |
problems.
Next, what about sharpening?
| | 02:07 |
Well, to keep things simple, let's just
work with our Amount slider.
| | 02:11 |
Drag this to the right in order to
increase the overall sharpening.
| | 02:14 |
Well, after we've dialed in these
settings, I want to zoom back out so I can
| | 02:18 |
see all of my photograph.
To do that, just double-click the Hand
| | 02:23 |
tool.
When you double-click the Hand tool, it
| | 02:25 |
will zoom out so that you can see all of
your photograph.
| | 02:29 |
Now, that we've finished up our workflow
on this image, let's go ahead and keep it
| | 02:33 |
open because in the next movie we'll talk
about how we can finish things off.
| | 02:38 |
And also, how we can apply the settings
which we've used here on this photograph
| | 02:41 |
in another.
| | 02:42 |
| | Collapse this transcript |
| Processing multiple files at once| 00:00 |
In this movie we will wrap-up our look at
this overview workflow in Adobe Camera
| | 00:04 |
Raw.
And here, after you've finished working on
| | 00:07 |
your image in Camera Raw, the next step is
to click on the done button.
| | 00:12 |
When you click on the done button, what it
will do is it will save and apply those
| | 00:15 |
settings to your photograph.
In Adobe Bridge you can see that we have
| | 00:20 |
an updated thumbnail and preview, and in
this case we're done.
| | 00:24 |
Now if ever you want to go back and
customize something further, well all that
| | 00:27 |
you need to do use d to navigate to the
file pull-down menu and then select Open
| | 00:31 |
in Camera Raw.
This will then relaunch Camera Raw and
| | 00:35 |
open up your photograph with all the
settings that you see applied.
| | 00:39 |
If you want to brighten up the image a
little more or increase the contrast and
| | 00:43 |
deepen the blacks, you can do so.
In this way you can see that you can
| | 00:47 |
constantly update or change the way that
you've worked on your image.
| | 00:51 |
After you've finished your work, once
again simply click on the Done button.
| | 00:56 |
And then this will update the preview that
we have here in Adobe Bridge.
| | 01:00 |
Well, let's say that you finished working
on one photograph, and you have another
| | 01:04 |
photograph which requires similar settings.
| | 01:07 |
Because that is typically the case that
we'll capture images in similar scenarios
| | 01:11 |
which could use similar adjustments.
Well we can take advantage of these
| | 01:15 |
adjustments which we've applied and apply
them to another image pretty easily.
| | 01:20 |
Simply click into the photographs that you
want to work on while holding down the
| | 01:23 |
Command key on a Mac or the Control key on Windows.
| | 01:26 |
In this case we now have both of these
images selected.
| | 01:30 |
Next, navigate to the File pull-down menu,
and then select Open in Camera Raw.
| | 01:34 |
Here we'll discover that we now have both
images open in Camera Raw.
| | 01:39 |
In order to apply the settings from one
image to another, what you want to do is
| | 01:42 |
click on the image were you have the
settings which you like.
| | 01:46 |
Then click Select All, which will then
select all your photographs and then press
| | 01:50 |
the Synchronize button.
When you press the Synchronize button, it
| | 01:53 |
will open up the Synchronize settings
asking you what do you want to
| | 01:56 |
synchronize?
In this case, if we click on this
| | 01:59 |
pull-down menu, you can see that you have
different options, which will limit the
| | 02:02 |
type of synchronization, which will be applied.
| | 02:06 |
Here, we'll go back to the Default
Settings option, which will synchronize
| | 02:09 |
everything but these last few options below.
| | 02:12 |
Then, in order to synchronize both files,
simply click OK.
| | 02:16 |
What we'll discover is when we click on
the other thumbnail is that this image has
| | 02:20 |
now been updated with the settings which
were applied to the previous photograph.
| | 02:24 |
And in this case it's created a pretty
good black and white conversion, although
| | 02:27 |
it's a little bit too bright.
So here no big deal.
| | 02:31 |
All that we'll need to do to finish off
this photograph is to drag my Exposure
| | 02:34 |
slider a little bit to the left and there
you have it we're done.
| | 02:38 |
In this way you can start to see how you
can use Camera Raw in order to quickly
| | 02:42 |
process multiple files.
After you've finished working on your
| | 02:46 |
images, click on the Done button in order
to save and apply those settings.
| | 02:51 |
That will bring you back to Bridge and it
will update the preview and the thumbnails
| | 02:54 |
for those photographs.
| | 02:56 |
| | Collapse this transcript |
|
|
3. Getting to Know the Camera Raw InterfaceNavigating the interface and the toolbar| 00:00 |
In order to get good at Camera Raw, it's
helpful to become familiar with the
| | 00:03 |
interface.
So, here let's dig a little bit deeper
| | 00:06 |
into the interface.
You know, there are two different ways
| | 00:09 |
that you'll be able to work with Camera Raw.
| | 00:11 |
You can either work with Camera Raw as a
free standing application as you can see
| | 00:15 |
here.
Or you can access Camera RAW as the filter
| | 00:18 |
in Photoshop.
So let's take a look at both of those
| | 00:21 |
interface options.
Let's start off with this one here.
| | 00:24 |
We'll start off at the top in the upper
left hand side of the interface.
| | 00:28 |
Here we will encounter a number of
different helpful tools.
| | 00:32 |
These tools will allow us to perform
specific tasks.
| | 00:35 |
Next, mixed in the tools we have a button,
which allows us to access our Camera Raw
| | 00:39 |
preferences.
Moving over to the right, we have one
| | 00:42 |
button which allows us to kind of evaluate
our overall progress.
| | 00:46 |
You can click on this check box to turn
your preview on and off, or, you can press
| | 00:50 |
the P key to do the same thing.
Next, in order to work with Camera Raw in
| | 00:55 |
fullscreen mode, just click on that button
or press the F key.
| | 01:00 |
Then you're going to spend the majority of
your time down here with all of these
| | 01:03 |
panels.
In order to access the panels, you just
| | 01:06 |
click on the tabs.
Making our way down to the bottom
| | 01:09 |
right-hand corner of the interface, we
have the Done button.
| | 01:13 |
When you click done, it allows you to exit
Camera Raw, an to apply those settings to
| | 01:17 |
a photograph.
Well let's say that rather than exiting
| | 01:21 |
Camera Raw an applying the settings, you
actually want to exit Camera Raw, an open
| | 01:24 |
up the image in Photoshop.
Well to do that Just click the open
| | 01:28 |
button.
And that way you can open one or more
| | 01:31 |
images straight into Photoshop with the
settings which you've worked on using
| | 01:34 |
Camera Raw.
Now, working around the interface in a
| | 01:38 |
clockwise direction, we come to this
little area here.
| | 01:42 |
This appears like a link and it actually
is and if you click on that link it will
| | 01:46 |
open up what's called the workflow options dialog.
| | 01:50 |
In that dialog you can specify the file
dimensions and also the colorspace.
| | 01:54 |
Well what about the situations where you
may be working on a file and you also want
| | 01:58 |
to create another version of the image.
Let's say if you have a big RAW file and
| | 02:04 |
you also want a smaller JPEG.
Well, you can click on the save image
| | 02:08 |
button in order to open up a dialogue
which allows you to save out files in many
| | 02:11 |
different formats and with different settings.
| | 02:15 |
Last but not least we have a few controls
here which allow us to change the way that
| | 02:18 |
we view our image so that we can zoom in
or zoom out.
| | 02:22 |
Alright.
Well, so far we've looked at the interface
| | 02:24 |
in regards to working with Camera Raw kind
of as a free standing application.
| | 02:29 |
Yeah, how does this differ to working with
camera raw as a filter in photoshop.
| | 02:34 |
One of the things that you'll discover is
that some of these menu items at the
| | 02:38 |
bottom of the interface will be missing or gone.
| | 02:41 |
So here lets go ahead and take a look at that.
| | 02:44 |
This is the camera raw as the interface
appears when we work with it as a filter
| | 02:47 |
and here we'll discover we have many of
the same controls and settings and panels.
| | 02:53 |
Yet the options that are missing are these
options down here, and as you start to
| | 02:56 |
work with Camera Raw, you'll discover that
that makes sense.
| | 03:00 |
Because when you're working with Camera
Raw as a filter, well the workflow is just
| | 03:04 |
a bit different.
Alright, well now that we're becoming more
| | 03:08 |
familiar with the interface, let's dig
even a bit deeper, and in particular let's
| | 03:11 |
take a look at how we can start to work
with the panels inside of Camera Raw, and
| | 03:15 |
let's do that in the next movie.
| | 03:19 |
| | Collapse this transcript |
| Advanced panel navigation| 00:00 |
In order to further improve our expertise
of working with Camera Raw, next let's
| | 00:04 |
take a look at how we can navigate to the
different panels.
| | 00:08 |
As I've mentioned previously, we'll spend
the majority of our time in the right hand
| | 00:11 |
side of Camera Raw.
And here, we'll discover a whole
| | 00:15 |
assortment of controls which are grouped
into different panels.
| | 00:19 |
Now, we can access these controls by
simply clicking on the Tab icon.
| | 00:22 |
When we do that, we'll see the controls appear.
| | 00:24 |
You can also position your cursor over one
of those tabs, and the name of that panel
| | 00:28 |
up here, here in this case is Split
Toning, to access those controls again,
| | 00:32 |
just click.
In this way we can click through these
| | 00:36 |
tabs and we can quickly access the various controls.
| | 00:38 |
And this way, we can click through these
times and add the various controls, and so
| | 00:41 |
if you are new to Camera Raw, what I
recommend is that you simply click through
| | 00:43 |
all of these tabs three or four times.
So that you can start to become familiar
| | 00:47 |
with many of the controls that you'll find there.
| | 00:50 |
And then as you get better with Camera
Raw, you might consider using a keyboard
| | 00:54 |
shortcut in order to quickly navigate to
specific settings or controls.
| | 01:00 |
If you're on a Mac, you can press
Cmd+Option, and then numbers 1 through 9.
| | 01:04 |
On Windows, that's Ctrl+Alt.
Let me show you what I mean.
| | 01:07 |
Here I'll press Cmd+Option or Ctrl+Alt and
then the number 2.
| | 01:11 |
That takes me to the tone curve.
Press and hold Cmd+Option or Ctrl+Alt and
| | 01:15 |
then the number 3, and you can see here
how I can simply press that keyboard
| | 01:18 |
shortcut combination.
In order to navigate between these
| | 01:22 |
different panels.
And you know what's great about this
| | 01:25 |
shortcut is that you don't really need to
memorize which number goes with what.
| | 01:29 |
Rather, you just need to memorize the
first two keys.
| | 01:32 |
So on a Mac you memorize Cmd + Option, on
Windows Ctrl + Alt.
| | 01:36 |
Then you press and hold those two keys,
and then you just start tapping the
| | 01:39 |
numbers until you eventually learn which
number is associated with which panel.
| | 01:44 |
And in this way, what I've discovered is
that it can really speed up your workflow.
| | 01:48 |
Now, as you're working in Camera Raw, if
you find that that shortcut is
| | 01:51 |
overwhelming or distracting, by all means,
don't use it.
| | 01:54 |
Yet, simply write it down because one day
it might be one of those shortcuts which
| | 01:58 |
you'll integrate into your workflow.
| | 02:01 |
| | Collapse this transcript |
| Using the histogram clipping indicators| 00:00 |
Next I want to take a look at another area
of the interface which we haven't yet
| | 00:04 |
explored.
And this is the area which is located
| | 00:07 |
above all of the tabs.
Here you can see we have a graph and some
| | 00:11 |
information below.
Let's talk about what we have here.
| | 00:15 |
Underneath we have some metadata.
This is showing us how this image was
| | 00:19 |
captured, with what lens, what ISO
setting, etc.
| | 00:22 |
Then we have some R, G, B values.
As we position our cursor over the image,
| | 00:26 |
you can see those values change.
Now, sometimes we can analyze our image
| | 00:30 |
based on the numbers that we're seeing here.
| | 00:33 |
Above, we have something which is called
the histogram.
| | 00:36 |
This is a graph which is a visualization
of the colors and the tones that we have
| | 00:40 |
in our photograph.
As you make adjustments to your
| | 00:43 |
photograph, you'll notice that the
histogram will change.
| | 00:47 |
Here, you'll notice that the image is
pretty dark, and in this way, a lot of the
| | 00:50 |
histogram detail here is over here in
these darker tones.
| | 00:54 |
This runs from darker over here, to brighter.
| | 00:57 |
Well, if I increase the exposure, watch
the histogram.
| | 01:00 |
Here you can see we're shifting that all
the way to the right.
| | 01:04 |
Now in this case, you can see that we
shifted a lot of the data or information
| | 01:07 |
over to the right and some of it just went
completely off the map.
| | 01:12 |
Now what happened to that information, or
what can we do about situations like that?
| | 01:17 |
Well one of the things that you can do is
you can turn on something which is called,
| | 01:20 |
a clipping indicator.
Notice that there are two triangle icons
| | 01:23 |
located at the top of the histogram.
when you click on the icon on the right
| | 01:28 |
that will show you your clipping indicator
for your brighter tones.
| | 01:32 |
Here as I decrease my exposure, we can see
that there will be less clipping.
| | 01:36 |
In this way, we can use this as a helpful
clue to help us to determine how far to
| | 01:40 |
push an image in regards to brightening or
darkening it.
| | 01:44 |
Well, what about the other side?
Well, let's click to turn on this
| | 01:47 |
indicator.
This will show us where we have clipping
| | 01:50 |
or loss of detail in our shadows.
Well, currently, there aren't any areas
| | 01:54 |
where we have problems like that, so what
I'll do is create the problem.
| | 01:59 |
Here with the blacks slider, I’ll click
and drag to the left.
| | 02:02 |
In doing that, what we’ll start to see is
we now have areas which are shown in this
| | 02:05 |
blue color.
This is showing me that I have some
| | 02:08 |
problems with that area as well.
When I click this icon on and off, you can
| | 02:13 |
see that the warning indicators will
disappear or appear.
| | 02:16 |
And in this way, we can start to use it to
help us determine, well, how far should I
| | 02:20 |
push the slider?
In other words, let’s say that we want
| | 02:24 |
really deep, rich blacks.
Well I can't go quite that far, but
| | 02:27 |
perhaps I could go right here.
Again, this is showing me that there
| | 02:31 |
aren't very many problems in my photograph.
| | 02:34 |
Again, with the exposure, perhaps I
want to brighten it, but I can't go that
| | 02:36 |
far.
Here I'll bring this down to something a
| | 02:39 |
bit more reasonable.
And so in this way you can see that the
| | 02:42 |
information which we find here above our
tabs is both descriptive and also
| | 02:45 |
functional.
It describes what we have in our image and
| | 02:49 |
it also can help us make some educated
decisions about how we process our
| | 02:53 |
photographs.
| | 02:55 |
| | Collapse this transcript |
| Previewing before and after different adjustments| 00:00 |
As you get better with working with camera
raw you'll discover that you'll start to
| | 00:03 |
work with different panels and different controls.
| | 00:07 |
And as you progress through working on
your photograph you'll find it'll be
| | 00:10 |
helpful to look at the before and after
view in order to evaluate your progress.
| | 00:15 |
And so here in this movie, I want to share
a tip with you, which will help you as you
| | 00:18 |
look at the before and after view of your
images, and as you start to work with
| | 00:21 |
multiple panels.
First a little bit of review.
| | 00:25 |
Here in the basic panel, I want to change
the way that the image appears, so I'll
| | 00:28 |
simply click and drag on some sliders.
I'll drag on the Temperature slider in
| | 00:32 |
order to create a little bit of a cooler
look in this photograph.
| | 00:35 |
Then I'll increase my Contrast as well,
perhaps deepen the Blacks too.
| | 00:39 |
And here I'm just making changes so that
I'm changing the overall visual look of
| | 00:42 |
the image.
Now if you make changes in a panel, you
| | 00:46 |
can view the before and after by pressing
the p key, or by clicking on the Preview
| | 00:50 |
check box.
We've already seen this before.
| | 00:53 |
We'll simply click on that, there's
before; click again, and there's after.
| | 00:58 |
Yet, what happens when we navigate to
another panel and apply some different
| | 01:01 |
adjustments?
Let's take a look.
| | 01:04 |
Here I want to add a white border or edge
around my photograph.
| | 01:08 |
In order to do that, we can navigate to
the effects panel.
| | 01:11 |
Click on the effects icon which you see
here in Camera Raw and that will open up a
| | 01:16 |
few new controls.
Now we'll talk more about these controls
| | 01:20 |
later, so here I'll simply make some adjustments.
| | 01:23 |
In order to add the effect that I'm
interested in trying to add to this
| | 01:26 |
photograph.
In this case, I now have a white border
| | 01:28 |
around the image, and I'm using these
adjustments just because the visual
| | 01:32 |
difference is really stark.
So now, if we press the p key, or click on
| | 01:36 |
the check box, we can see the before and after.
| | 01:39 |
Here's without the border, now here's with
the border.
| | 01:42 |
Yet let's say that we've decided that we
want to view our overall before and after.
| | 01:46 |
In other words, we want to see the before
and after of all of the work that we've
| | 01:49 |
done in all of these different panels.
How can we see a combined before and
| | 01:54 |
after?
Well, the only way to do that is to
| | 01:57 |
navigate to one of the last two tabs.
We'll click on the last tab, which is
| | 02:02 |
called Snapshots.
When you're in these last two tabs, what
| | 02:05 |
you can do is press P or click on the
check box.
| | 02:08 |
That will then show you your overall
before and now after.
| | 02:12 |
So in other words, if you want to see the
before and after of the controls or
| | 02:15 |
modifications that you've made in one
panel, navigate to it, and click on the
| | 02:19 |
preview check box.
Or if you want to catch a glimpse of the
| | 02:23 |
overall progress of your image, navigate
to one of the last two tabs here, and then
| | 02:27 |
in doing that, when you click on the
Preview check box it will show you the
| | 02:30 |
overall before and then now, the after.
| | 02:35 |
| | Collapse this transcript |
| Working with multiple files| 00:00 |
The Camera Raw interface will always
appear the same, except when you open up
| | 00:04 |
two or more images in Camera Raw.
So let's take a look at how we can start
| | 00:08 |
to work with the interface when we're
working on multiple files.
| | 00:12 |
In order to select multiple files in
Bridge, click on one, hold down the Cmd
| | 00:15 |
key on a Mac, Ctrl key on Windows, and
then click on another.
| | 00:19 |
Here we can select two or more files.
Next, navigate to the file pull down menu
| | 00:25 |
and choose open in camera raw.
That will launch camera raw, and open up
| | 00:29 |
both of these photos.
In this case, you can see that there's a
| | 00:32 |
film strip which appears on the left hand side.
| | 00:35 |
And we can navigate between our
photographs a couple of different ways.
| | 00:39 |
Here we can simply click on the photos, or
you could use your arrow keys.
| | 00:42 |
The right arrow key to move forward.
The left arrow key to move backwards.
| | 00:47 |
You'll also notice that there's a new
navigational icon in the lower right hand
| | 00:50 |
corner.
We can click on these icons in order to
| | 00:53 |
scroll through the photographs as well.
Next, let's say that the thumbnails are a
| | 00:58 |
bit too small.
Well you can increase the size of the
| | 01:01 |
filmstrip by hovering over the dividing line.
| | 01:04 |
Notice that the cursor changes there.
When you see that, you can click and drag
| | 01:07 |
so that you can open up more space for the
filmstrip, so that you have a larger
| | 01:10 |
thumbnail Now what about getting rid of
the film strip altogether?
| | 01:15 |
Well you can do that either by clicking
and dragging or by double clicking.
| | 01:19 |
If you double click on the dividing line
it will close the film strip kind of like
| | 01:23 |
closing a drawer.
So go ahead and double-click on the
| | 01:26 |
dividing line.
You can see that that will then collapse
| | 01:29 |
or close the film strip.
To re-open it, well you can either
| | 01:33 |
double-click or just click and drag.
In this way, you can easily access these
| | 01:37 |
files which are situated here in the film strip.
| | 01:40 |
Now last but not least, you can see how
you work with multiple files.
| | 01:45 |
Here what you can do is select all.
Now if you have multiple files selected,
| | 01:49 |
what you can do is make an adjustment.
As you make an adjustment, you'll notice
| | 01:54 |
that this will then modify twelve photographs.
| | 01:57 |
Here I'll make some adjustments so we can
see the image appears much differently.
| | 02:01 |
Click on the preview check box.
Here's before and here's after.
| | 02:05 |
Then if we make our way to the other
photograph which was selected, you can see
| | 02:08 |
that this image has been edited with the
same exact settings.
| | 02:12 |
Again, we’ll click on the preview checkbox.
| | 02:14 |
There’s the before and after.
So as you can see in this first example,
| | 02:18 |
if you choose select all and then make a change.
| | 02:21 |
It will apply the adjustments to all the photographs.
| | 02:24 |
On the other hand, if you select one image
and then make an adjustment to that one
| | 02:27 |
image, well that adjustment will only be
applied there.
| | 02:31 |
In this way, we're starting to discover
that we can work with multiple files in
| | 02:35 |
Camera Raw.
In a few different ways, we'll be digging
| | 02:38 |
more in to how we can do this later, yet
here I simply wanted to start to highlight
| | 02:42 |
how you can work with the interface and
also provide you with a bit of insight in
| | 02:45 |
regards to how we'll start to work with
multiple files down the road.
| | 02:51 |
| | Collapse this transcript |
|
|
4. Opening and SavingOpening raw files in Bridge| 00:00 |
In this movie, I want to show you a couple
of techniques that you can use in order to
| | 00:03 |
open up your raw files in Adobe Camera Raw.
| | 00:07 |
We'll be starting off with this picture here.
| | 00:09 |
It's a photograph of my oldest daughter,
Annika, and I just love those big, blue
| | 00:12 |
eyes.
And this is a RAW file straight out of the
| | 00:15 |
camera.
So how can we open this image up in Camera
| | 00:18 |
Raw?
Well, we have a couple of different
| | 00:20 |
methods that we can use.
First off, you can select a raw file in
| | 00:24 |
Bridge and then double click it.
When you double click a raw file, by
| | 00:28 |
default it will open up Camera Raw hosted
by Photoshop, as you can see here.
| | 00:34 |
Now the downside of this is that if I work
on the image and decide, you know what, I
| | 00:37 |
actually don't want to use this photograph.
| | 00:40 |
Well, here I'll click Cancel and I'm stuck
in Photoshop.
| | 00:43 |
So now I have to go to my file pull-down
menu, and then select Browse in Bridge in
| | 00:46 |
order to find another file.
On the other hand, what you can do is you
| | 00:51 |
can change your preference so that when
you double click the file, it will open it
| | 00:55 |
up inside of Camera Raw inside of Bridge,
and this is what I recommend you do.
| | 01:01 |
Here, navigate to the Adobe Bridge
pull-down menu, and then select
| | 01:04 |
preferences.
Here, under the general tab, turn on this
| | 01:07 |
behavior item which is to double-click,
which allows you to then open the Camera
| | 01:11 |
Raw file in Bridge.
With this setting turned on, let me show
| | 01:15 |
you how this will work.
Here, we'll click Okay, and then double
| | 01:19 |
click the file.
Now, when we double click the file, it
| | 01:22 |
will launch Camera Raw inside of Bridge.
You can see Bridge there in the
| | 01:26 |
background.
Now, at this point, if I decide, you know
| | 01:28 |
what, this isn't the image that I want to
work on.
| | 01:31 |
Here I'll hit Cancel, and then I'm just
back to bridge.
| | 01:34 |
This makes the workflow a bit more seamless.
| | 01:36 |
Now there are other ways to open up your
files in Camera Raw as well.
| | 01:40 |
If you navigate to the file pulldown menu,
you'll see that you have two options.
| | 01:44 |
You can either choose file open or file
open in camera raw.
| | 01:48 |
Here I have a slide in order to illustrate
the difference between these two options.
| | 01:53 |
I'll go ahead and click on the slide, and
then press the Spacebar key in order to
| | 01:55 |
take this to full screen.
If you press Command on a Mac, Control on
| | 01:59 |
Windows plus O, it will open up a Raw file
hosted by PhotoShop if you press Command
| | 02:03 |
or Control R.
Well that will then open up the file
| | 02:08 |
hosted by Bridge.
And this is the little trick that I use in
| | 02:11 |
order to memorize how you can open up
files hosted by either application,
| | 02:15 |
PhotoShop or Bridge.
And the reason why this might be helpful
| | 02:19 |
is there might be times when you're
working in Photoshop and you have a 300
| | 02:22 |
megabyte file and you hit Save, and that
sort of hangs up Photoshop.
| | 02:27 |
Or you might want to leave Photoshop and
work in Camera Raw in Bridge and just
| | 02:31 |
being able to know how you can work in
either application.
| | 02:35 |
Sometimes it can help out.
So that's one of those shortcuts I
| | 02:38 |
recommend you write down.
I'll press the Spacebar key to go back to
| | 02:41 |
Bridge, and I'll reselect the photograph
that I want to open.
| | 02:45 |
So again, to illustrate those shortcuts,
I'll press Cmd on a Mac or Ctrl+O on
| | 02:49 |
Windows.
That opens up the file and Camera Raw in
| | 02:52 |
Photoshop or we’ll navigate back to Bridge here.
| | 02:56 |
If I press the other shortcut key, which
was Cmd+R in a MAC or Ctrl+R in Windows,
| | 03:00 |
you can see it opens up Camera Raw inside
of Adobe Bridge.
| | 03:05 |
Well, last but not least, there is one
more technique that I want to highlight
| | 03:08 |
here.
That is a technique which allows you to
| | 03:10 |
open up a contextual menu inside of
Bridge, and one of the menu items allows
| | 03:14 |
you to open the file.
Select an image, and then control click or
| | 03:19 |
right click over the image.
Here you can see this contextual menu with
| | 03:23 |
a number of different options.
One of the options is Open in Camera.
| | 03:27 |
Go ahead and select that.
That will then launch Camera here inside a
| | 03:30 |
bridge so that you can work on your photograph.
| | 03:33 |
All right.
Well, here I've shown you a number of
| | 03:35 |
different techniques that you can use in
order to open and access your files.
| | 03:39 |
One of the things you will want to keep in
mind with all these techniques is that
| | 03:43 |
there isn't one way which is the best way.
Rather you want to learn one or two of
| | 03:48 |
those methods that you feel work best for
you and then just use those.
| | 03:52 |
| | Collapse this transcript |
| Opening JPEGs and TIFFs in Bridge| 00:00 |
Now that we know a little bit about how we
can open up raw files in Adobe Camera Raw,
| | 00:04 |
let's build upon that knowledge and take a
look at a few other file formats.
| | 00:09 |
In particular let's look at how we can
open up jpeg and tiff files in Camera Raw.
| | 00:14 |
Let's start off with this jpg file, here.
One of the 1st things that I want to
| | 00:18 |
highlight is that if we double click a JPG
or a TIFF file, by default it will open up
| | 00:22 |
that image in Photoshop.
Let me show you what I mean.
| | 00:26 |
Here, I'll double click the file.
That will then open the image up in
| | 00:29 |
Photoshop.
Well that actually isn't what I wanted to
| | 00:32 |
have happen, so I'll close this and then
navigate back to bridge.
| | 00:36 |
Select file, and then choose browse in Bridge.
| | 00:39 |
Now back in bridge, what I want to do is
open this file up in Camera Raw.
| | 00:43 |
How can we do that?
Well, there are a few different techniques
| | 00:45 |
that we can use.
You can navigate to the file pull-down
| | 00:48 |
menu and then select Open in Camera Raw or
use the shortcut that we learned in the
| | 00:51 |
previous movie.
Remember that one?
| | 00:54 |
It’s Cmd+R on a MAC or Ctrl+R on Windows.
Either way, click on this menu item in
| | 00:59 |
order to launch Camera Raw and to start to
work on the photograph.
| | 01:03 |
Now if you have a JPEG or a TIFF file, you
can work on it in the same way that you
| | 01:07 |
can work on a RAW file.
And here, all that I want to do is
| | 01:11 |
increase the contrast or maybe modify the exposure.
| | 01:14 |
Next I'll click done.
In doing that, you'll notice that the
| | 01:18 |
image appears a bit differently.
Also, you'll notice there's a new icon
| | 01:22 |
here in the content panel.
This icon is showing me that this file,
| | 01:26 |
well it's been adjusted in Camera Raw.
So now, if I double click this file,
| | 01:31 |
rather than opening up this file straight
to Photoshop, it will first go to Camera
| | 01:34 |
Raw.
Let me show you what I mean.
| | 01:38 |
So here, I'll double click on the file.
Notice that it first went to Camera Raw
| | 01:41 |
here, and then if next I want it to go to Photoshop.
| | 01:45 |
I would need to click Open Image.
So why is that?
| | 01:48 |
Well, if we go back to Bridge, we can
think about the overall work flow.
| | 01:52 |
The way that the default setting is set up
is that once you've worked on Camera Raw,
| | 01:56 |
it assumes that most likely you'll want to
go back there.
| | 02:00 |
Let's take a look at the preference.
If you navigate to the Bridge pull down
| | 02:03 |
menu, and then choose Camera Raw
preferences, down at the bottom of the
| | 02:07 |
interface you have some options for JPEG
and TIFF handling.
| | 02:11 |
For JPEGs, the default setting is to
automatically open JPEGs with settings.
| | 02:17 |
In other words, once it's been worked on
in Camera Raw well then it will always go
| | 02:20 |
back to Camera Raw.
Now you can change this.
| | 02:23 |
You could choose to disable JPEG support.
Or you could also choose this option to
| | 02:27 |
always open all JPEGs in Camera Raw.
Which again isn't the best idea.
| | 02:32 |
Typically, it's best to open those files
which you've already worked on Camera Raw
| | 02:36 |
in this way.
So I recommend that you leave the default
| | 02:39 |
setting on as is for both of these files,
and here's why: Let's go ahead and click
| | 02:43 |
OK.
We'll leave the default settings as is.
| | 02:46 |
And let's go back to this photograph of my
cute little daughter here.
| | 02:49 |
Well, this one's been processed inside of
Camera Raw.
| | 02:53 |
If I double click it to reopen it, I can
see that, you know what, I added the
| | 02:56 |
contrast.
I don't want to do that, so here I can
| | 02:59 |
then decrease it.
In other words, it reminds me that I
| | 03:02 |
worked on this file in another location,
and that I can make any needed
| | 03:05 |
adjustments.
Let's go ahead and click Done, in order to
| | 03:09 |
apply these settings and go back to Bridge.
| | 03:12 |
What about TIFF files?
Well, TIFF files work exactly the same way
| | 03:15 |
as JPEGs.
We can use our shortcuts or we can
| | 03:18 |
navigate through to the File pull down
menu and choose Open in Camera Raw.
| | 03:22 |
You know, there's another method we can
use to open up TIFF, JPEG, or RAW files.
| | 03:27 |
And that is to right-click or Ctrl+click
and then we can select Open in Camera Raw.
| | 03:31 |
So again we have a few options.
Here I'm going to use the shortcut to try
| | 03:34 |
to encourage you to learn this one,
because it's one of those shortcuts that I
| | 03:37 |
think will really change your overall
workflow so that you can work more
| | 03:40 |
quickly.
On a Mac press Cmd + r.
| | 03:44 |
On Windows press Ctrl + r.
Here you can see that's opened up the file
| | 03:48 |
in Camera Raw hosted by Bridge and then I
could apply my settings.
| | 03:53 |
| | Collapse this transcript |
| Using Camera Raw as a filter in Photoshop| 00:00 |
In this movie, I want to talk about a few
topics and techniques which revolve around
| | 00:04 |
using Camera Raw as a filter in Photoshop.
We'll be working with two different
| | 00:09 |
images, and we'll start off with this one, here.
| | 00:11 |
You'll notice that this is a Photoshop document.
| | 00:13 |
And it you click on a PhotoShop document
in Bridge, and navigate to the File
| | 00:16 |
pull-down menu, here you will discover
that Open in Camera Raw is grayed out.
| | 00:21 |
That's because we can't launch Camera Raw
and work on our PhotoShop documents unless
| | 00:25 |
We first open those in Photoshop.
Let me show you what I mean.
| | 00:29 |
Here, simply select a Photoshop document
in Bridge and then double-click.
| | 00:33 |
That will launch the file in Photoshop.
Next, I'll zoom in a little bit by
| | 00:37 |
pressing Cmd+Plus on the Mac or Ctrl+Plus
on Windows.
| | 00:41 |
You'll notice in this document that we
have a single layer.
| | 00:44 |
If you have a Photoshop document with
multiple layers, all that you need to do
| | 00:47 |
is to click into the layer that want to
work on.
| | 00:50 |
In this case, obviously, we only have one
layer, so click into the background.
| | 00:54 |
Next, navigate to the filter pull-down
menu and then here you can select Camera
| | 00:58 |
Raw Filter.
When you click on this menu item, what it
| | 01:01 |
will do is it will launch Camera Raw as a filter.
| | 01:05 |
And in this way we still have access to
all of these wonderful Camera Raw
| | 01:08 |
controls.
So here with this image, let's say that we
| | 01:11 |
want to increase the contrast, we can do
so by using the Contrast slider.
| | 01:15 |
Or, if we want to brighten it up, we can
use the Exposure slider.
| | 01:18 |
In other words, we can take full advantage
of all that we can do in Camera Raw right
| | 01:22 |
here inside of Photoshop.
Well, when we're ready to exit and apply
| | 01:26 |
these settings, you simply click okay.
Now, the only downside about this
| | 01:30 |
particular technique, is that when we
click Okay and exit and apply those
| | 01:33 |
settings, those adjustments have just been
applied to the image and they are now
| | 01:37 |
permanent.
Yet you can also work with Camera Raw in a
| | 01:42 |
way that’s called nondestructive.
You can use it so that you have the full
| | 01:46 |
flexibility of always undoing or changing
your adjustments.
| | 01:50 |
And in order to show you how that works,
let’s open up a new file.
| | 01:54 |
Navigate to the file pull-down menu and
then select Browse in Bridge.
| | 01:58 |
This will take us back to Bridge and here
we’ll open up another file, in this case a
| | 02:01 |
TIF file.
So let’s double-click that in order to
| | 02:04 |
open it up here in Photoshop.
Next I'll zoom in a little bit.
| | 02:08 |
An keep in mind that this works with any
image or any layer that you're working on
| | 02:11 |
here in Photoshop.
What you can do with a layer, is you can
| | 02:14 |
convert it to what's called a smart
object, so that you can have more
| | 02:17 |
flexibility.
Let's do that.
| | 02:20 |
Navigate to the filter pull down menu
after selecting the layer that you want to
| | 02:23 |
work on.
And choose this option here.
| | 02:26 |
When you click on this menu item it will
launch a dialogue which say's, hey enable
| | 02:30 |
re-editable smart filters.
In other words in order to have
| | 02:34 |
flexibility forever This layer will be
converted into a smart object.
| | 02:38 |
Well, that's exactly what we want to have
happen, so we go ahead and click Okay.
| | 02:42 |
When you do that, you'll notice that the
layer icon changes a little bit.
| | 02:45 |
There's a little icon in the lower corner
telling us that this is now a smart object
| | 02:49 |
layer.
Well, after having converted the layer to
| | 02:53 |
a smart object, next navigate to the
filter pull-down menu.
| | 02:57 |
Here, launch camera as a filter By
clicking on this menu item, Camera Raw
| | 03:01 |
Filter.
We'll go ahead and click on that.
| | 03:04 |
That will launch our image here in Camera Raw.
| | 03:06 |
Now this is a picture of my daughter Sophie.
| | 03:09 |
What I want to do with this picture is
increase the contrast.
| | 03:12 |
So I'll go ahead and.
Crank the contrast up.
| | 03:14 |
I also want to make the reds in the
strawberries even redder.
| | 03:18 |
To do that, you can navigate to the fourth tab.
| | 03:21 |
It's called HSL Grayscale, we'll talk more
about this later.
| | 03:24 |
Yet here I simply want to highlight that
we can navigate to different panels and
| | 03:27 |
make various adjustments.
If you work with the Saturation tab you
| | 03:31 |
can click and drag to the left to
desaturate the reds.
| | 03:35 |
Or you can click and drag to the right to
saturate those.
| | 03:38 |
In this case I'm going to bring that color
way up.
| | 03:40 |
All the way to plus 83.
I like the way that that looks, so now
| | 03:44 |
I'll press OK in order to exit and apply
those settings.
| | 03:48 |
So now here back in Photoshop, you'll
notice that we have the layer, then also a
| | 03:52 |
mask, and the filter listed below.
If you click on the eye icon, you can see
| | 03:56 |
there's the before.
Look again.
| | 03:59 |
There's the after.
After having viewed the before and after I
| | 04:02 |
realize that I actually want a little bit
more contrast and a little bit less red.
| | 04:07 |
Well, no big deal.
To re-open camera RAW and to re-edit the
| | 04:10 |
image, just double-click on the Filter name.
| | 04:13 |
Here we double click on the filter Camera
Raw, and then I can go and increase my
| | 04:17 |
contrast further.
Or I can navigate to another panel like
| | 04:20 |
the HSL Grayscale panel, and here I can
modify this slider so I can bring those
| | 04:24 |
reds down just a bit.
In this way you can see that it remembers
| | 04:28 |
all of your settings and here you can
constantly update or change those.
| | 04:33 |
And by converting a layer to a smart
object, it can give you more flexibility
| | 04:36 |
when you're working with Camera Raw as a
filter inside of PhotoShop.
| | 04:41 |
Next, in order to exit and apply the
settings, once again, simply click Okay.
| | 04:45 |
That will apply those settings to this
image, and as we've seen before, we have a
| | 04:48 |
lot of flexibility here so that we can
always just disable these settings by
| | 04:52 |
clicking on the eye icon.
Or click on the i icon again in order to
| | 04:57 |
turn those back on.
Or if we want to edit the image further,
| | 05:00 |
you can always just double click on the
filter name, here, listed below the smart
| | 05:04 |
object layer.
| | 05:06 |
| | Collapse this transcript |
| How to open and skip Camera Raw| 00:00 |
Now that you know quite a bit about how to
open up your files in Camera Raw, next I
| | 00:03 |
want to take a look at a workflow
technique which will really help you out,
| | 00:06 |
and I'll illustrate this with this RAW
file here.
| | 00:10 |
If we double-click on this RAW file, it
will open it up in Adobe Camera Raw.
| | 00:15 |
And let's say that we open up a photograph
and process it, and work on all these
| | 00:18 |
different controls.
Well after having finished our work, we
| | 00:22 |
click Done in order to exit and apply
those settings.
| | 00:25 |
Then we go to lunch and come back, and we
come back and we realize that we really
| | 00:29 |
want to open this image up in Photoshop.
Now we know that we don't need to go back
| | 00:34 |
to Camera Raw.
We've already done all that work.
| | 00:36 |
Rather, what we're interested in doing, is
sending this image, with those Camera Raw
| | 00:40 |
settings applied, straight to Photoshop.
In order to do that just hold down the
| | 00:45 |
shift key and then double click on the file.
| | 00:48 |
When you shift double click the image it
will then send the file straight to photo
| | 00:52 |
shop with those camera settings applied.
And I also want to highlight that this
| | 00:57 |
works with TIFF and JPEG files which are
then processed in Camera Raw as well.
| | 01:02 |
Again, all that you need to do in order to
skip that Camera Raw dialog is to hold
| | 01:05 |
down the Shift key and double click.
| | 01:08 |
| | Collapse this transcript |
| Opening files in Photoshop from Camera Raw| 00:00 |
The most common Camera Raw workflows
involve two or three steps.
| | 00:04 |
Step one begins here in Adobe Bridge.
This is where we select the photograph
| | 00:09 |
that we want to work on.
And here we can select a native RAW file,
| | 00:12 |
a DNG, a TIFF, or a JPEG.
Then, step 2, we open up that image or
| | 00:17 |
those images in Camera Raw, then we apply
some settings.
| | 00:21 |
And then if we want to, we can send that
image with those settings applied over to
| | 00:25 |
Photoshop.
Let's take a look at how this workflow
| | 00:28 |
works, and we'll be working with this
image here.
| | 00:31 |
Here, I've selected this file in Bridge,
that's step 1.
| | 00:34 |
Step 2, we navigate to the file pull-down
menu, and then we choose Open in Camera
| | 00:37 |
Raw.
When you click on that menu item, it will
| | 00:40 |
launch the Camera Raw dialog.
Now here you can see that this image
| | 00:44 |
already has some settings applied, yet we
can further modify these.
| | 00:48 |
So I'll go ahead and make a few minor adjustments.
| | 00:50 |
And I'm doing this just to illustrate that
we can work here in Camera Raw.
| | 00:53 |
Now after you've finished your workflow in
Camera Raw, you can open this image up in
| | 00:57 |
Photoshop with these settings applied.
In order to do that, simply click on the
| | 01:02 |
open image button.
When you click on open image, what it will
| | 01:06 |
do is it will send this image off to
Photoshop with all of those settings
| | 01:09 |
applied.
Here I'll zoom in on the photograph so
| | 01:12 |
that we can see the picture.
Now in this case we can't go back to
| | 01:16 |
Camera Raw and modify those sliders further.
| | 01:19 |
In other words it's kind of like all of
those settings are baked into the file.
| | 01:23 |
We can't undo that.
Now we could of course further work on
| | 01:26 |
this image using Camera Raw, if we are to
access Camera Raw as a filter.
| | 01:30 |
Yet if we were to do that we would
discover that all of our sliders would be
| | 01:34 |
at their default settings.
Let me show you what I mean.
| | 01:38 |
Here I'll navigate to Filter > Camera Raw Filter.
| | 01:42 |
In opening up Camera Raw as a filter you
notice that all of these settings are at
| | 01:45 |
their default setting of zero.
They're all zero now.
| | 01:49 |
In other words, by accessing Camera Raw
here, it's assuming that the file is
| | 01:53 |
exactly where you want it, and then you're
taking it to another step.
| | 01:58 |
So I don't need to use Camera Raw any
further here.
| | 02:00 |
In this case I just wanted to illustrate
how that would work if we were to access
| | 02:03 |
Camera Raw at this stage of the work flow.
In most work flows, you work in Camera Raw
| | 02:08 |
before you get to Photoshop, and you do
what you need to do.
| | 02:12 |
Then, once you're in Photoshop you decide
to do something different.
| | 02:16 |
So, here just to illustrate, I'll create
an adjustment layer.
| | 02:19 |
I'll click on the adjustment layer icon
for curves.
| | 02:22 |
If you aren't familiar with curves, don't worry.
| | 02:24 |
All I'm doing here is simply illustrating
how you might do something in Photoshop.
| | 02:28 |
In this case, I'll click and drag this
curved line up a little bit here, to
| | 02:31 |
brighten my highlights, then I'll
click-and-drag down to create an S-curve.
| | 02:35 |
This will increase the overall contrast
and color saturation.
| | 02:38 |
If you click on the Eye icon, you can see
there's the before, now here's the after.
| | 02:43 |
Well, after you've finished your workflow
in Photoshop, doing whatever you want to
| | 02:47 |
do, the next step is to save the file.
And we can't save this file as a raw file
| | 02:52 |
format, you can't do that in Photoshop.
Rather, we need to save this out as a PSD,
| | 02:56 |
a TIF, a JPG, or whatever.
To do that, navigate to the File > Save.
| | 03:03 |
Here when we select Save, it will open up
the dialog, which allows us to save this
| | 03:08 |
as a certain file name in a specific location.
| | 03:12 |
In this case we'll save this to the same
exact folder over here, and for the file
| | 03:15 |
type I'll leave this on Photoshop.
We could of course do a different file
| | 03:19 |
type like jpeg or something else but In
this case I'll keep both of those layers.
| | 03:24 |
To illustrate what you done here, I'm
going to navigate to the file pull down
| | 03:30 |
menu and choose file and Bridge.
If we go back to Bridge by clicking on
| | 03:37 |
that menu item, what we'll discover is
that we have the raw file, and then we
| | 03:41 |
also have a PSD document.
We've now created another version of this
| | 03:46 |
image.
The raw file we started off selecting in
| | 03:49 |
Bridge, then we open it up in Camera Raw
and applied some settings.
| | 03:53 |
Then when we sent that image off to
Photoshop with those settings applied, we
| | 03:56 |
then made further adjustments using Photoshop.
| | 04:00 |
After having completed our work in
Photoshop, we needed to save our work
| | 04:03 |
obviously, and that's what we did here
with this file.
| | 04:06 |
This psd document that we saved from Photoshop.
| | 04:10 |
I'm hoping that you're starting to see how
this workflow can be put together, where
| | 04:14 |
you start in Bridge, go to Camera Raw, and
then finish your image off using
| | 04:17 |
Photoshop.
| | 04:19 |
| | Collapse this transcript |
| Saving from Camera Raw| 00:00 |
Next, I want to talk about how we can save
images from right inside of Adobe Camera
| | 00:03 |
Raw.
We'll be working with this image here.
| | 00:06 |
Let's go ahead and open it up in Camera Raw.
| | 00:09 |
To do that, we'll choose File, and then
select Open in Camera Raw, and this will
| | 00:12 |
launch the file in Adobe Camera Raw.
Next I'll press the F key to take Camera
| | 00:16 |
Raw on order to full screen.
Because here I really want to focus in on
| | 00:19 |
Camera Raw.
Now if your image appears differently,
| | 00:22 |
don't worry.
Just keep in mind all we're going to focus
| | 00:24 |
in on here is how we can save photographs.
In this case, what I want to do is bring
| | 00:28 |
my saturation back up, so that I have all
of the color in the picture.
| | 00:33 |
Next thing that I want to do is change the
image size, because I want to save this
| | 00:36 |
out as a smaller JPEG, so that I can email
it to a client or a friend.
| | 00:42 |
To do that you want to click on the
workflow link that you'll find here at the
| | 00:44 |
bottom of the interface.
So, go ahead and click on that link in
| | 00:48 |
order to open up your Workflow options.
You have a few options, which we'll walk
| | 00:52 |
through here from the top to the bottom.
First, our color space.
| | 00:56 |
As I mentioned, I want to e-mail this
image to a friend, so when you're working
| | 00:59 |
with images onscreen Typically the sRGB
color space works well.
| | 01:04 |
I'll make that selection.
Next in regards to bit depth we'll leave
| | 01:07 |
this on eight bits per channel.
You would only want to increase this
| | 01:11 |
perhaps if you wanted to have a workflow
that involved more information.
| | 01:15 |
In this case, I'm making the file smaller
rather than larger, so I'll leave this on
| | 01:18 |
the 8 Bits/Channel.
Then we have a sizing pull-down menu.
| | 01:22 |
You can see the current native file size,
which was captured straight out of the
| | 01:25 |
camera.
Here I want to decrease the file size I'm
| | 01:28 |
going to choose the smallest file size possible.
| | 01:31 |
In this case, 1024 by 1536.
I'll make that selection an then make my
| | 01:36 |
way down to resolution.
Here I'll change this to 72 pixels per
| | 01:40 |
inch.
I'll sharpen it for screen.
| | 01:42 |
Here we have other options as well if we
want to print the image.
| | 01:45 |
In this case, leave it onscreen and then
for the amount, I'll leave the amount as
| | 01:49 |
standard and typically that works well.
Next after having done that, I'll go ahead
| | 01:54 |
and click Okay.
Here I'll choose the Save Image button.
| | 01:58 |
When you click on Save Image after having
defined your workflow options, it will
| | 02:01 |
Save the image out at those dimensions and
at those settings which you just
| | 02:04 |
specified.
Regards to our format, here I'll choose
| | 02:08 |
from the pull-down menu JPEG.
Next I have a quality setting and on the
| | 02:13 |
pull-down menu you can see that you have
different quality settings.
| | 02:16 |
I want this image to be a bit higher, so
I'll choose Maximum, and that will take my
| | 02:20 |
quality setting up.
You can also simply click into this field
| | 02:23 |
here, and type a number as well.
Next, you can define the file name if you
| | 02:27 |
decide to.
I’ll go ahead and give this one a new name
| | 02:30 |
and I’ll name this one Annika.
Then, after having defined the name and
| | 02:34 |
the format, you may want to determine a
location, where you want to save this
| | 02:37 |
file.
In this case, I’ll save it to the exact
| | 02:40 |
same location and so I’ll go ahead and
name this, actually, Annika-small.
| | 02:44 |
I’ll append another word there to that
name just so I can differentiate it from
| | 02:47 |
the other files which I have in that folder.
| | 02:51 |
After having defined all of these values,
the next step is to simply click Save in
| | 02:54 |
order to save this file.
In the lower left hand corner, it will
| | 02:58 |
update your progress.
Now that this image has been saved, I'll
| | 03:01 |
go ahead and click Done in order to exit
and apply the Camera Raw settings, and to
| | 03:05 |
navigate back to Bridge.
Here back in Bridge in this folder, we can
| | 03:10 |
find the image which we just saved and if
we go down to it here and zoom back in on
| | 03:13 |
these thumbnails so that you can see these
a bit better.
| | 03:17 |
Here you can see that we have the original
Raw file at these dimensions And then now
| | 03:21 |
we have a much smaller jpeg file at these dimensions.
| | 03:25 |
What started out at about 12 megs, is now
only 300 k.
| | 03:29 |
And this would be a perfect file in order
to email to client, or a friend.
| | 03:33 |
Yet, more importantly, I wanted to show
you that workflow of how you can open an
| | 03:37 |
image up in Camera Raw And then how you
can save a file out and keep in mind while
| | 03:40 |
I showed you how you can save or create a
JPEG, you can also save out other file
| | 03:44 |
formats as well.
| | 03:48 |
| | Collapse this transcript |
| Opening an image as a Smart Object| 00:00 |
In the previous movie, I highlighted a
workflow which began in Bridge and then
| | 00:04 |
went to Camera Raw and then finished up in Photoshop.
| | 00:08 |
In this movie, I want to show you a
workflow which will involve those same
| | 00:11 |
steps, but it will give you even more
flexibility so that you can use Camera Raw
| | 00:14 |
non-destructively.
In other words, so that you can always and
| | 00:18 |
forever modify all of your Camera Raw sliders.
| | 00:21 |
Let's take a look at how we can do this.
We'll start off in Bridge and select a
| | 00:24 |
photograph.
Next navigate to the file pull down menu
| | 00:27 |
and choose open in Camera Raw.
When you click on open in Camera Raw, it
| | 00:31 |
will launch the Camera Raw dialog and here
we can modify our image using these many
| | 00:34 |
controls.
In order to illustrate how this works, I'm
| | 00:39 |
going to do something drastic.
Here I'll scroll down in the Basic panel,
| | 00:43 |
and I will desaturate the image 100
points, removing all of the color.
| | 00:47 |
Currently, the image is black and white.
Next, I want to send this image to
| | 00:51 |
Photoshop with these settings applied so
that the image is black and white.
| | 00:56 |
Yet I'm not exactly sure if I like black
and white.
| | 01:00 |
And if ever you aren't completely sure, or
if ever you want flexibility with any of
| | 01:03 |
your camera settings, What you can do is
change the way that you open the image.
| | 01:08 |
Notices that you have the open image
button right here.
| | 01:11 |
Well if you press and hold the Shift key,
that button changes.
| | 01:15 |
Now it reads open object.
What that allow you to do is open that
| | 01:19 |
image as a smart object in Photoshop.
So what I want you to do is press and hold
| | 01:24 |
the Shift key and it will click and open
object button.
| | 01:28 |
What it'll do is do is send that over to Photoshop.
| | 01:31 |
An it will send that image with all of
those Camera Raw settings applied.
| | 01:35 |
Now in this case, this is a smart object
layer, an smart object layers give you a
| | 01:39 |
lot a flexibility.
When it comes to this workflow where we
| | 01:43 |
open up our image from Camera Raw as a
smart object.
| | 01:46 |
What this allows us to do is to go back to
our Camera Raw settings.
| | 01:51 |
Like with this photograph, I've decided I
don't really like the black and white
| | 01:54 |
version of the image.
No big deal, here I'll just double click
| | 01:57 |
on this icon.
It will relaunch camera raw, remembering
| | 02:00 |
all of our settings.
In this case I'll go down to the
| | 02:03 |
saturation slider.
And I'll bring that back up.
| | 02:06 |
Then I might make a few other changes as well.
| | 02:08 |
After having modifying these controls, we
can click OK in order to exit and apply
| | 02:12 |
those settings.
And keep in mind that these settings are
| | 02:16 |
applied in a way that it's nondestructive.
In other words you can always undo what's
| | 02:20 |
been done.
In addition, this sets you up for even
| | 02:23 |
more flexibility in Photoshop.
For example, let's say that after having
| | 02:27 |
brought the color back in this image, we
have decided that we want to convert this
| | 02:31 |
image to an oil painting.
Well, because this layer is a smart
| | 02:35 |
object, we can navigate to our filter
pulldown menu.
| | 02:39 |
And we can choose one of our filters, like
oil paint.
| | 02:42 |
This will launch this dialogue here.
I'll click OK in order to apply these
| | 02:45 |
settings.
I'll zoom in a little bit so that you can
| | 02:49 |
see what this photograph looks like as an
oil painting.
| | 02:52 |
Over in the Layers panel, you'll discover
that we have the smart object icon, and
| | 02:55 |
then we have the smart filter which has
been applied.
| | 02:58 |
If we click on the eye icon, we can turn
this effect on and off.
| | 03:02 |
And in this way we have this extra bit of flexibility.
| | 03:05 |
Because with this filter I've decided that
while it looks interesting, I just don't
| | 03:09 |
really like it.
So I can then turn it off.
| | 03:12 |
Or, inversly I might decide I really like
this filter except I wish that the image
| | 03:16 |
was a bit brighter.
Well, no big deal, just double-click on
| | 03:20 |
the icon in order to reopen camera raw,
and then brighten the image up, and then
| | 03:23 |
click OK in order to apply those settings.
With this particular photograph, I
| | 03:28 |
actually like it better as a photograph,
so I'll turn off the eye icon here.
| | 03:33 |
Well, after you finish your work flow here
in Photoshop what we need to do obviously
| | 03:36 |
is save this image.
So, here I'll navigate to the file pull
| | 03:40 |
down menu and select save.
I'm going to go ahead and rename this
| | 03:44 |
because that's a little bit too long
winded for me.
| | 03:47 |
So, I'll name this anika-so for smart object.
| | 03:50 |
I'll leave this in the format of Photoshop
so I have all of this flexibility built
| | 03:54 |
into this file and then click save.
After having saved the file, I want to
| | 03:59 |
close it.
To close an image in Photoshop, you can
| | 04:01 |
just click on the little X icon in the
upper lefthand corner.
| | 04:05 |
Then let's navigate back to bridge and
take a look at what we have.
| | 04:09 |
Here I'll choose file and then browse in bridge.
| | 04:12 |
This will bring us back to bridge.
Here I'll decrease my thumbnail size so
| | 04:15 |
that we can see this new file that we have.
| | 04:17 |
And I'll bring this up to the top so that
we can then evaluate the photograph.
| | 04:21 |
As we do that you can see that we have the
raw file that we worked on.
| | 04:24 |
And here's the raw file with the original
raw settings which we applied.
| | 04:29 |
We then sent that to photoshop.
And when we sent that to photoshop we sent
| | 04:32 |
it as a smart object.
Once in Photoshop, we changed those raw
| | 04:36 |
settings, and we brought back the color.
And then we also made another adjustment
| | 04:40 |
with the filter.
Well, all of those settings are now saved
| | 04:43 |
in this file here, and this file is
independent from the original raw file.
| | 04:48 |
That being said we can always reopen this
image and so let's do that.
| | 04:52 |
When I double-click this file in order to
reopen it, we'll discover that we have the
| | 04:56 |
smart object layer with the settings which
we applied in camera raw.
| | 05:00 |
If we want to change those settings Once
again, double click.
| | 05:03 |
That will relaunch Camera Raw and we can
further modify this image.
| | 05:07 |
In other words, it isn't just the first
time that you come to Photoshop that you
| | 05:10 |
have this flexibility.
Rather, you have this flexibility forever.
| | 05:15 |
All right, well here I'll go ahead and
click OK in order to exit out of camera
| | 05:18 |
and apply whatever settings we might have applied.
| | 05:22 |
Now you may be thinking, wow this is great.
| | 05:24 |
I mean this is it.
Now we can work with camera
| | 05:26 |
nondestructively.
What's the catch?
| | 05:28 |
Well, there is a little catch, and let me
show you what it is I'll close this file
| | 05:31 |
by clicking on the X icon and then I'll
click save just to save the settings.
| | 05:35 |
And then I'll navigate back to bridge by
choosing file and then browse and bridge.
| | 05:40 |
In doing that we can see that we have the
original raw file here.
| | 05:43 |
We have the file that was opened in
Photoshop as a smart object.
| | 05:46 |
And then we have the file which was opened
directly into Photoshop.
| | 05:50 |
And this was the image that we worked on
in the previous movie.
| | 05:53 |
And the thing that I want to highlight is
the difference in file size.
| | 05:56 |
Notice that this file is 72 megs.
In comparison, the file that was opened as
| | 06:01 |
a smart object is 100 megs.
So, the difference here is pretty
| | 06:05 |
significant.
In order to have that extra bit of
| | 06:08 |
flexibility, the file size will always be bigger.
| | 06:11 |
Now when it comes to making the decision,
is it worth it, in most situations, it is.
| | 06:16 |
Especially if you're new to working in
Camera RAW and new to working in
| | 06:19 |
Photoshop.
Because this gives you flexibility so that
| | 06:21 |
you can make adjustments non-destructively.
| | 06:23 |
I just wanted to point that out so that
you can make the best decision in your own
| | 06:27 |
work flow.
Whether you want to open your images and
| | 06:30 |
just send them straight from Camera Raw,
or if you want to open them as smart
| | 06:34 |
objects.
| | 06:35 |
| | Collapse this transcript |
|
|
5. Crop, Compose, and StraightenIntroducing the Crop tool| 00:00 |
Camera Raw provides us with a lot of
flexibility when it comes to cropping our
| | 00:04 |
photographs.
So here in this first movie, I want to
| | 00:06 |
introduce you to how you can work with the
Crop tool.
| | 00:09 |
And then in the next few movies, we'll dig
a bit deeper.
| | 00:13 |
You know ideally we crop and compose
perfectly on Camera Raw.
| | 00:16 |
Yet that doesn't always happen.
And sometimes we need to crop our images
| | 00:20 |
after the fact, and Camera Raw is the
perfect tool to crop your photographs,
| | 00:23 |
because it allows you to crop your images non-destructively.
| | 00:27 |
In other words, you can always undo or
change the way that you've cropped your
| | 00:31 |
photograph.
With this picture here, the subject are my
| | 00:34 |
two daughters and two of their good
friends down at a local beach.
| | 00:38 |
Yet the composition and the crop.
It isn't very good.
| | 00:41 |
Because while we see the subject here, we
some distracting elements.
| | 00:44 |
Like this guy in the background.
And I also feel like the composition is a
| | 00:48 |
bit too open.
I want to tighten it up.
| | 00:50 |
Well, to do that, let's use the Crop tool.
To select the Crop tool press the C key.
| | 00:55 |
Or click on this icon here.
Now there are a couple of different ways
| | 00:58 |
that we can use this tool.
For starters, you can simply click and
| | 01:02 |
drag across your photograph.
As you click and drag, you can extend out
| | 01:05 |
the crop area.
Let go and you'll see the bounding box
| | 01:08 |
around the area of the image which will be saved.
| | 01:12 |
The rest of the area, which is grayed out,
will be cropped or cut away.
| | 01:15 |
You know, the word crop means to cut, and
this allows us to cut away all of these
| | 01:19 |
distracting elements.
Yet let's say that you don't exactly like
| | 01:23 |
the shape or the position of the bounding box.
| | 01:26 |
Well, there are a few things that you can do.
| | 01:28 |
Position your cursor over it and you can
click and drag in order to move it around.
| | 01:32 |
Or, if you position your cursor over one
of the edges or corners, here you can
| | 01:35 |
click and drag in order to extend this out
so that you can improve the overall crop.
| | 01:42 |
And in this way, we're creating kind of a
freeform crop.
| | 01:45 |
It isn't a certain aspect ratio, just
something that we're selecting based on
| | 01:48 |
the way that we want our photograph to look.
| | 01:51 |
Well after we've cropped our image in a
certain way, in order to apply the crop
| | 01:55 |
you have two techniques you can use.
If you're on Windows you'll press Enter,
| | 02:00 |
on Mac you can press Return.
Or on either platform, just double-click
| | 02:04 |
inside of the crop area.
Here I'll double click in order to apply
| | 02:07 |
that crop.
Now in doing this, I realize that I like
| | 02:10 |
this crop.
It's now much more focused in on the
| | 02:12 |
subjects.
You can really see all these kids
| | 02:14 |
together.
And I kind of like the rhythm of this
| | 02:16 |
picture as well, and how they all have sticks.
| | 02:19 |
Yet I want to change the crop.
In order to change or modify the crop,
| | 02:23 |
just press the C key.
Or click on the crop tool icon again.
| | 02:27 |
This will reactivate the crop area.
It will show you the grayed out area which
| | 02:31 |
has been cropped away.
And again, as I mentioned previously, you
| | 02:35 |
can always re access that information.
Its still there.
| | 02:38 |
It hasn't been deleted.
So here I'll just click and drag this out
| | 02:41 |
a little bit more on each of these sides.
And also, a little bit more up top.
| | 02:45 |
Then I'll position the cursor over the
middle of the crop area and click and drag
| | 02:49 |
in order to reposition what's being cropped.
| | 02:52 |
Alright well next I want to apply this
crop to the photograph.
| | 02:56 |
To do so, press Enter on Windows or Return
on a Mac.
| | 02:59 |
Well lets say that as we're cropping our
image like with this picture here.
| | 03:03 |
We decide that we actually don't like the
crop at all.
| | 03:07 |
And we want to get rid of it completely.
Well how can you do that?
| | 03:10 |
Well again, press the C key to reactive
the crop tool or click on the crop tool
| | 03:14 |
icon.
Once you've activate the crop tool, you
| | 03:18 |
can get rid of the entire crop by pressing
the escape key.
| | 03:21 |
Think of escape.
Hey, I need to escape or get out of here.
| | 03:24 |
And when you do that, it will remove the
crop completely.
| | 03:27 |
All right, well now that we've been
introduced with how we can start to work
| | 03:30 |
with a crop tool.
Let's leave this image open because I want
| | 03:33 |
to continue to talk about how we can crop
and recompose this photograph and we'll
| | 03:37 |
pick up where we're leaving off here in
the next movie.
| | 03:40 |
| | Collapse this transcript |
| Cropping to a specific aspect ratio| 00:00 |
Most of the time when you use the Crop
tool you'll need to crop your images to a
| | 00:04 |
specific aspect ratio.
So here let's take a look at how we can
| | 00:08 |
crop different aspect ratios.
First you may be wondering well what is an
| | 00:12 |
aspect ratio?
Well all that is is the proportion
| | 00:15 |
relationship between the width and the
height of the image.
| | 00:19 |
Here you can see that you have a certain
aspect ration and that was defined by the
| | 00:23 |
camera that I used.
And so I need to maintain this
| | 00:26 |
relationship, or this aspect ratio.
I can do so using my crop tool.
| | 00:31 |
Let's go ahead and select the crop tool by
clicking on the crop tool icon or by
| | 00:34 |
pressing the C key.
Next you can click outside of the image
| | 00:39 |
area and then click and drag in order to
extend the crop area over the entire
| | 00:43 |
image.
In this way you can see that the bounding
| | 00:46 |
box is exactly on the edge of the photograph.
| | 00:50 |
Then if you need to maintain that original
aspect ratio, you can do so by adding a
| | 00:54 |
modifier key, when you click and drag.
Hold down the Shift key and then hover one
| | 00:59 |
of the edges here and click and drag.
When you hold down the Shift key, it
| | 01:04 |
forces this crop into that aspect ratio.
Here you can see, regardless of the size
| | 01:08 |
of the crop area, it will maintain that
aspect ratio.
| | 01:12 |
Next let go of the Shift key, and then
click and drag in order to reposition this
| | 01:15 |
to a new area.
Well, now that I've repositioned this, I
| | 01:19 |
realize that my crop area is too small.
Well, no big deal.
| | 01:22 |
Just hold down the Shift key and then go
ahead and click and drag again and you can
| | 01:25 |
extend this out.
And you can do this from any corner.
| | 01:28 |
In this way, you can always have that
aspect ratio.
| | 01:31 |
You just want to be careful that you don't
let go of that Shift key when you change
| | 01:34 |
the size of the crop area, because if you
were to do that, well, then you would lose
| | 01:37 |
that original aspect ratio.
Next I'll go ahead and click and drag in
| | 01:42 |
order to reposition this so that the image
appears a bit better.
| | 01:46 |
Now, to apply this crop, we can press
enter on Windows or return on Mac.
| | 01:51 |
So far we've looked at how we can crop an
image to its original aspect ratio.
| | 01:56 |
Yet what about other aspect ratios or what
about cropping our image to a specific
| | 01:59 |
size?
Well, let's take a look at how we can do
| | 02:02 |
all of that in the next movie.
| | 02:04 |
| | Collapse this transcript |
| Cropping to a custom ratio or size| 00:00 |
Let's take a look at how we can crop our
images to a specific aspect ratio or to a
| | 00:04 |
specific size.
Let's start of with aspect ratio.
| | 00:09 |
First, press the C key to select the Crop tool.
| | 00:11 |
Or click on the Crop tool icon above.
Next, I simply want you to click and drag
| | 00:16 |
to create a crop area over your image.
Then let go.
| | 00:19 |
And we can see the crop area.
And everything that's grayed out will be
| | 00:22 |
cropped away.
Now we can change any crop area, to a
| | 00:25 |
certain aspect ratio by clicking an
holding down on the Crop tool.
| | 00:30 |
Here you'll see we have a number of
different options.
| | 00:33 |
For example, if we choose 1 to 1, this
will allow us to crop our image so that
| | 00:36 |
it's a perfect square.
Hold down the Shift key and then click and
| | 00:41 |
drag and you can increase or decrease the
size of this crop area.
| | 00:45 |
Yet, it will always maintain that aspect
ratio of 1:1 if you re-size it while
| | 00:49 |
holding down the shift key.
Well, let's say that you don't want a
| | 00:53 |
square but, you want a crop ratio which is
2 by 3 or 4 by 5 or whatever it is.
| | 00:58 |
We'll simply make that selection and
you'll see the new crop area appear.
| | 01:03 |
Now whenever you re size this crop area,
again, you need to hold down that shift
| | 01:06 |
key in order to click and drag.
Well lets say that you want to change the
| | 01:11 |
orientation, because currently the crop
area, this two by three ratio, well its
| | 01:15 |
horizontal.
What if we want it to be vertical?
| | 01:19 |
Well again, hold down the Shift key and
just click and drag in that direction.
| | 01:23 |
Notice how it will snap between a
horizontal or a vertical orientation.
| | 01:27 |
Then, let go of your mouse button, still
hold down the shift key, and then click
| | 01:30 |
and drag.
In this way you can see that you can
| | 01:33 |
resize that and here I'm just going to
resize that so I can few more of the kids.
| | 01:37 |
But what if we're interested in something
in which isn't listed here?
| | 01:41 |
Well in those scenarios, just go down to
Custom and click on this menu item.
| | 01:45 |
This will launch our custom crop dialog,
and here we could enter something specific
| | 01:49 |
or different.
For example like 2.5 to 3.
| | 01:53 |
In order to use this custom crop ratio,
just click okay, and then it will update
| | 01:57 |
the crop area.
You can also go back to the custom crop by
| | 02:01 |
clicking and holding here.
And selecting Custom, and then changing it
| | 02:05 |
to a different value.
Currently it's cropping to a ratio.
| | 02:09 |
If you click and hold on this menu, you
can crop to a certain pixel dimension, or
| | 02:12 |
inches, or centimeters.
One of the things that I want to do is I
| | 02:16 |
want to print this image as a five by
seven print.
| | 02:19 |
So here I'll select inches.
Then, I'll go ahead and enter in the
| | 02:22 |
values, in this case five by seven, and
then click OK.
| | 02:26 |
In this way, we can see that we now have
an aspect ratio, which will allow me to
| | 02:29 |
resize my image to that particular size.
Currently the orientation is vertical.
| | 02:36 |
I want it horizontal.
I want a seven by five.
| | 02:39 |
So here I'll go ahead and hold down the
Shift key and click and drag in that
| | 02:41 |
direction.
And I'll extend this out, and in extending
| | 02:44 |
this out, I can drag it over.
I'll click in the middle and click in
| | 02:48 |
order to reposition that.
And then in order to apply the crop area
| | 02:51 |
press Enter on Windows.
Return on a Mac.
| | 02:55 |
Now if we click on our Workflow options
link down below we'll see that we have a
| | 02:58 |
seven by five inch image.
Here we can click on that, and then notice
| | 03:02 |
it will give you this Crop Size, which is
showing us the dimensions of this
| | 03:05 |
particular file.
And in this way, we can actually re-size
| | 03:09 |
an image to a specific size inside of
Camera Raw before we even send the image
| | 03:13 |
to Photoshop.
So after having cropped the image to a
| | 03:16 |
certain specific size, you'd want to click OK.
| | 03:18 |
And then, if you're going to print this
image, of course you would need to go to
| | 03:22 |
Photoshop So, in that case, you need to
click on the Open Image button and that
| | 03:25 |
would send this photograph with all of
these Camera Raw settings applied,
| | 03:29 |
including the cropping and the resizing
that we've just done.
| | 03:35 |
| | Collapse this transcript |
| Using the crop overlay| 00:00 |
Let's continue to take a look at how we
can use the Crop tool in order to improve
| | 00:03 |
our photographs.
We'll be working with this portrait that I
| | 00:07 |
captured here, and we'll be taking a look
at a feature which is called the Crop
| | 00:10 |
Overlay.
Now, this is one of those features which
| | 00:13 |
is often overlooked unless it's pointed out.
| | 00:15 |
So here let's take a look.
We'll go ahead and select the Crop tool.
| | 00:19 |
You can do so by clicking on the Crop tool
and then choose Normal.
| | 00:23 |
Next, let's go ahead and click and drag to
select the crop area over the entire
| | 00:27 |
photograph.
Now once we start to crop this image, what
| | 00:31 |
we can do is hold down the shift key and
simply click and drag on these corner
| | 00:34 |
points.
Yet as we do that we're just cropping it
| | 00:38 |
without really any sort of a guide.
Well,you can turn on a guide which can
| | 00:42 |
sometimes help you to change the way that
you crop your photograph and here it is.
| | 00:46 |
Click on the crop tool and hold down then
turn on the option for Show Overlay.
| | 00:51 |
When you do that you'll notice that this
light gray grid appears.
| | 00:55 |
This grid is based on the rule of thirds.
An you can use this overlay sometimes as a
| | 00:59 |
guide to help you to, crop perhaps in a
different way.
| | 01:03 |
Like with this image if I want the subject
to be in the center of the frame, well
| | 01:06 |
here I can click an drag this to the left
until his face or his head is, right there
| | 01:09 |
in the center of the image.
You can also hold down the Shift key or
| | 01:14 |
just freeform crop.
And you can do that so that you can really
| | 01:17 |
pay attention to where the subject is
fitting into this frame.
| | 01:20 |
And sometimes what you can do is you can
put a point of interest right on one of
| | 01:24 |
these intersecting lines.
Where, with this image All that I want to
| | 01:28 |
do is crop away a lot of the extra space
or head room in this photograph, and I
| | 01:31 |
also want my subject to be right there in
the center.
| | 01:36 |
So, here we've cropped a bit off of the top.
| | 01:39 |
I also want to crop some off the bottom.
So, hold down the shift key and click and
| | 01:42 |
drag up.
As I change the crop area, you can notice
| | 01:45 |
how it changes the grid in the middle of
the crop area and this way, you can see
| | 01:49 |
how it scaled with the crop area as you
make those changes.
| | 01:54 |
Now if ever you've decided that, you know
what, I like this crop, and the crop guide
| | 01:57 |
kind of helped me out, but now it's just
distracting; it's getting in the way.
| | 02:01 |
Well, how can you turn that off?
One technique that you can use is to click
| | 02:05 |
on the Crop tool and then to choose Show Overlay.
| | 02:08 |
This will then turn that off.
If ever you want to bringing a crop tool
| | 02:12 |
menu here and you can also access that
menu if you position your cursor over the
| | 02:16 |
image and then right click or control
click.Here you can see we have access to
| | 02:20 |
the same menu.
Now it's showing up here rather than
| | 02:26 |
underneath the crop tool.
Next we can click on this item to show the
| | 02:30 |
overlay or right click or control click
and select select again in order to turn
| | 02:34 |
that off.
The reason why I wanted to show you how
| | 02:38 |
you can turn that on and off is because
while that overlay can be helpful, you
| | 02:41 |
have to keep in mind that the viewer won't
ever see that overlay.
| | 02:46 |
So as you're making decisions with the
crop overlay, sometimes it's helpful to
| | 02:50 |
turn that off and just to see the
photograph as everyone else will see it.
| | 02:54 |
After you've cropped your image, use that
overlay to help you figure out how you
| | 02:58 |
want to crop the photograph.
Next you need to apply the crop to this
| | 03:02 |
area.
In order to do that let's go ahead and
| | 03:04 |
double click inside of the Crop area.
And we can use that technique as one way
| | 03:08 |
in order to apply the crop.
| | 03:11 |
| | Collapse this transcript |
| Rotating and cropping an image with the Crop tool| 00:00 |
Let's take a look at how we can use the
crop tool in order to crop and rotate our
| | 00:04 |
photographs.
We'll be working with two different images
| | 00:07 |
so that we can see how we can rotate
images in different ways.
| | 00:11 |
We'll start off with this photograph here.
This is a picture that I captured of a
| | 00:14 |
professional surfer, and what I want to do
Is I want to crop the image and rotate it
| | 00:18 |
so that these train tracks create a bit
more drama, so that the image is sort of
| | 00:21 |
leaning off to one side.
In order to do that, we'll simply click on
| | 00:26 |
the crop tool.
And then here I'll select Normal, although
| | 00:29 |
you could do this with a certain aspect
ratio as well.
| | 00:32 |
I'm going to choose normal so that I can
just draw a crop area over the photograph.
| | 00:37 |
Next, click and drag the crop area over
the image and then let go.
| | 00:40 |
If you position your cursor near the
corners of the crop area, you'll notice
| | 00:44 |
that the cursor will change into a bent arrow.
| | 00:48 |
Well that's telling you that you can then
click and drag.
| | 00:50 |
If you click and drag, you can start to
rotate the crop area.
| | 00:53 |
As you approach the edge of the image,
notice what will happen to the crop area.
| | 00:57 |
It will get smaller so that you can then
rotate the image in that way.
| | 01:01 |
Now this rotation is incredibly dramatic.
And it won't look very good.
| | 01:05 |
But I want to apply this so that you can
see what it looks like.
| | 01:08 |
Press enter on Windows or return on a Mac
in order to apply that crop.
| | 01:13 |
Here you can see we have a completely
different photograph, albeit it one that
| | 01:16 |
isn't necessarily better.
So here press the "c" key to reactivate
| | 01:20 |
the crop, and then rotate again.
In this case, what I want to do is
| | 01:24 |
position my cursor near one of the
corners, and then click and drag.
| | 01:28 |
The crop that I'm interested in creating
has a little bit of a different lean.
| | 01:31 |
So here I'll, click an drag to extend this out.
| | 01:34 |
I'm just going to work with this until I
can create a nice crop, where I have these
| | 01:37 |
train tracks really coming into the bottom
of the frame.
| | 01:41 |
Next, I'll go ahead and apply that crop
area by pressing Enter on Windows, Return
| | 01:45 |
on a Mac.
And again, here you can see we have a
| | 01:48 |
completely different interpretation of
this image.
| | 01:51 |
And it can change the composition in some
really dramatic ways.
| | 01:55 |
And so as you start to work with cropping,
know that you can use this crop tool in
| | 01:58 |
order to nudge things in one direction or
rotate them in more dramatic ways.
| | 02:03 |
Well let's look at one more photograph.
We'll click on this image here.
| | 02:07 |
In this image, the subject is standing
tall and she's straight in the frame.
| | 02:11 |
And this is a perfect example image to
work with because we'll really be able to
| | 02:14 |
see how we can rotate the image from side
to side.
| | 02:18 |
Click on the Crop tool and then click and
drag out a crop area over the photograph.
| | 02:22 |
Once we have a crop area drawn over the
photograph, what I want you to do is to
| | 02:26 |
click and drag your corner point one way
and another.
| | 02:30 |
One of the things that's a little bit
disoriented about this is that the
| | 02:33 |
original image stays straight while the
crop area tilts.
| | 02:38 |
And so it can be difficult to determine,
well, which way do I drag, this way or
| | 02:41 |
that way.
What you want to keep in mind is that the
| | 02:45 |
subject is going to tilt in the opposite
direction of the way that you're dragging
| | 02:49 |
the frame.
So, a lot of times what you have to do is
| | 02:53 |
simply click and drag, and then press
Enter or Return to apply the crop.
| | 02:57 |
To see if that's what you wanted to do.
If it isn't, press the C key to reactivate
| | 03:01 |
the crop tool, and then drag in the
opposite direction.
| | 03:05 |
Then once again, of course, press enter or return.
| | 03:08 |
Then this way we can start to get a feel
for the overall rotation.
| | 03:11 |
Last but not least, after you've defined
or determined how you want to tilt the
| | 03:15 |
frame, press the C key, and then what you
often will want to do is make an
| | 03:18 |
adjustment which will be a bit more subtle.
| | 03:23 |
Here I'll go ahead and bring this in a
little bit more so that the rotation isn't
| | 03:26 |
quite so dramatic.
Here you can see I've lessened it
| | 03:30 |
significantly, then I'll press enter or return.
| | 03:33 |
Here you don't even necessarily really
notice it.
| | 03:35 |
It's a very subtle shift.
Yet nonetheless, that shift has helped to
| | 03:39 |
create a different type of image.
Though as you work with this technique,
| | 03:42 |
there's a bit of a dance.
You apply the crop, if it isn't right,
| | 03:45 |
press the C key, and then go ahead and
click and drag a little bit more one way
| | 03:48 |
or another.
Then apply the crop and again go back and
| | 03:52 |
forth until you have arrived at a crop and
rotation that works for your frame.
| | 03:58 |
| | Collapse this transcript |
| Straightening your photograph| 00:00 |
In the previous movie we discovered how we
can crop and rotate our images for
| | 00:04 |
creative purposes.
Well here in this movie we'll crop and
| | 00:08 |
rotate but this time our intent is to
level or straighten out our photographs.
| | 00:13 |
We'll be working with two different images
and we'll start off with this one here.
| | 00:17 |
This is a portrait that I captured of
Russell Brown.
| | 00:19 |
Russell is the Senior Creative Director at Adobe.
| | 00:22 |
He's really the creative guy behind a lot
of the tools that we use like Photoshop
| | 00:25 |
and Camera Raw And here with this image,
you'll notice that its tilted.
| | 00:30 |
I want to make this straight, so in order
to do that, lets take a look at how we can
| | 00:33 |
use the straighten tool.
You'll find the straighten tool located
| | 00:37 |
right next to the crop tool, and the
reason is because these two tools work
| | 00:40 |
really well together as you'll soon see.
Click on the tool, an then simply position
| | 00:46 |
your cursor over something in the image,
that you know should be straight.
| | 00:50 |
This could be a vertical line, or it could
be something horizontal.
| | 00:54 |
Here in this case I'll go ahead an click
an drag across this line here.
| | 00:57 |
Underneath these letters in the background
on this sign.
| | 01:00 |
Then let go.
You notice that it will create a crop area
| | 01:03 |
and that crop area will be rotated.
What it will attempt to do is to crop and
| | 01:08 |
rotate the image so that, that line will
be straight.
| | 01:12 |
To see how this worked, press enter on
Windows, return on Mac, and it did a
| | 01:15 |
pretty good job, except when I clicked and
dragged that, my dragging wasn't perfect,
| | 01:19 |
so it's a little bit off.
We can always finese this a little bit
| | 01:23 |
more, by pressing the C key.
So here we'll press the c key to activate
| | 01:26 |
the crop tool, then position your cursor
near one of these corner points and click
| | 01:30 |
and drag, just to customize that a little
bit, and then press enter or return in
| | 01:33 |
order to apply.
You could also modify the crop as well,
| | 01:38 |
making it larger or smaller as needed.
So, one technique that we can use is to
| | 01:43 |
use the Straighten tool.
Let me show you another way that we can
| | 01:46 |
access the Straighten tool on a different photograph.
| | 01:49 |
Here we'll click on the image JoeCurren.dng.
| | 01:50 |
In this photograph you can see that
there's a little bit of a lean.
| | 01:55 |
And you can see this in particular with
these train tracks right here.
| | 01:59 |
If I want those train tracks to be closer
to straight, what you can do is select the
| | 02:03 |
crop tool.
Then with the crop tool selected, you
| | 02:07 |
press and hold the command key on Mac,
control key on Windows.
| | 02:11 |
Notice that the cursor changes you can see
it change from the crop tool to the
| | 02:15 |
straight tool and this is a handy shortcut
that allows you to access the straighten
| | 02:18 |
tool while you have the crop tool selected.
| | 02:22 |
So here we'll select the crop tool then
hold down command on mac control on
| | 02:26 |
windows.
And click and drag across something that
| | 02:29 |
you think should be straight.
Next, let go and then press Enter or
| | 02:32 |
Return.
In this way, you can see how it
| | 02:34 |
straightened out the train tracks and
cropped off some of the image in order to
| | 02:38 |
create a better composition.
Well there you have it, a couple of
| | 02:42 |
techniques that you can use in order to
crop and straighten your photographs.
| | 02:47 |
| | Collapse this transcript |
| The art of cropping| 00:00 |
Photography is the art of seeing.
And sometimes you see something and get
| | 00:04 |
really excited about it, and you take a
photograph of that thing and then you look
| | 00:07 |
at the photograph, and it just doesn't
match up.
| | 00:10 |
It's not as good as what you saw.
Yet, the art of seeing isn't just about
| | 00:14 |
capturing the image.
That art, it extends to post production as
| | 00:18 |
well.
And one of the areas where this art is
| | 00:21 |
especially important is in cropping.
And so here, I wanted to talk about this
| | 00:25 |
whole idea of cropping your images in
order to come up with creative or
| | 00:28 |
different results.
Well this is a photograph that I captured.
| | 00:33 |
And I like this image, so that I opened it
in Camera Raw, and then I worked on it in
| | 00:36 |
Photoshop, and converted it to black and white.
| | 00:39 |
But I still wasn't settled with it.
Then I realized it was because of the
| | 00:42 |
composition.
So here I'm going to reopen this photo in
| | 00:45 |
Camera Raw.
And now I want to recompose the image
| | 00:48 |
using the Crop tool.
So here, let's press the C key in order to
| | 00:51 |
select the Crop tool.
Next, rather than being concerned about
| | 00:55 |
the aspect ratio, I'm just going to click
and drag over the image.
| | 00:59 |
So here, I'll click and drag over this photograph.
| | 01:01 |
Because what I was really drawn to was the
subject and her face and these eyes and
| | 01:05 |
these lines and the stark white background.
| | 01:08 |
So here now I cropped out other details.
In photography, often if you reduce and
| | 01:13 |
simplify, it will make your images better.
So that's what I'm trying to do here.
| | 01:17 |
Well, after having drawn out the first
crop, let's press Enter or Return.
| | 01:22 |
Now, in doing that I realized, okay, this
is closer but this isn't it.
| | 01:26 |
I want to get in even closer.
I want to try to create more balance.
| | 01:29 |
So press the C key to access a Crop tool,
and then click and drag this in further,
| | 01:33 |
so that the crop extends to both of those shoulders.
| | 01:37 |
I also am going to bring in the other
side, as well.
| | 01:39 |
Then, I'll press Enter or Return.
Well, now I have a completely different
| | 01:44 |
photograph.
The subject is low in the frame.
| | 01:47 |
There's a lot of space above her, in kind
of an interesting way.
| | 01:51 |
And all of the contrast between the tones
that are either really white or black
| | 01:55 |
somehow draw us in.
And you know, we could go even further
| | 01:58 |
than this.
We might try something else out just to
| | 02:01 |
try to get creative.
And really, there isn't a correct answer
| | 02:04 |
here.
Rather, it's about experimenting.
| | 02:07 |
So I'll press the C key to select the Crop tool.
| | 02:10 |
What would happen if I would crop
everything out except for the eyes?
| | 02:14 |
Here, I'll press Enter or Return.
Well now, in doing that, we can see again
| | 02:18 |
that we have a different type of photograph.
| | 02:20 |
In this case, I don't really like it.
I want to undo what I've just done.
| | 02:24 |
On Mac, press Cmd+Z.
On Windows, press Ctrl+Z.
| | 02:28 |
And that works with all of the different
adjustments which we have here in Camera
| | 02:31 |
Raw.
We can always undo something we've just
| | 02:34 |
done by pressing that shortcut key.
And when I go back to this I realize that,
| | 02:38 |
you know what, I kind of like this crop.
I think it works much better.
| | 02:42 |
And if we press the C key in order to
re-open the Crop tool, you can see that
| | 02:45 |
we've cropped away a large area of the
photograph and really change the overall
| | 02:49 |
composition.
And sometimes when we do that we can get a
| | 02:53 |
little bit nervous.
Like, well, is this okay?
| | 02:56 |
Can I really do this?
Because I've lost so much of the image.
| | 02:59 |
And the answer is, yes.
When you're an artist, it's all about that
| | 03:03 |
vision that you have.
Remember photography, it's the art of
| | 03:06 |
seeing.
It's the art of communicating something
| | 03:09 |
within the bounds of the frame.
And as you start to get better with the
| | 03:12 |
Crop tool, always being asking yourself,
well, how can the art of photography
| | 03:16 |
extend to what I'm doing right now?
So that I can create more interesting and
| | 03:21 |
compelling frames?
| | 03:22 |
| | Collapse this transcript |
|
|
6. Improving Color with White BalanceImproving color balance| 00:00 |
In this chapter, we're going to take a
look at how we can use the basic White
| | 00:03 |
Balance controls in order to customize and
correct the color that we have in our
| | 00:06 |
photographs.
In order to begin the conversation, let's
| | 00:10 |
take a look at this slide.
Here in this slide, you can see that we
| | 00:14 |
have different types of color
temperatures, and we already intuitively
| | 00:17 |
know this.
We know that there are certain color
| | 00:20 |
temperatures that are warm, like the sun
early in the morning.
| | 00:23 |
We also know that there are other types of
color temperatures Which are cold and
| | 00:27 |
cool.
And what we can do in Camera Raw, is we
| | 00:29 |
can customize the color temperature that
we have in our photographs by using a
| | 00:33 |
couple of different tools.
Let's click on a photograph and start to
| | 00:37 |
take a look at how we can work white
balance and color temperature in one of
| | 00:40 |
our photos.
So here I'll click into this image, and in
| | 00:44 |
this photograph, you may notice that
there's a little bit of a color shift.
| | 00:48 |
Now we can shift the color temperature by
going to the Basic panel, and by working
| | 00:52 |
with our Temperature and our Tint sliders.
Here we can make some subtle or really
| | 00:57 |
dramatic adjustments.
Click and drag the Temperature slider to
| | 01:00 |
cool the image off or add more yellow and
warm it up.
| | 01:04 |
To reset the slider, double-click it, and
it will bring it back to its default
| | 01:07 |
setting.
We can also work with the Tint slider as
| | 01:10 |
well so that we can tint the image a bit
more green or make it a little bit more
| | 01:13 |
magenta, simply by dragging the slider.
Again, I'll double click the slider to
| | 01:18 |
bring it back to its default setting.
Now with this image, I mentioned that
| | 01:21 |
there's a little bit of a color shift.
Now I could try to correct the image by
| | 01:26 |
guessing and by using these sliders, or
you could also use a tool that is called
| | 01:29 |
the white balance tool.
You can find this tool up top, and it’s
| | 01:34 |
located right here next to the hand tool.
So go ahead and click on that tool.
| | 01:38 |
Then position your cursor over something
that you know should be neutral.
| | 01:43 |
In this image, I know that this Leica
camera was black.
| | 01:46 |
I know that that should be a true black,
so therefore I’ll go ahead and click on
| | 01:49 |
that.
You can also click on other items in your
| | 01:52 |
photograph that aren’t black.
Perhaps something which is gray or white.
| | 01:56 |
Well, what it will allow Camera Raw to do
is to make some temperature and tint
| | 02:00 |
adjustments in order to color correct the photograph.
| | 02:04 |
If we hover over the area of our image
where we clicked and look at our RGB
| | 02:07 |
values, what we'll discover is that it
made those values equal.
| | 02:12 |
Equal amounts of red, green and blue
equals neutrality.
| | 02:15 |
And here you can see that what it did is
it color-corrected this photo.
| | 02:19 |
If we click on the Preview check box,
here's before, click again, and here's
| | 02:22 |
after.
And in a sense, what it did is it shifted
| | 02:25 |
all of the colors to try to remove The
color cast.
| | 02:29 |
Now after having color corrected this
photograph, what I want to do is take this
| | 02:32 |
just a little bit further.
Now you don't always have to do this, but
| | 02:36 |
sometimes what you might want to do is
correct the image and then customize it by
| | 02:39 |
using these sliders.
Here I'll drag this a little bit to the
| | 02:43 |
left, because I feel like the image is a
touch too warm.
| | 02:45 |
Or maybe I'll work with the tint sliders
and I'll drag this one to the right to add
| | 02:49 |
a bit more magenta.
In this way, I can sort of nudge the color
| | 02:53 |
temperature one way or another, making
more subtle adjustments.
| | 02:57 |
In order to evaluate your progress, you
always want to click on the Preview
| | 03:00 |
checkbox or press the P key to look at the
before and then click again in order to
| | 03:04 |
see the after.
Alright, well now that we've started to
| | 03:08 |
see how we can use the white balance
sliders an the white balance eye dropper,
| | 03:11 |
let's take a deeper look into how we can
use these tools, an let's do that in the
| | 03:14 |
next few movies.
| | 03:17 |
| | Collapse this transcript |
| Using the White Balance tool and controls| 00:00 |
As you'll discover throughout this
chapter, there are many different ways
| | 00:03 |
that we can work with our white balance
and temperature intent controls.
| | 00:07 |
And here in this movie, let's take a look
at another method.
| | 00:10 |
Here, we'll look at how we can choose a
preset in order to color correct this
| | 00:13 |
photograph.
This is a picture that I captured of our
| | 00:16 |
little puppy, Daisy.
She was setting on my daughter's lap, and
| | 00:19 |
I had set my camera to Auto White Balance,
and Auto White Balance didn't do a very
| | 00:23 |
good job.
You know, you can change the white
| | 00:26 |
balance, or the color temperature on your camera.
| | 00:29 |
And in this case, it just didn't get it.
Well, that isn't a big deal, because
| | 00:33 |
fortunately, I captured this image in the
Raw format.
| | 00:36 |
If you're working with the Raw file, you
can click on the White Balance pull-down
| | 00:39 |
menu and here you can see you have a few
different presets.
| | 00:43 |
Well, I happen to know that this image was
captured in the shade.
| | 00:47 |
So, let's try out that preset in order to
color correct this photograph.
| | 00:51 |
In doing that you can see that it modified
my temperature and tint sliders in order
| | 00:54 |
to color correct this picture.
Now this won't always get it exactly
| | 00:58 |
right, so you may need to customize this further.
| | 01:01 |
Here I think this image is a little bit
too warm, so I'll go ahead and drag that
| | 01:04 |
to the left.
I'm also going to modify the tint slider
| | 01:07 |
as well.
Yet it was a really good starting point
| | 01:09 |
which helped me to color correct this image.
| | 01:12 |
Here if we click on the Preview checkbox
you can see there's before.
| | 01:16 |
With a little bit of a blue color cast and
then I'll click on this icon.
| | 01:19 |
Here's the image after it has been color corrected.
| | 01:23 |
Now what often happens is that you'll have
groups of images which will have similar
| | 01:26 |
color casts.
When we click on this photograph, which
| | 01:30 |
was just captured moments later We can see
the same color problem.
| | 01:33 |
Now we could, of course, correct every
single image by navigating to our
| | 01:37 |
controls, or we could synchronize the
settings across multiple files in order to
| | 01:41 |
speed up our workflow.
And let me show you how that works.
| | 01:45 |
This is a real timesaver.
What you do is you color correct one
| | 01:48 |
photograph, then you click on the other
photographs you want to color correct as
| | 01:52 |
well.
If you have a whole list of images hold
| | 01:55 |
down the shift key and click on the last
one and it will select all of those photos
| | 01:58 |
here in a row.
If you just want to choose images one at a
| | 02:02 |
time, hold on the Command key on Mac,
Control key on Windows, and click on the
| | 02:05 |
photographs in the film strip.
Either way, select the pictures and then
| | 02:10 |
click on Synchronize.
This will launch our synchronized settings
| | 02:13 |
dialog here we can choose the Synchronize
settings dialog.
| | 02:16 |
Here, we can choose to synchronize everything.
| | 02:18 |
This will synchronize all of the settings
here in Camera Raw or we can get a little
| | 02:21 |
bit more specific, like with what we
want to do here.
| | 02:25 |
And that is just work on white balance.
So here, we’ll synchronize the white
| | 02:28 |
balance settings, so that the corrections
applied to the first image will also be
| | 02:31 |
applied to the second image.
In order to do that, simply click OK.
| | 02:36 |
And in this way, we can color-correct two
or more images at a time.
| | 02:39 |
So here we’ll go ahead and click between
these two photographs.
| | 02:42 |
You can see the original file and then,
also, the other file.
| | 02:45 |
In order to see the before and after, we
can click on the Preview checkbox.
| | 02:49 |
There’s before and now here is after.
| | 02:53 |
| | Collapse this transcript |
| Precise color correcting with white balance cards| 00:00 |
One way that you can add some precision to
your color correction work is to capture a
| | 00:04 |
sample image and to include something
which has neutrality in it in that sample
| | 00:08 |
photograph.
And let's take a look at how we can work
| | 00:12 |
with a situation like that here.
Here you can see a photograph of an
| | 00:15 |
athlete.
This athlete just came off a bike ride.
| | 00:18 |
And here they're standing in front of a
backdrop with some studio lights lighting
| | 00:21 |
up the scene.
And in this case, they're holding a color
| | 00:24 |
checker chart.
This is a color checker chart which is
| | 00:26 |
created by the folks at Xtra, it's called
the Color Passport.
| | 00:30 |
And what you can do is have the subject
hold up a card like this because you know
| | 00:33 |
that these swatches here should be neutral.
| | 00:37 |
You can then color correct the image based
on that.
| | 00:39 |
In this way, you take out all of the guess work.
| | 00:42 |
In order to work with a scenario like
this, simply choose the White Balance
| | 00:45 |
tool, then position your cursor over
something that you know should be neutral.
| | 00:49 |
In this case, one of these swatches here.
Now, when I do that, I'm going to look at
| | 00:53 |
my RGB values.
Here, you can see that red, green and blue
| | 00:57 |
are not equal.
When you have unequal amounts of red,
| | 01:00 |
green and blue, you have a color shift.
If you have equal amounts of red, green
| | 01:04 |
and blue, well, that means that that
area's neutral.
| | 01:08 |
So if we click on that color swatch.
We'll notice that now the image looks
| | 01:12 |
better and our RGB values also look
better, so that helped us to color-correct
| | 01:15 |
this photograph.
Yet, we can't really use this picture
| | 01:19 |
because it has this silly color checker
chart in it.
| | 01:22 |
Yet, this is a common practice, which will
help us then apply these color settings to
| | 01:26 |
all of the other photographs that we've taken.
| | 01:29 |
Now, we've talked about how we can do this before.
| | 01:31 |
After having corrected one image, we can
choose Select All.
| | 01:35 |
Or we can manually select the images we
have that open here in Camera Raw.
| | 01:38 |
Then click on Synchronize.
And in this case, we're interested in
| | 01:42 |
synchronizing our White Balance settings.
So I'll select that option and then click
| | 01:46 |
OK.
In this way, we can color correct multiple
| | 01:49 |
images with precision.
By first color correcting an image, which
| | 01:53 |
has something which acts as a reference
point for us, something which is neutral,
| | 01:57 |
which we can color correct.
And then, we can apply all of those
| | 02:02 |
settings to our other photographs, like
this one as well.
| | 02:06 |
| | Collapse this transcript |
| Making creative color adjustments| 00:00 |
There will be times when you will use the
white balance and the temperature and tint
| | 00:04 |
controls in order to precisely color
correct your photographs.
| | 00:08 |
Then there will be other situations where
you will use these same tools in order to
| | 00:11 |
simply create an interesting or creative look.
| | 00:15 |
Let's take a look at a few examples where
will start off using the White Balance
| | 00:18 |
Tool in order to create some vivid and
vibrant colors.
| | 00:22 |
We'll begin with this photograph here,
this is a picture of a dandelion that I
| | 00:26 |
took sitting on my stove top in my kitchen.
| | 00:29 |
I simply set a book behind it, and here
you can see the image appears a bit too
| | 00:33 |
yellowed.
I want to get rid of that yellow cast.
| | 00:37 |
So to do that, I'll use the White Balance tool.
| | 00:39 |
Here we'll select the White Balance tool,
and then position our cursor over
| | 00:42 |
something that we want to be white.
This isn't necessarily going to create
| | 00:46 |
accurate color, but it's going to remove
the yellow.
| | 00:49 |
So here I'll click on the image.
In this case, all of a sudden, it create s
| | 00:53 |
a pretty interesting color palette.
Now, once I've modified my temperature and
| | 00:57 |
tint sliders, I may make a few other
adjustments as well.
| | 01:01 |
I'll increase the overall exposure, and
also bring up my contrast.
| | 01:05 |
In doing that, now we have a very
distinct-looking photograph.
| | 01:09 |
No, the color here isn't accurate, but it
is intriguing.
| | 01:12 |
If we press the p key to see the preview,
here's before.
| | 01:15 |
Press the p key again, and here's after.
And I think this image illustrates the
| | 01:20 |
point that you can use these tools for
creative purposes as well.
| | 01:24 |
Let's look at one more photograph.
This is a picture of a chalk drawing at a
| | 01:27 |
local chalk festival.
Again I'll start off with the white
| | 01:31 |
balance tool.
This image looks a little bit dull and
| | 01:34 |
muddled.
I want to bring out a lot of rich colours.
| | 01:37 |
To do that, with the white balance tool,
I'll click on the shoulder, on this area
| | 01:41 |
here, of what looks like a bit of a highlight.
| | 01:44 |
Now, I have no idea if that was actually
white but, I'm going to make it white.
| | 01:48 |
In doing so, it removes a lot of the color cast.
| | 01:51 |
Well, after having done that again, I'm
going to go to a few other controls.
| | 01:55 |
Here I will increase the overall contrast
maybe brighten the image up.
| | 02:00 |
And the reason why I'm going to these
other sliders is to sort of illustrate the
| | 02:03 |
relationship between the two.
Let me make a few other adjustments as
| | 02:07 |
well.
I'll click on the Black sliders and drag
| | 02:09 |
this to the left, bring up a little bit of
Clarity, and then crank up my Vibrance,
| | 02:13 |
and also my Color Saturation.
In doing this, we now have a distinct or
| | 02:18 |
different look.
Let me zoom in on the picture so that we
| | 02:21 |
have a larger view of this photograph.
When I press the P key you can see theres
| | 02:25 |
the before, press the P key again and
here's the after.
| | 02:29 |
An in this case, really the difference for
this photograph has to do with our color
| | 02:33 |
temperature an tint.
If we reset that, back to it's original
| | 02:37 |
settings, by going to as shot here in the
pull-down menu, you notice that the image,
| | 02:40 |
well it just looks kind of blue an
Overdone, very uninteresting.
| | 02:45 |
Yet, if we use our trusty White Balance
tool, and if we click on an area of the
| | 02:49 |
image in order to first remove that color
cast as we did.
| | 02:53 |
Well, it allowed us to all of a sudden
have all of these beautiful and vibrant
| | 02:56 |
colors.
Now of course, the techniques that I'm
| | 02:59 |
highlighting here don't work on all images.
| | 03:02 |
But I did want to include a few examples
of how you can also use these tools in
| | 03:05 |
order to come up with some creative color
options for your photographs.
| | 03:09 |
| | Collapse this transcript |
| Enhancing color with Temperature and Tint| 00:00 |
Before we wrap up our conversation about
working with white balance and color
| | 00:04 |
temperature, I wanted to walk through a
few more examples just to illustrate the
| | 00:07 |
point that sometimes, when it comes to
creating interesting color, it isn't
| | 00:11 |
neccessarily about correct color.
Rather it's about using the sliders in
| | 00:16 |
order to subjectively modify the image so
that it looks better.
| | 00:20 |
Here with this particular photograph, I
captured it early in the morning.
| | 00:24 |
And I had set up my camera so that it
would have a little bit of this
| | 00:26 |
interesting blue color shift.
Now, of course, we could color correct the
| | 00:31 |
photograph.
We could do that by warming the image up a
| | 00:33 |
bit.
Yet, as we do that, I think it loses a bit
| | 00:36 |
of the overall character.
I kind of like the blue, so, in this case,
| | 00:39 |
I'm just going to drag this to the left in
order to cool this off even more.
| | 00:44 |
Then, I'll modify the Tint slider and
bring that up.
| | 00:47 |
Now all that I'm doing here is making
subjective adjustments using these
| | 00:50 |
sliders.
And sometimes those can help you to
| | 00:53 |
express a certain idea or convey emotion
because color really is connected to
| | 00:57 |
overall emotion.
Now, this obviously isn't correct but, I
| | 01:02 |
kind of like it.
Here, if I click on the preview check box,
| | 01:05 |
there's the before now here's the after.
Let's take a look at another situation.
| | 01:10 |
This is a photograph that I captured early
in the morning and in this case the light
| | 01:14 |
was just fascinating.
I want to exaggerate that and pull that
| | 01:17 |
Even further, so in this case, I'll warm
this image up by dragging my slider to the
| | 01:21 |
right here.
In doing that, I'll also bring up the tint
| | 01:25 |
as well.
Now the color is over the top, but again,
| | 01:28 |
I think it's kind of interesting.
If we click on the Preview check box, we
| | 01:32 |
can see there's before.
And then now here's after.
| | 01:35 |
Now both of these examples have been
exaggerated, but what about a situation
| | 01:39 |
like this.
In this photograph a lot of times when we
| | 01:42 |
first look at it we look at the subject
and the connection between the mother and
| | 01:45 |
the daughter on this special day.
Yet a closer glance tells us that there’s
| | 01:51 |
a bit of a color shift.
And so if you ever feel like there is,
| | 01:55 |
start to work with your sliders.
Here I’ll drag the slider to the right in
| | 01:59 |
order to warm up the photograph.
Now in doing that, the image looks so much
| | 02:03 |
better.
Let me zoom in on the image so that you
| | 02:06 |
can see this up close.
In this way, you can see that we’ve really
| | 02:09 |
corrected this image with a simple
adjustment, simply by using that slider.
| | 02:14 |
Here I’ll press the P key.
There you can see the before view.
| | 02:17 |
It's a little bit too cold and cool.
Press the p key again and you can see the
| | 02:22 |
after.
And so again and my whole point here in
| | 02:24 |
this movie is just to encourage you to
work with these sliders.
| | 02:28 |
And sometimes you'll nudge the sliders in
really small little ways.
| | 02:32 |
In other situations, perhaps you're
going to make more dramatic movements.
| | 02:36 |
Yet either way you're starting to see how
you can use these sliders, and these
| | 02:40 |
sliders alone, in order to come up with
some creative ways to affect the color in
| | 02:43 |
your photographs.
| | 02:46 |
| | Collapse this transcript |
|
|
7. Using the Main Basic AdjustmentsDeconstructing the basic adjustments| 00:00 |
If someone were to ask me, hey Chris, what
is the most important part of Camera Raw?
| | 00:05 |
Without skipping a beat, I would say, the
basic panel.
| | 00:08 |
The basic panel is where you'll spend the
majority of your time in Camera Raw.
| | 00:12 |
This is where you'll correct and enhance
your photographs in really significant
| | 00:16 |
ways.
Therefore, it's incredibly important to
| | 00:19 |
understand how all of these different
controls work.
| | 00:22 |
And when you work in the basic panel,
often you start in the top, and you work
| | 00:25 |
with white balance.
And then you make your way down to these
| | 00:28 |
controls here, and that's what we're
going to focus in on in this chapter.
| | 00:32 |
And in this first movie, I've opened up a
demo file.
| | 00:36 |
This is a grayscale.
And here you can see, I've named these
| | 00:39 |
different areas of the grayscale.
And I've done that so that we can start to
| | 00:43 |
work with these sliders, and deconstruct
and figure out how these sliders will
| | 00:46 |
affect our photographs.
Now, everything that we learn here we'll
| | 00:50 |
be able to apply to photographs later.
Yet, I find that it's helpful to work on
| | 00:54 |
an image which isn't a photograph first,
so that we can understand the sliders and
| | 00:58 |
then apply that to our photographs later.
So let's walk through all of these
| | 01:03 |
controls starting off at exposure.
You can think of exposure as the king of
| | 01:08 |
the group.
This control allows you to make dramatic
| | 01:11 |
adjustments.
Click and drag to the left and the image
| | 01:14 |
becomes completely darker almost
completely black.
| | 01:17 |
Click and drag to the right and the image
becomes brighter almost completely pure
| | 01:21 |
white, so here with exposure.
We can make subtle adjustments by using it
| | 01:26 |
in small ways, or we can make really
dramatic adjustments as well.
| | 01:30 |
And then we have the Contrast slider,
which as the name implies, suggest that we
| | 01:34 |
can increase or decrease the contrast in
our photographs.
| | 01:38 |
As I drag this to the right, you can see
that it creates more difference, so that
| | 01:41 |
my whites are whiter and blacks are blacker.
| | 01:44 |
It creates more differentiation between
these different tones.
| | 01:47 |
If we click and drag this to the left,
well that just evens everything out it
| | 01:50 |
creates a more even toned image and here
typically when we work on our photographs.
| | 01:56 |
We'll use contrast by dragging it the
right in order to increase the contrast a
| | 02:00 |
bit, because that typically increases
visual interest.
| | 02:04 |
Next, we have a slider which is called Highlights.
| | 02:07 |
In order to illustrate how Highlights
work, what I'm going to do is turn on the
| | 02:10 |
clipping indicator for the highlights.
You can find this at they op of the
| | 02:14 |
histogram.
When you turn on that indicator, it will
| | 02:17 |
show you the area in your image where you
have lost of detail.
| | 02:21 |
This is the brighter area in the photograph.
| | 02:23 |
If I drag the exposure slider to the right
you can that we'll have a larger area
| | 02:27 |
where we have loss of detail.
Now, how then does highlights work with
| | 02:31 |
this area of our photograph...
But what it does is it cleans up that area
| | 02:35 |
a bit, helps us to fix that problem, drag
this to the right.
| | 02:40 |
You can see that it's making those
highlights even brighter.
| | 02:42 |
Drag this to the left, and it's almost
like it's mopping up the mess, taking care
| | 02:45 |
of all of the clipping that we have in
that area.
| | 02:49 |
So what highlights does, is it targets the
brightest tones in our image.
| | 02:53 |
Here, let me turn off the clipping
indicator, so that we can see it without
| | 02:56 |
that.
In this case, it's a little bit more
| | 02:59 |
subtle, isn't it?
You can't even really notice it.
| | 03:01 |
Yet, what you'll discover in your
photographs, is that you'll have certain
| | 03:04 |
areas which are too bright.
Well here, you can darken them by dragging
| | 03:08 |
this to the left.
Or maybe you want to add a little bit of
| | 03:10 |
punch to the brighter areas in your picture.
| | 03:13 |
Well again, click and drag to the right in
order to brighten those up.
| | 03:16 |
Let me reset those sliders by
double-clicking them, and let's make our
| | 03:19 |
way down to our shadows.
Well, the shadow slider I like to think of
| | 03:23 |
as kind of a friendly slider, because this
will bring light into the shadow areas
| | 03:27 |
here.
Because often in photography, we'll have
| | 03:30 |
light in the shadows which just isn't
bright enough, so often we'll use a
| | 03:34 |
reflector to bounce light into those areas.
| | 03:37 |
And that's exactly what this slider does.
Here as I drag it to the right, you can
| | 03:41 |
see how it's bringing up the brightness in
this area of the photograph.
| | 03:45 |
Drag it to the left I can also darken that down.
| | 03:47 |
Next, we have a slider which is called Whites.
| | 03:51 |
This slider allows to deal with the
brighter tones that we have in the image.
| | 03:55 |
Whereas the highlights really focuses in
on the brightest tones.
| | 03:58 |
Whites works in this area here.
Now with all of these sliders I'm
| | 04:01 |
exaggerating a bit, and it will affect
other areas of the photograph.
| | 04:05 |
But notice how primarily it's working on
the upper area of this gray scale.
| | 04:10 |
Well next, what about Blacks?
Well, Blacks has to do with our deepest
| | 04:13 |
tones in the grayscale or in our photographs.
| | 04:16 |
As we drag this to the left, those become
deeper and darker.
| | 04:19 |
Drag this to the right and we can bring
some more light into those dark areas of
| | 04:22 |
our picture.
So, blacks works on the very darkest
| | 04:26 |
tones, whereas Highlights works on the
very brightest tones.
| | 04:30 |
So you can think of Highlights and Blacks
as almost opposites than shadows and
| | 04:34 |
whites.
Well, they work in the middle area, in
| | 04:37 |
this part of the area of our photograph.
Well, now that we know a little bit about
| | 04:41 |
these sliders, let's take a look at how we
can start to use the sliders in order to
| | 04:44 |
improve our photographs.
And let's do that in the next movie.
| | 04:49 |
| | Collapse this transcript |
| Correcting exposure| 00:00 |
It's one level of skill or knowledge to be
able to move a slider and to see something
| | 00:03 |
change and to make an improvement.
It's a whole another level to really
| | 00:08 |
understand what's going on.
And what I want to do here is build upon
| | 00:11 |
our understanding that we gained in the
previous movie, when we worked on a demo
| | 00:14 |
file.
And here, I want to look at how we can
| | 00:17 |
improve the exposure in this photograph.
Before we start to work with all of our
| | 00:20 |
different sliders here, let's take a look
at the histogram.
| | 00:23 |
Now the histogram is a visualization of
the data that we have in our photograph.
| | 00:28 |
Here you can see that the majority of the
image is dark.
| | 00:31 |
It's a little bit underexposed.
We do have a spike of brightness over
| | 00:34 |
here.
And that's the sky and the ocean in the
| | 00:37 |
background.
And this is a portrait of a surfer that I
| | 00:39 |
captured down at a local beach.
I was using natural or available light.
| | 00:44 |
Now the way that the eye sees this picture
is different from the way that the camera
| | 00:48 |
recorded it.
And what happened here is that it got good
| | 00:51 |
detail in the sky and the background, but
the subject is just too dark.
| | 00:55 |
So we need to brighten up our overall exposure.
| | 00:58 |
We also need to work on our shadows.
Let's start to work with these sliders.
| | 01:02 |
The first slider that you'll most likely
work with is Exposure.
| | 01:05 |
As we click and drag this to the right,
take a look at the histogram.
| | 01:08 |
Notice how it's remapping the tones here
that we have.
| | 01:11 |
As we exaggerate this, you can see that
now the image only has detail up in these
| | 01:14 |
brighter tones.
There aren't any true deep dark tones
| | 01:17 |
here.
Now you don't need to look at the
| | 01:20 |
histogram to tell you that the photograph
looks bad or that you've gone too far.
| | 01:24 |
Yet still, let's start to take a look at
the connection between how we modify our
| | 01:27 |
photograph and how the histogram displays
the way it looks.
| | 01:31 |
In this case, let's bring this back down
to the default setting, and then just
| | 01:34 |
nudge this up a bit to the right.
After having done that, one of the things
| | 01:38 |
that's happened is that it's over bright
in a part of the image, the sky and the
| | 01:41 |
ocean in the background.
Well, we can target that area by using the
| | 01:46 |
Highlight slider.
So here if we drag to the right, we can
| | 01:49 |
brighten that up.
If we drag to the left, we can darken that
| | 01:52 |
down.
And take a look at the histogram, as I
| | 01:54 |
make these over-exaggerated adjustments.
Notice how it's bringing some of that
| | 01:58 |
detail back down in the photograph and
changing the way the histogram appears.
| | 02:02 |
So in this case, we want to drag to the
left a little bit so we have a bit more
| | 02:04 |
detail in the background.
So far so good.
| | 02:08 |
Well, now back to our subject.
Our subject is in the shadows a bit.
| | 02:12 |
So, here we use the Shadows slider.
Again, when you're getting familiar with
| | 02:15 |
the sliders, you want to exaggerate.
Click and drag one way, so you can see how
| | 02:19 |
you can darken that area.
Or click and drag another way to brighten
| | 02:22 |
that up.
Now, very rarely do you use movements
| | 02:25 |
which are that extreme.
Yet still, it'll help you become familiar
| | 02:28 |
with how these sliders work and what area
of the photograph it can help you to
| | 02:32 |
target.
With this image, we want to brighten up
| | 02:35 |
some shadows we want to bring in a little
more light into that area.
| | 02:38 |
Well, after having done that, we can work
on our whites.
| | 02:41 |
What this will allow us to do is to
brighten our image in a little bit more of
| | 02:44 |
a subtle way without overexposing it or
going over the top.
| | 02:49 |
If I were to compare the difference, say
between whites and exposure to tools.
| | 02:53 |
Well, I'd say exposure is like a
sledgehammer, where whites is like a
| | 02:56 |
little teeny finishing hammer that you
might use in order to put a nail in a wall
| | 02:59 |
in order to hang up a frame or a picture
on your wall.
| | 03:03 |
So it's a little bit more of a delicate
tool, which, in this situation, is
| | 03:07 |
perfect.
Next we have our blacks.
| | 03:10 |
Here we can darken those up, or we can
brighten them as well.
| | 03:13 |
And as we make these adjustments, what we
might want to do is revisit some of the
| | 03:17 |
other sliders.
For example, we could increase the
| | 03:21 |
Contrast or decrease that.
In this case, I just want to increase it
| | 03:24 |
just a few points.
After having jumped through all of these
| | 03:28 |
different sliders an made these
adjustments in a relatively short amount
| | 03:31 |
of time, we're ready to evaluate how we've done.
| | 03:34 |
To do that, we'll press the P key, or
click on the Preview checkbox.
| | 03:39 |
When you click on the Preview checkbox,
you can see here's the before, the
| | 03:41 |
original image, and then here's the after.
And it's almost like we've just turned on
| | 03:46 |
the lights and the photograph looks so
much better.
| | 03:49 |
We can use these adjustments here in order
to correct and enhance our photographs in
| | 03:52 |
some really hands-down, just phenomenal ways.
| | 03:55 |
Yet more importantly than just moving
these sliders, I hope that you're starting
| | 03:59 |
to build up an understanding of how these
sliders work because, as you and I know,
| | 04:02 |
not every image is the same.
Well, now that we've started to take a
| | 04:07 |
look at how we can work with these sliders
on an image, let's continue to explore how
| | 04:11 |
we can work with these sliders on other
photographs and let's do that in the next
| | 04:14 |
few movies.
| | 04:17 |
| | Collapse this transcript |
| Automatically correcting exposure| 00:00 |
Now that we've started to develop a good
working understanding of how we can use
| | 00:03 |
the basic panel controls in order to
improve exposure.
| | 00:07 |
Now, it's time for a bit of a detour.
And here in this detour, we're going to
| | 00:11 |
take a look at how we can make some
automatic corrections.
| | 00:14 |
We'll be working with this photograph.
And you know, one of the things that
| | 00:17 |
connects all of us photographers together
is the common ground that we all make
| | 00:21 |
mistakes.
And with this photograph, I completely
| | 00:24 |
made a mistake with my exposure.
The image is overexposed.
| | 00:28 |
Rather than starting to work through these
sliders in order to correct the exposure,
| | 00:32 |
what I want to do is use the automatic corrections.
| | 00:35 |
And with this image, while I made a
mistake in regards to my exposure,
| | 00:38 |
fortunately, I captured this image in RAW mode.
| | 00:42 |
When you have a RAW file, it gives you a
lot more latitude in regards to how you
| | 00:45 |
can recover detail or correct exposure.
So here, again, rather than working with
| | 00:50 |
the sliders, I'm going to simply blindly
click Auto.
| | 00:53 |
Now, in doing that, you can see that
Camera Raw did a phenomenal job at
| | 00:57 |
correcting the photograph.
And that's one of the benefits of using
| | 01:01 |
Auto.
Often, you can use Auto as a starting
| | 01:03 |
point, yet I wanted to show you Auto a
little bit later, so that you have a good
| | 01:06 |
working understanding of how you can start
off with Auto and then push the image a
| | 01:10 |
little bit further.
For example, let's first press the p key
| | 01:15 |
to see the before and after.
Here's the before, and then there's the
| | 01:18 |
after.
Also zoom in on the image a little bit, so
| | 01:20 |
that we can see this a bit more close.
Again, here's our before, and after.
| | 01:25 |
All right, the photograph definitely looks
a lot better.
| | 01:28 |
Well, next what I want to do is warm the
image up a little bit.
| | 01:30 |
So, I'll just click and drag this to the
right, just a touch in order to change the
| | 01:33 |
overall color temperature.
Then, I may want to modify some of my
| | 01:36 |
other sliders as well.
In regards to the exposure, well I could
| | 01:39 |
brighten that up a little bit or perhaps
bring the highlights back down.
| | 01:43 |
And in this way we can go through these
sliders, now that we understand how they
| | 01:46 |
work, and customize the way that the image appears.
| | 01:49 |
Because when it comes to processing your
photographs, you want to have full
| | 01:53 |
control.
And you want to have a good working
| | 01:55 |
understanding of how you can use these sliders.
| | 01:58 |
That's again why I wanted to show you auto
after we really took a look at how all of
| | 02:01 |
these sliders work so that we're clicking
that button intelligently.
| | 02:06 |
So that we can start to see how camera RAW
worked to save the exposure in this image.
| | 02:11 |
And then we can further customize that in
order to change the overall look of the
| | 02:14 |
photograph.
And here I'll just create a bit of a
| | 02:16 |
darker look and I'll darken up those
highlights even more.
| | 02:19 |
Then I'm going to bring some more yellow
into the photograph as well.
| | 02:23 |
In this way I can just customize the
overall look of the image.
| | 02:26 |
And I can use Automatic as a starting point.
| | 02:29 |
Let's look at our overall before and after.
| | 02:31 |
Press the P key, here's before.
Press the P key again and here's after.
| | 02:36 |
This is one of those examples where you
say, thank you Camera Raw.
| | 02:39 |
Camera Raw really came through.
It saved the day.
| | 02:42 |
And it saved the day because this image
was captured in raw mode versus JPEG.
| | 02:47 |
If it was a JPEG, it wouldn't have the
ability to recover as much detail and have
| | 02:51 |
the image look as good as it does.
| | 02:54 |
| | Collapse this transcript |
| Making exposure enhancements| 00:00 |
So far in this chapter, we've looked at
how we can work with our basic controls in
| | 00:03 |
order to improve exposure, and we've been
introduced to how we can take advantage of
| | 00:07 |
making automatic corrections in Camera Raw.
| | 00:11 |
Well here with this image, let's explore
how we can bring both of those things
| | 00:14 |
together.
Starting out with automatic and then
| | 00:17 |
finishing the image by customizing our
sliders in order to change the look and
| | 00:21 |
exposure in this photograph.
Now, for the most part the exposure in
| | 00:25 |
this image is pretty good.
And if we double-click the Zoom tool in
| | 00:28 |
order to zoom in to 100%.
One of the things that we'll discover is
| | 00:31 |
that one side of the face is much brighter
than the other.
| | 00:35 |
What I want to do is even that out on the
face, an in the rest of the image.
| | 00:40 |
Here I'll go ahead and zoom out a little bit.
| | 00:41 |
One of the ways that you can do that, is
to click on the minus icon, in the lower
| | 00:44 |
left-hand corner.
Then, you can press the Spacebar key to
| | 00:48 |
access the Hand tool.
And then, click and drag in order to
| | 00:51 |
reposition the photograph.
With this image, the exposure is actually
| | 00:55 |
pretty good.
We have detail in the highlights, the
| | 00:58 |
shadows aren't too dark, but again, I want
to change the look.
| | 01:01 |
And I want to do that by starting off with auto.
| | 01:04 |
Now, here when we click on auto, what
we'll discover is that we have much better
| | 01:07 |
detail on this side of the face.
Yet, the image just looks a little bit too
| | 01:11 |
flat and uninteresting.
When I click on the Preview check box, you
| | 01:14 |
can see there's the before now here's the after.
| | 01:17 |
It did do a good job at sort of evening
out the exposure.
| | 01:21 |
But I want to have a little bit more
visual interest.
| | 01:24 |
So in order to change that, I start to
work with the sliders.
| | 01:27 |
One of the things that I've noticed is
that the image is just a bit too dark,
| | 01:30 |
there's too much density in the photograph.
| | 01:33 |
I want to brighten it up.
And I want to do this just to change the
| | 01:36 |
overall feel in the photograph.
So here, I'll go ahead and bring up my
| | 01:39 |
exposure slider, and then bring this up
until I have a brightness value that I
| | 01:41 |
like.
In this case, as I brighten up the
| | 01:44 |
photograph, I notice that I've also
over-brightened the highlights.
| | 01:48 |
So, no big deal,we know how to correct that.
| | 01:51 |
We can go to our highlight slider.
Here in the highlight slider, I'll click
| | 01:55 |
and drag this to the left.
In doing that, you can see that we can
| | 01:58 |
brighten or darken those brighter areas in
the photograph, and in this case, I'm
| | 02:01 |
going to darken those up significantly yet
while still having a nice, bright
| | 02:04 |
photograph.
Next, we can work on some other areas of
| | 02:09 |
our picture as well.
Now that the image is brighter I feel like
| | 02:12 |
it's lacking a little bit of contrast.
It's almost like it looks a little bit too
| | 02:17 |
even.
So here, rather than having a negative
| | 02:19 |
contrast amount I'm going to bring back
some of the original contrast and even add
| | 02:23 |
just a little bit more.
And I want to do this because I want to
| | 02:27 |
have a little bit of that snap or contrast.
| | 02:30 |
Sometimes if a photograph is too even it
will just look a bit dull, so again here
| | 02:34 |
I'm just bringing up my contrast.
Another way to add some visual interest
| | 02:38 |
might be to deepen the blacks.
Here we can click and drag this to the
| | 02:42 |
left.
By doing that you can see that it's just
| | 02:44 |
darkening up those blacks there.
I'll just bring this down a touch as well.
| | 02:48 |
Now in doing that, hopefully what you're
starting to see is that we have a very
| | 02:51 |
different look.
In order to see the before and after, I'll
| | 02:54 |
click on the Preview check box.
Here's the original file, and then click
| | 02:58 |
again, and now here you can see the after.
And in this way, you can see that it was
| | 03:02 |
helpful to start off with auto.
But auto just didn’t cut it.
| | 03:06 |
What we needed to do is to use the
knowledge that we have of these various
| | 03:09 |
controls and then customize them in order
to create a better look in this
| | 03:13 |
photograph.
Now in order to compare this to auto, I’m
| | 03:17 |
going to go ahead and click on the auto
button here and this will bring this back
| | 03:20 |
to the auto settings which we first
started with.
| | 03:23 |
Well, here they are.
Again, it’s a bit too dull and lifeless,
| | 03:27 |
so I’ll press Cmd+Z on a Mac Or Ctrl+Z on
Windows, to undo those auto settings an to
| | 03:31 |
go back to my settings.
And then here of course we could further
| | 03:35 |
customize these in order to dial this in,
exactly how we want it.
| | 03:39 |
And sometimes what you have to do is just
finesse it in order to get it just right.
| | 03:43 |
Let's zoom out a little bit so we can see
the whole image, and here I'll click on
| | 03:46 |
the preview checkbox.
There's before and then now here is after.
| | 03:51 |
It's a bit more subtle, and in this
situation I think it matches this overall
| | 03:54 |
natural light look that we have here,
rather then trying to remove that look
| | 03:58 |
completely.
It corrects a better exposure for this
| | 04:02 |
lighting environment, while still
maintaining the characteristics and the
| | 04:05 |
qualities of that light.
It's always helpful to take a look at that
| | 04:09 |
before and after view one more time.
Here it is, our overall before, and then
| | 04:13 |
now, our after.
And perhaps most importantly in this
| | 04:17 |
movie, is this concept that we can start
off with this automatic correction.
| | 04:21 |
And then, because we have a good
understanding of how all of these sliders
| | 04:24 |
work we can then customize them further.
In order to make an exposure correction to
| | 04:30 |
our photograph that suits our vision and
needs.
| | 04:34 |
| | Collapse this transcript |
| Recovering highlight and shadow detail| 00:00 |
As we've discovered in this chapter
Chimera provides us with a lot of
| | 00:03 |
flexibility and control using these
controls which we encounter in the basic
| | 00:07 |
panel.
Well we've talked about how we can use the
| | 00:11 |
sliders and controls and I've also
highlighted how we can advantage of making
| | 00:14 |
automatic corrections, and how sometimes
these automatic corrections can finish our
| | 00:18 |
image off or just a be a good starting
point for how we can then further process
| | 00:21 |
or work on our photographs.
Well next I want to take a look at a few
| | 00:27 |
images where auto image correction just
doesn't work and then I want to look at
| | 00:31 |
how we use the sliders to make a note of
some corrections.
| | 00:35 |
Now here, before we begin, I want to
remind you that you can turn on what we
| | 00:38 |
call clipping indicators.
You can do so by clicking on these icons
| | 00:42 |
here, and these icons allow us to view if
there's any clipping or loss of shadows
| | 00:46 |
here or any loss of highlights of this one here.
| | 00:51 |
So go ahead and click on those two icons
in order to turn those on.
| | 00:54 |
Well with this photograph, it's showing us
that we have overexposure in the
| | 00:58 |
background.
Now, our darkest tones right here, they're
| | 01:01 |
just fine.
So in situations like this, we might be
| | 01:04 |
tempted to click on the Auto button.
Yet in doing that, what it would do is it
| | 01:08 |
would correct the overexposure, it would
darken the most important part of the
| | 01:12 |
photograph.
And that is the subject here.
| | 01:16 |
You have to keep in mind that Automatic
doesn't know what's inside of the picture,
| | 01:19 |
rather it simply knows the values, the
brightness or the darkness values in the
| | 01:23 |
photograph.
So, in this case it just doesn't work at
| | 01:27 |
all.
So here, I'll go ahead and click Default
| | 01:29 |
to bring this back to the default settings.
| | 01:31 |
Well, we obviously have a bit of a
highlight issue.
| | 01:34 |
No big deal.
We can correct that using the highlight
| | 01:37 |
slider.
Here I’ll click and drag that to the left
| | 01:39 |
in order to correct that part of the photograph.
| | 01:41 |
Next we can brighten up the image using
the exposure slider.
| | 01:44 |
In doing that, we also bring back more of
this clip in here.
| | 01:47 |
Again, no big deal.
We can correct that using our Highlights
| | 01:50 |
slider.
And in this way, what we can do is we can
| | 01:53 |
start to work on our image so that we can
correct any of those problematic areas.
| | 01:58 |
Now if there are a few areas that you just
can’t get to, that’s okay.
| | 02:02 |
We can have a little bit of loss of detail there.
| | 02:04 |
Next what I want to do, is bring up some
of the light there in the shadows, so I'll
| | 02:07 |
bring up some more light in my shadows.
I'll increase the overall contrast a touch
| | 02:11 |
as well, and then darken the blacks.
In this way, I'm just moving through these
| | 02:15 |
sliders, making a few subtle adjustments.
Starting off with exposure, and then
| | 02:19 |
working on highlights.
And then going back and forth between
| | 02:22 |
these two, bringing a little light up
there in the shadows.
| | 02:25 |
And then also darkening the blacks.
In this case, if we click on our Preview
| | 02:29 |
checkbox, you can see, there's our before.
Let's turn off those indicators because
| | 02:33 |
that's a little distracting, and then
click on this again.
| | 02:36 |
And here's the after.
Now the subject looks a lot better in this
| | 02:39 |
photograph.
We can really focus in on her there.
| | 02:41 |
In this case, we've made some subtle, yet
very significant adjustments to the
| | 02:45 |
photograph.
In contrast, the automatic corrections,
| | 02:49 |
those were just too dramatic.
And also, they kind of detracted away from
| | 02:53 |
the focus in on the subject.
So again learning how to use these
| | 02:57 |
controls is half the battle.
The other half is knowing how to use these
| | 03:01 |
controls in order to clarify your vision
for the photograph.
| | 03:05 |
Let's look at one more example, this one here.
| | 03:07 |
Again with this portrait we'll go ahead
and try out Auto.
| | 03:10 |
When I click on Auto, what it does is yes,
it deals with a bit of that auto-exposure
| | 03:14 |
in certain areas, but now the image is
just too dark and too dense.
| | 03:18 |
So I'll click Default in order to undo that.
| | 03:21 |
With this image, I'm going to brighten up
the exposure here.
| | 03:24 |
Then, I'll decrease my Highlight slider so
that I can darken some of those brighter
| | 03:27 |
tones.
Add a little bit of contrast, perhaps
| | 03:30 |
bring up the shadows a bit.
Just modify a few of these sliders in
| | 03:33 |
order to customize them.
If we zoom in on the image by selecting
| | 03:37 |
the zoom tool and then clicking in a
little bit so we can see this up close,
| | 03:39 |
here we can see our before and after.
Well here’s before and then here’s after.
| | 03:45 |
Again, these are pretty subtle adjustments
but sometimes it’s the subtle adjustments
| | 03:49 |
which help us to improve our photographs.
We brought back important detail, here.
| | 03:54 |
And again, this image sort of maintains
the original characteristic qualities of
| | 03:58 |
the light.
And it looks natural and inviting.
| | 04:01 |
And we're able to modify the image using
our knowledge of these slider in order to
| | 04:05 |
make some helpful corrections.
And in both scenarios, Automatic, well it
| | 04:09 |
just didn't work, and you know sometimes
that happens.
| | 04:12 |
That's why we need to know how to use
Auto, and we also need to know how to use
| | 04:16 |
these controls independently so that we
can then use them in order to correct and
| | 04:19 |
improve our photographs.
| | 04:22 |
| | Collapse this transcript |
| Basic adjustments speed tip| 00:00 |
One of the things that I love about
photography is that it allows you to save
| | 00:04 |
and to savor those memories and
experiences of life.
| | 00:08 |
Like with this photograph here, I love
looking at it because I was standing
| | 00:11 |
there.
And it makes me remember that snow camping
| | 00:13 |
trip.
How we hiked along this frozen river here,
| | 00:16 |
high up into the Sierra mountains.
And when I opened up this image on my
| | 00:20 |
computer, I was excited.
Because I was reliving that moment.
| | 00:24 |
But then, I also realized that it was a
bit underexposed.
| | 00:28 |
Now sometimes you can be caught up in the
moment of the photograph that you neglect
| | 00:31 |
to realize things like exposure.
That's where the histogram can help out.
| | 00:36 |
Notice that the histogram is leaning over
here to the left.
| | 00:39 |
There aren't any true bright white tones
here in this photograph.
| | 00:42 |
So obviously, I know that I need to
brighten this image up.
| | 00:46 |
And rather than simply using the automatic
corrections, what I often like to do is to
| | 00:49 |
make my way through the various controls,
starting off with the adjustments which I
| | 00:53 |
think need the most help.
In this case, I know that I need to
| | 00:57 |
increase the exposure.
So here I'll click and drag the exposure
| | 01:01 |
slider to the right.
In doing that, we can see the histogram
| | 01:04 |
shift over to the right, so that we have a
brighter image and also so that the image
| | 01:07 |
looks a lot better.
Now whenever you're brightening up your
| | 01:12 |
photograph and when you're using these
sliders, it's always a good idea to turn
| | 01:15 |
on your clipping indicators.
You can do so by clicking on these icons
| | 01:19 |
here.
Now if you want to be an advanced user,
| | 01:22 |
you can also use a shortcut to turn those
on and off.
| | 01:26 |
To turn on and off the shadows clipping
indicator, it's the U key.
| | 01:30 |
So just tap the U key.
You can see that turns that on and off.
| | 01:33 |
To turn on and off the highlights, that"s
the O key.
| | 01:35 |
Now if you don't like shortcuts, no big
deal, just click on the icons in order to
| | 01:39 |
turn those indicators on or off.
In this case as I increase the exposure
| | 01:43 |
the image looks fine, there isn't any
clipping or loss of detail, I'm good to
| | 01:47 |
go.
Here I'll press the Preview button to see
| | 01:50 |
the before.
And then now the after.
| | 01:53 |
All right.
That's more like it.
| | 01:55 |
That's more like the experience of walking
through all of that bright snow and those
| | 01:58 |
beautiful mountains.
Well next, I want to add a little bit of
| | 02:02 |
contrast.
Now contrast is really subjective.
| | 02:05 |
There's some people who like less
contrast, others who like more.
| | 02:08 |
And I know professional or world-renown
photographers who again have different
| | 02:12 |
preferences here.
So as you use this slider keep that in
| | 02:15 |
mind.
It's completely up to you.
| | 02:17 |
Next we have highlights.
Now with this image, we have a lot of
| | 02:20 |
bright tones in the photograph.
Here we can darken those up, or we can
| | 02:23 |
brighten them.
When I darken my highlights, the snow
| | 02:27 |
looks a little too grey.
I want a nice, bright white there, so I'll
| | 02:30 |
go ahead and brighten those up a bit.
Then we have our shadows.
| | 02:34 |
I almost always like to just boost a
little bit of light into the shadows.
| | 02:37 |
So again, I'll just drag that over to the
right here a little bit as well.
| | 02:41 |
Then the whites.
With this image we have a lot of whites
| | 02:44 |
which aren't super bright or.
Super dark.
| | 02:47 |
In other words, this slider is going to
make some significant changes.
| | 02:51 |
If I drag this to the right what we'll
start to see is we can create a lot of
| | 02:53 |
clipping.
If I drag this to the left, well I'm
| | 02:56 |
going to be able to darked up those tones.
So here, I want to drag this to the right,
| | 02:59 |
and I want to do so without creating any
clipping, so I'm looking for that clipping
| | 03:02 |
indicator.
Once I see the clipping indicator, which
| | 03:06 |
is right here at about 51 points, I'm
going to drop back underneath that,
| | 03:09 |
because I want to have good detail in that area.
| | 03:13 |
Making our way through these various
sliders, we're now down to the black
| | 03:16 |
slider.
The black slider often allows you to
| | 03:19 |
create nice, deep density in the black tones.
| | 03:22 |
If we drag this to the left and go too
far, you can see that the blue color is
| | 03:26 |
showing us we have clipping or loss of
detail In those areas.
| | 03:30 |
That obviously isn't good, so here I'll
bring this up until I can see all of those
| | 03:34 |
go away.
Yet still I do like to darken the box a
| | 03:37 |
little bit.
Again, that adds a bit more contrast or
| | 03:40 |
punch or snap to the overall look of the
image, because while I brightened it I
| | 03:44 |
also brightened my darker tones.
So here you can see my exposure went up
| | 03:49 |
but my blacks also went back down.
And with this example what I'm trying to
| | 03:53 |
highlight is how we can start to walk
through these different controls and
| | 03:56 |
target different areas of our image so
that we can improve the overall look and
| | 04:00 |
exposure in our photograph.
All right, well after having made this
| | 04:05 |
walk through, all of these sliders, and
customized those amounts, let's take a
| | 04:07 |
look at the before and after.
Click the Preview checkbox, here's before,
| | 04:12 |
and then press again, now here is the after.
| | 04:16 |
This version of the image replicates more
closely my experience of this event.
| | 04:21 |
And often that's what we're trying to do
here in Camera Raw.
| | 04:23 |
We're trying to reprocess the image so it
matches more closely to the way that we
| | 04:27 |
experience something.
Or perhaps we're trying to use these
| | 04:30 |
sliders in order to convey an idea or emotion.
| | 04:33 |
And as you can see, you can use these
sliders in order to make corrections.
| | 04:38 |
But you can also use them to enhance or
customize the way that your images appear.
| | 04:43 |
| | Collapse this transcript |
|
|
8. Improving Clarity and Vibrance and SaturationDemystifying Clarity| 00:00 |
In this chapter, we're going to focus in
on the controls, which are located in the
| | 00:04 |
lower area of the Basic panel.
Now these controls are all grouped
| | 00:07 |
together, and they're grouped together
intentionally, as you'll discover in the
| | 00:11 |
next few movies.
Yet here, we're going to start off by
| | 00:14 |
focusing in on Clarity.
Clarity allows us to add snap or some
| | 00:17 |
punch to our images.
And it allows us to do this in a very
| | 00:21 |
unique way.
In order to understand Clarity, I find
| | 00:23 |
it's helpful to make a comparison to
Contrast, because Contrast and Clarity,
| | 00:27 |
they're friends or relatives and they work
in very similar ways.
| | 00:31 |
Let's for example compare these two to
kitchen knives.
| | 00:35 |
If you're chopping vegetables for dinner,
contrast is the kitchen knife which allows
| | 00:38 |
you to chop through the big vegetables,
because that allows you to make bigger
| | 00:41 |
adjustments to your image.
Clarity on the other hand, that's the tool
| | 00:46 |
that you reach for when you want to make
smaller more precise adjustments.
| | 00:50 |
So, let's compare the two.
When we work with Contrast, we can click
| | 00:53 |
and drag to the right to increase the
contrast or drag to the left to decrease.
| | 00:57 |
This makes some pretty big adjustments.
If you focus in on the histogram as I drag
| | 01:01 |
the slider, you can see that it's moving
the overall tonal values in pretty
| | 01:04 |
significant ways.
Well how, then, does that compare to
| | 01:08 |
Clarity?
Well, here I'll exaggerate the clarity
| | 01:10 |
amount and I'll bring this to the right,
and then I'll also bring this to the left.
| | 01:14 |
Notice that rather than sliding those
values around, it's lifting them up or
| | 01:17 |
down in the histogram.
And what's happening to the photograph?
| | 01:21 |
Well, when we drag this to the right, it
allows us to add some snap or some
| | 01:24 |
mid-tone contrast to our image, and this
can give us this little bit of an extra
| | 01:28 |
punch.
Now, both of these controls also affect
| | 01:32 |
color.
We'll talk more about that later, but what
| | 01:35 |
you can do is you can increase the clarity
amount in order to add a bit more visual
| | 01:38 |
interest in Photoshop in regards to adding
some contrast.
| | 01:43 |
Here, I'll click on the Preview checkbox,
so you can see the before and then now,
| | 01:46 |
the after.
In Contrast, a negative clarity amount,
| | 01:49 |
that allows us to soften the image a bit.
When we exaggerate, you can see here that
| | 01:54 |
the image just looks kind of smudgy and strained.
| | 01:57 |
When you work with Clarity, it's pretty
rare that you'll bring it to extremes.
| | 02:00 |
Typically, what you'll do is bring it up a
bit and bring it down just a touch.
| | 02:05 |
Again, it depends upon the photograph.
With this action sport surf photo here,
| | 02:09 |
what I want to do is add a little punch,
so I’ll drag this to the right.
| | 02:13 |
Well now that we've seen how this works on
an image, let me open up this demo file.
| | 02:18 |
I have this demo file here because
sometimes it’s helpful to look at how we
| | 02:21 |
can modify something which isn't a
photograph, to really understand what’s
| | 02:24 |
happening.
In regards to the clarity slider, as I
| | 02:28 |
drag this to the left, we can see that the
image becomes softer.
| | 02:32 |
Let me zoom in even closer.
This is an image which I created.
| | 02:35 |
It's a gray scale photograph, and I just
posterized it so you can see all the
| | 02:38 |
little steps, or variations, between white
all the way down to black.
| | 02:43 |
Now, when I increase the Clarity slider,
you'll notice that it's as if those
| | 02:46 |
ridges, or those little steps between
these different tones become more defined.
| | 02:51 |
Here's before, and then here's after.
So, again, it just defining this region in
| | 02:55 |
here by adding more contrast to that part
of the photograph.
| | 03:00 |
In comparison, if we look at Contrast,
what that does is it makes whites whiter,
| | 03:03 |
and then it makes the blacks blacker, or
vice versa.
| | 03:06 |
It increases variation between those tones
or decreases variation between those
| | 03:10 |
tones, depending on how we move the slider.
| | 03:13 |
So, Clarity really allows us to increase
the overall sort of texture or midtone
| | 03:17 |
contrast in our photographs.
Now, it's not that you'll use Clarity by
| | 03:21 |
yourself.
Often, you'll work with Clarity in
| | 03:23 |
combination with some of your other
controls, as well.
| | 03:26 |
Yet it’s one of those adjustments that you
can use in order to add a little bit of an
| | 03:29 |
extra snap or punch to your photographs.
Now, that we've been introduced to the
| | 03:34 |
concept of working with Clarity, let’s go
ahead and take a look at how we can apply
| | 03:37 |
this knowledge to a few images.
And let’s do that in the next movie.
| | 03:42 |
| | Collapse this transcript |
| Increasing Clarity| 00:00 |
At first glance, the Clarity adjustment
slider seems to be pretty simple and
| | 00:03 |
straightforward.
Yet as you start to work with it more,
| | 00:06 |
what you'll discover is that Clarity
allows you to add midtone contrast or a
| | 00:09 |
bit of punch or snap to your photograph.
But it also affects the color as well.
| | 00:15 |
I want to start to take a look at how we
can work with clarity, and how we can
| | 00:18 |
discover how sometimes clarity can
decrease color in an interesting way.
| | 00:22 |
We'll start off with this photograph here
then we'll also look at a landscape
| | 00:26 |
picture as well.
In this photograph, what I want to do is
| | 00:29 |
increase the overall clarity, and here I'm
going to exaggerate this in order to
| | 00:32 |
illustrate a point.
I'll take the clarity all the way up to
| | 00:36 |
100.
Now after having done that, you can see
| | 00:38 |
that we have a very distinct and very
different look.
| | 00:42 |
Now, try to hold off on evaluating this,
whether you like it or not.
| | 00:45 |
Let's simply try to define what's happening.
| | 00:47 |
Well, obviously we have more mid tone
contrast, but we also have a lot of
| | 00:51 |
desaturation.
Here, when we click on the preview check
| | 00:55 |
box, you can see here's the before, and
then now here's the after.
| | 00:59 |
Well, how then does that compare, say, to contrast?
| | 01:01 |
Well double-click the slider to bring that
to zero.
| | 01:04 |
Next, I'll increase the contrast,
exaggerating this, and bringing this up to
| | 01:08 |
100.
It adds more contrast and color
| | 01:10 |
saturation.
Here we can click on the checkbox to see
| | 01:13 |
the before, and then now the after.
So while contrast, adds color, increased
| | 01:18 |
clarity actually, decreases color.
Now that we know how that works, we can
| | 01:22 |
use that to our advantage.
Here, I'll double-click the slider, in
| | 01:26 |
order to reset my contrast back to zero.
Let's say that we want to add a little bit
| | 01:30 |
of clarity to this image.
Here, I'll click and drag the slider over
| | 01:33 |
to the right, adding a bit of midtone
punch, yet I don't necessarily want this
| | 01:37 |
desaturated look.
Now this look works well with certain
| | 01:40 |
images, but with this photograph, I don't
really like it.
| | 01:43 |
So, in order to bring back some of the
original color, you can use our vibrant in
| | 01:48 |
saturation sliders.
Here I'll simply increase my saturation a
| | 01:52 |
little bit in order to bring back some of
the color.
| | 01:55 |
I can also bring back some color with
vibrant as well.
| | 01:58 |
Well now, when I click on the preview
check box, you can see, here's the before,
| | 02:01 |
and then now, here's the after.
The color is pretty close to the original
| | 02:05 |
color, it will never be exactly the way it was.
| | 02:08 |
Yet most importantly, this is illustrating
the point, that as we increase clarity.
| | 02:13 |
We also can lose a little bit of color.
Well, that isn't the end of the world
| | 02:17 |
because we can bring back some of our
color using these sliders as well.
| | 02:21 |
Next, let's take a look at a different example.
| | 02:23 |
Here, we'll move to a landscape photograph.
| | 02:25 |
In this case, again, I want to increase my
overall clarity to add a little bit of
| | 02:28 |
mid-tone punch to this photograph.
Here's the before, and then, now, here is
| | 02:33 |
the after.
kind of creates a nice look, doesn't it?
| | 02:36 |
Next I'll increase my saturation to bring
back some of the original color, and maybe
| | 02:39 |
a little bit of the vibrance as well.
Now when I click on the Preview check box,
| | 02:43 |
we can see the before, and now here we can
see the after.
| | 02:47 |
Now, when it comes to how far you bring up
your vibrance and saturation, that is
| | 02:50 |
completely up to you.
Certain images will look interesting with
| | 02:54 |
a bit more saturation, while others will
look good with a bit less.
| | 02:58 |
Yet the idea here that I'm interested in
trying to convey, is that while clarity
| | 03:02 |
does help with adding a bit of mid-tone
contrast, it also does affect the color.
| | 03:07 |
And if you want to try and maintain some
of the color saturation or color variety,
| | 03:11 |
what you can do is you can add some
clarity and then also increase your
| | 03:14 |
vibrance and saturation as well.
Now, later in this chapter, we'll be
| | 03:19 |
getting into how we can work with these
sliders in more detail.
| | 03:22 |
Yet, for now here, we've started to see
how we can use clarity and vibrance and
| | 03:26 |
saturation together in order to create a
unique look in our photographs.
| | 03:31 |
| | Collapse this transcript |
| Understanding Vibrance and Saturation| 00:00 |
Knowing how to work with vibrance and
saturation can help you improve the colors
| | 00:04 |
in your photograph.
And because these sliders are a little bit
| | 00:07 |
complicated, here in this first movie I
just want to introduce you to how you can
| | 00:10 |
start to work with these sliders.
And to do that we'll be working with two
| | 00:14 |
different files.
We'll start off with this photograph of my
| | 00:17 |
daughter here.
And then we'll also work on a demo file.
| | 00:20 |
Now let's begin with saturation, because
that's the easy one.
| | 00:23 |
Click and drag this to the left and the
image appears grayscale, or black and
| | 00:26 |
white.
In this way we can remove color.
| | 00:30 |
Click and drag to the right, and here we
can add color.
| | 00:33 |
Here the image looks over saturated and a
bit crazy.
| | 00:36 |
Yet, what I want to highlight here is that
saturation works in a linear way.
| | 00:40 |
In other words, it takes all the colors in
the image and it says, whatever those
| | 00:43 |
colors are at we either increase or
decrease the amount of the saturation.
| | 00:48 |
Vibrance, on the other hand, it isn't a
linear adjustment, rather it analyzes the
| | 00:52 |
image and it favors certain colors.
Again here, let me illustrate.
| | 00:57 |
Currently, I've a saturation of 100 points.
| | 01:00 |
If I decrease my vibrance, what we'll
notice is that it's removing colors, but
| | 01:04 |
it isn't removing all of the colors, so
what's happening here?
| | 01:08 |
Here you can see the most dominant or the
most saturated colors.
| | 01:11 |
Well, they still remain.
Some of the weaker colors like the blue
| | 01:14 |
here in the overalls, well, that disappeared.
| | 01:18 |
So Vibrance allows us to adjust colors in
a different way.
| | 01:21 |
Let's reset these values by
double-clicking the sliders, and let's
| | 01:24 |
take a look at a demo file in order to
illustrate this further.
| | 01:28 |
Here you can see that I have this blue,
and I have a blue which is saturated, all
| | 01:31 |
the way down to one which is more faint.
Now if we work with saturation we can
| | 01:36 |
click an drag to increase the saturation
of all of these, or decrease the
| | 01:39 |
saturation of all of those.
In other words, wherever the color was, it
| | 01:43 |
was increased or decreased.
Vibrance on the other hand, what it will
| | 01:47 |
do If we drag this to the right, it will
favor these weaker colors.
| | 01:52 |
And it will try to boost those without
affecting the more saturated tones.
| | 01:57 |
Here I'll drag this over to the right, and
what you can see is that it's primarily
| | 02:00 |
affecting those weaker tones, these ones
over here on the right.
| | 02:04 |
If I decrease the vibrance amount, it
worked more heavily on the weaker colors
| | 02:08 |
whereas the more saturated colors where
some of the color there means.
| | 02:14 |
And this is incredibly helpful when it
comes to working with different types of
| | 02:17 |
colors and photographs.
Let's go back to the picture here for a
| | 02:21 |
moment.
For example when we increase the
| | 02:23 |
saturation of this photograph, you'll
notice that the skin tone look a little
| | 02:27 |
bit yellow and strange.
Or I shouldn't say a little bit, it looks
| | 02:31 |
really yellow and really strange.
In contrast, if we were to bring up our
| | 02:35 |
vibrance, what this would do, is it would
increase color saturation and also, color
| | 02:39 |
variety.
So we not only have more color intensity.
| | 02:44 |
We have more color variety, and it would
try to protect certain tones.
| | 02:48 |
In this way you can see that the
skintones, well, they still look good.
| | 02:52 |
Here, I'll click on the Preview checkbox,
I'll show you the before, and now after.
| | 02:56 |
Notice how it's favoring, or helping, the
weaker colors.
| | 03:00 |
Alright, well what does all of this mean,
and how does this relate to us as we work
| | 03:03 |
on our photographs?
Well one of the things that this helps us
| | 03:06 |
to understand is that we can use both of
these sliders together.
| | 03:09 |
When you're working on your photograph,
there isn't one magic bullet tool.
| | 03:13 |
Rather, it's all about understanding all
of these sliders, and then figuring out
| | 03:16 |
how to use them together.
We can use vibrants when we're interested
| | 03:20 |
in bringing out some of those weaker
colors and adding some more color variety
| | 03:24 |
and saturation.
This is really helpful, say, in portraits
| | 03:28 |
or if we have a photograph of a tree with
fall leaves.
| | 03:31 |
This gives more colour saturation to the
weaker tones and more colour variety, and
| | 03:34 |
just makes it more interesting.
Saturation we can use just to boost all
| | 03:38 |
the colours in the picture.
And so here we're discovering how we can
| | 03:42 |
start to use these two sliders together in
order to improve the colour in our
| | 03:46 |
photographs.
| | 03:48 |
| | Collapse this transcript |
| Improving color with Vibrance| 00:00 |
Now that we know a little bit about how to
work with Vibrance and Ssaturation, let's
| | 00:03 |
put our knowledge to work, and let's work
on two different photographs.
| | 00:08 |
This first image I captured in Chinatown
in San Francisco, it's some graffiti on a
| | 00:11 |
wall.
It's really interesting, beautiful,
| | 00:14 |
vibrant colors.
Now, if we want to bring out some more of
| | 00:17 |
the weaker colors in this image.
We know that we can use Vibrance.
| | 00:21 |
By clicking and dragging this to the right.
| | 00:23 |
What it will do is it'll add more color variety.
| | 00:25 |
It also will bring out some of the colors
which are a bit weaker, like the blues in
| | 00:28 |
the background.
Here when we look at the Preview, you can
| | 00:31 |
see the before and after.
It's pretty subtle, so let me exaggerate
| | 00:34 |
this a bit more so you can actually see it.
| | 00:37 |
Now here you can see the before and after.
And notice that while the reds and the
| | 00:40 |
greens do have more color saturation.
It more focused in on the weaker tones,
| | 00:45 |
and again we can see how it Kind of
brought that out.
| | 00:48 |
In contrast, if we increase the color
Saturation, it will bring everything out.
| | 00:52 |
Now, we can see how that is happening here
with this adjustment.
| | 00:56 |
Especially when we see saturation by
itself what we'll start to see is that
| | 00:59 |
it's uniformly effecting the whole image.
So with a photograph like this, what does
| | 01:04 |
it mean?
Well here I'll reset my sliders back to
| | 01:06 |
their Default settings.
This image already has a lot of really
| | 01:09 |
nice color.
So in this photograph I might simply want
| | 01:12 |
to increase the Vibrance.
Then also bring up a touch of Saturation.
| | 01:16 |
In this way I can bring out some color variety.
| | 01:19 |
I also can bring out some of the weaker
tones without over doing it.
| | 01:22 |
Here's the before and then now here's the after.
| | 01:25 |
Again, it's a subtle adjustment but
nonetheless it's significant in bringing
| | 01:28 |
out some of those colors.
Well how then would this relate say to
| | 01:32 |
working on a photograph like this?
This is a picture that was captured by one
| | 01:36 |
of my former students.
Her name's Kara Robbins.
| | 01:38 |
She's a great photographer.
An she captured this photograph of me an
| | 01:41 |
my family here in our backyard.
And with this image, if we look at
| | 01:45 |
Vibrance and Saturation, we can see
something really interesting.
| | 01:48 |
If we increase the overall Saturation,
notice how the color,or the skin tone, in
| | 01:52 |
the face doesn't look very good.
In contrast, if we increase the Vibrance,
| | 01:57 |
and again exaggerate here, you'll notice
that the skin tones still look relatively
| | 02:00 |
good.
So in this case, what I want to do with
| | 02:04 |
this photograph is I realize that the
image is a little bit lifeless, it needs a
| | 02:07 |
bit more color.
So, in order to add color when you have a
| | 02:11 |
photograph which includes a person, you
often start off with Vibrance.
| | 02:16 |
Increase the Vibrance so that you don't
oversaturate the skin tones.
| | 02:20 |
This is incredibly helpful.
Then, you can also bring up some
| | 02:23 |
saturation as well in order to bring up
the overall color.
| | 02:26 |
And in this way vibrance is sort of
leading saturation along.
| | 02:30 |
They're both climbing up to the right here.
| | 02:32 |
Yet we're increasing Vibrance more than we
are saturation.
| | 02:35 |
Next we want to experiment a little bit
with these until we get it just right.
| | 02:39 |
And then of course what you want to do is
you want to press the P key to look at
| | 02:42 |
your before, and then press the P key
again to see the after.
| | 02:46 |
Again, it's a subtle adjustment, but
nonetheless, it helped us to improve the
| | 02:49 |
color in this photograph.
In most situations, this is how you'll
| | 02:53 |
work with Vibrance and Saturation.
Yet in other situations, you may want to
| | 02:57 |
create a little bit more of a different
color look in your photograph.
| | 03:01 |
And so let's continue to talk about
Vibrance and Saturation.
| | 03:05 |
And let's look at a few more exaggerated
or specific examples and let's do that in
| | 03:08 |
the next movie.
| | 03:10 |
| | Collapse this transcript |
| Making creative color adjustments| 00:00 |
In this movie I want to highlight a few
examples of how we can use Vibrance and
| | 00:03 |
Saturation and some of our other sliders.
In order to come up with some creative
| | 00:08 |
Color Effects.
You know sometimes we'll use Vibrance and
| | 00:11 |
Saturation in order to create quote real color.
| | 00:15 |
In other situations, we just want to get creative.
| | 00:17 |
Like with this photograph here.
This is a picture of a W, obviously.
| | 00:21 |
It's a W from an old neon sign.
And what I want to do is really bring out
| | 00:25 |
all of the colors.
So, I'll start off with saturation.
| | 00:28 |
Here, I'll click and drag my Saturation
slider to the right in order to increase
| | 00:32 |
the overall color saturation.
Now next I want to work with Vibrance.
| | 00:36 |
Now we know that we can bring up our color
variety and our color saturation by
| | 00:40 |
dragging this to the right.
So we may think, well great, I’ll go ahead
| | 00:43 |
and drag this to the right in order to add
more color.
| | 00:46 |
Yet in doing that, the image doesn’t look better.
| | 00:49 |
And here’s why.
I’m going to zoom in on the photograph a
| | 00:51 |
little bit.
You may notice that there’s all of these
| | 00:54 |
weak colors in the background here
underneath the peeling paint.
| | 00:57 |
Well, those were brought out by increasing
the Vibrance slider.
| | 01:01 |
Well rather than bringing out the weaker
colors, I actually want to create a more
| | 01:04 |
limited color palette.
Here, I'll drag my Vibrance amount to the
| | 01:09 |
left.
In doing that, the image is now primarily
| | 01:12 |
made up of the blue, an the red, an the yellow.
| | 01:15 |
The pink has almost disappeared.
In this way, when we click on the Preview
| | 01:19 |
checkbox, we can see the before and then
now the after.
| | 01:22 |
Here we have a really saturated look in
our photograph without a lot of color
| | 01:26 |
variety.
And so with this example, I simply wanted
| | 01:29 |
to illustrate that sometimes.
You can use these controls in curious
| | 01:33 |
ways, in order to come up with some
creative color effects.
| | 01:37 |
Let's look at another image.
This is a photograph that was captured in
| | 01:40 |
the desert.
An with this image what I want to do first
| | 01:42 |
is add a little bit of Clarity.
As we know, clarity will add some midtone
| | 01:46 |
contrast.
It will also desaturate the photograph a
| | 01:49 |
bit.
Well then, if we work with Vibrance and
| | 01:52 |
Saturation, we'll see something interesting.
| | 01:55 |
If I increase my Saturation, notice how
the skin tones become really yellow.
| | 02:00 |
If we increase the Vibrance, we'll, we'll
increase our color but the skin tone
| | 02:04 |
remains intact.
In other words, it's not over saturated.
| | 02:08 |
An we've learned that in the previous
movie that we can use Vibrance to bring up
| | 02:12 |
color, without over saturating certain
tones in the image.
| | 02:16 |
Well, with this image, what I want to do
is rather than bring up the color, I
| | 02:19 |
actually want to bring some of it down.
So, increase the Clarity, decrease my
| | 02:23 |
Saturation to remove some of the color.
And then leave my Vibrance amount a little
| | 02:28 |
bit high.
Here we have a unique color palette.
| | 02:31 |
Here's before, and then now here's after.
And this unique color palette kind of fits
| | 02:35 |
this high Clarity type if desaturated look.
| | 02:39 |
To take this even further, we might use
other color controls.
| | 02:42 |
So, I'll work with my Temperature slider
to create a bit more yellow in the
| | 02:45 |
photograph.
Here, clicking and dragging this to the
| | 02:48 |
right, you can see that we now have a very
distinct color palette.
| | 02:52 |
Again, press the P key or click on the
Preview checkbox and you can see the
| | 02:55 |
before, and then now, the after.
And in this last movie, really, what I'm
| | 02:59 |
trying to do is to encourage you to get creative.
| | 03:02 |
Because now you know how these sliders
work, and you can use that knowledge in so
| | 03:05 |
many different ways.
In order to work on your images, in order
| | 03:09 |
to create more correct color, as we did in
the previous movie.
| | 03:12 |
Or, like in this movie, in order to come
up with some creative options when it
| | 03:15 |
comes to working on the color in your
photographs
| | 03:19 |
| | Collapse this transcript |
|
|
9. Making Strong Black-and-White ImagesIntroducing the best way to convert to black and white| 00:00 |
Converting your images to black and white
using Camera Raw can be incredibly
| | 00:04 |
gratifying.
That's because there are some controls
| | 00:07 |
which can help us to quickly and easily
create some amazing black and white
| | 00:10 |
photographs.
We'll be working with this image in the
| | 00:14 |
next movie.
Yet, here, in the first movie, before we
| | 00:16 |
convert this one to black and white, let's
click on this demo file or open up the
| | 00:20 |
demo file that we have here.
Here you can see we have an image with
| | 00:24 |
many different colors.
The reason why we're going to work on this
| | 00:27 |
image is because black and white
conversion in Camera Raw is tied to the
| | 00:30 |
colors that we have in our photograph.
And here, let me explain.
| | 00:35 |
You may be tempted to convert your images
to black and white here in the Basic
| | 00:38 |
panel.
In the Basic panel, we have a Saturation
| | 00:41 |
slider, which allows us to increase or
decrease the color saturation.
| | 00:45 |
So that if we drag this all the way to the
left, we can remove all of the color.
| | 00:49 |
Yet removing the color from an image
really is only half the battle.
| | 00:53 |
What we need to do is to bring back some
drama or bring back some visual interest
| | 00:57 |
without color.
And in order to do that, we need to
| | 01:00 |
navigate to another panel.
So here, I'll double-click the Saturation
| | 01:04 |
slider to bring this back to its default setting.
| | 01:06 |
The panel that you want to work with is
called the HSL Grayscale panel.
| | 01:10 |
You can access that by clicking on this
tab here.
| | 01:13 |
Now here we can work with different areas
of our image.
| | 01:16 |
The Hue, the Saturation, or the Luminance,
and all of these tabs have to do with
| | 01:20 |
color.
Yet, if we want to convert our image to
| | 01:22 |
black and white, we want to click on this
checkbox, which will convert the image to
| | 01:26 |
black and white and apply an automatic conversion.
| | 01:30 |
Now, the automatic conversion here will
rarely make you want to hoot and holler
| | 01:34 |
and get excited.
Rather, it will act as a starting point.
| | 01:38 |
Then what you can do, is you can dig into
these different sliders in order to
| | 01:41 |
further modify the photograph.
For example, let's say that we want a
| | 01:45 |
black and white conversion, where
everything is deep and dark.
| | 01:49 |
Here we can work with our red slider, in
order to brighten or darken that area of
| | 01:52 |
the image.
An in this way, we can work on the other
| | 01:55 |
areas of the photographs as well.
And here, I'll drag down all of these
| | 01:59 |
sliders, except for the greens.
And in this way, you can see how we can
| | 02:02 |
customize the tonality in specific areas
of our photograph.
| | 02:06 |
With the greens, I want to brighten those up.
| | 02:09 |
And so here, you can see how we can really
selectively modify our photograph.
| | 02:14 |
Now we can do that by working with these sliders.
| | 02:16 |
And in this case, it's pretty easy because
it's easy to remember what was green here,
| | 02:20 |
or what was yellow, because I've labelled
each of the colors in this way.
| | 02:25 |
Yet often, once we’ve removed the color,
it’s hard to know which slider to use.
| | 02:29 |
In those situations, you want to reach for
this tool, which is located right here.
| | 02:33 |
It’s a tool which is called the Targeted
Adjustment tool.
| | 02:36 |
Click and hold on it, and then select
Grayscale Mix.
| | 02:39 |
When you select that tool, it allows you
to position your cursor over the image.
| | 02:43 |
An then, you can click an drag.
In doing that, it will then modify the
| | 02:47 |
sliders, immediately underneath wherever
you first clicked.
| | 02:51 |
In this way, I could brighten up my reds
and my oranges, or my blues.
| | 02:54 |
And here you can start to see how we can
simply click an drag in order to modify
| | 02:58 |
certain areas of our photograph.
Now that we've been introduced to how we
| | 03:02 |
can start to work with the HSL Grayscale
panel in order to convert our images to
| | 03:06 |
black and white, let's take a look at how
we can work on a photograph in order to
| | 03:09 |
create a dynamic and dramatic black and
white image, and let's do that in the next
| | 03:13 |
movie.
| | 03:16 |
| | Collapse this transcript |
| Creating a dramatic black-and-white landscape| 00:00 |
The best black and white conversions in
Camera Raw involve two steps.
| | 00:04 |
The first step is using the HSL Grey Scale panel.
| | 00:07 |
The second step involves coming back to
the Basic panel in order to finish up the
| | 00:11 |
overall look.
Well, let's start out by navigation to HSL
| | 00:15 |
Grey Scale.
You can find that panel by clicking on
| | 00:18 |
your fourth tab, next you wann click on
the check box to convert your image to
| | 00:22 |
grey scale.
Here, we'll click on that check box and it
| | 00:26 |
will perform an automatic gray scale conversion.
| | 00:29 |
And this conversion is a little bit lacking.
| | 00:32 |
Because it isn't very dramatic or very intriguing.
| | 00:35 |
Without all of the color, the eye doesn't
really know where to look.
| | 00:39 |
Well, what I want to do is I want to
increase the drama, and we'll start off by
| | 00:42 |
taking a look at how we can increase the
drama by darkening the sky.
| | 00:46 |
Now, we know that the sky is blue, so here
I'll navigate to my blue slider and click
| | 00:50 |
and drag to the left.
In this way, we can create a little bit
| | 00:54 |
more visual interest by having a dark sky
and bright white clouds.
| | 00:58 |
And now, if we want to get more specific
or more precise with our conversion, we
| | 01:02 |
can use the Targeted Adjustment tool.
You'll find it up top here.
| | 01:06 |
You'll want to select on the option for
Grayscale Mix.
| | 01:09 |
The great thing about using this tool is
you can position your cursor over an area
| | 01:12 |
of the image and then just click and drag.
Here, we can darken or brighten the
| | 01:16 |
overall sky.
The other thing that's great about this is
| | 01:19 |
when you position your cursor over an area.
| | 01:22 |
Like the horizon ere.
You can click and drag.
| | 01:24 |
And discover that this area is actually a
bit more aqua than blue.
| | 01:30 |
You know, by default, I would have thought
the entire sky was blue.
| | 01:33 |
But really, you can see that there are
some aqua areas.
| | 01:36 |
And when you use this tool to click and
drag, it will modify multiple sliders.
| | 01:41 |
Well, what about the field over here?
We'll click and drag that down.
| | 01:44 |
You can see this is modifying my yellows
and my greens.
| | 01:47 |
Now, to modifying those sliders in
different degrees of intensity.
| | 01:51 |
Because there's a bit of yellow and also a
bit of green there.
| | 01:54 |
What about the hills over here?
Well, we can work on that part of the
| | 01:57 |
image as well, you're changing the
brightness value of that.
| | 02:00 |
You can also brighten up the path in order
to kind of lead the viewer into the image.
| | 02:04 |
And in this way we're starting to see how
we can really customize this conversion.
| | 02:09 |
After having applied those settings.
Next, you'll want to go back to the Basic
| | 02:12 |
panel.
Because here in the Basic panel we can
| | 02:14 |
increase the overall clarity.
And with black and white conversions
| | 02:18 |
adding a touch of clarity, well it can
really help.
| | 02:21 |
This will add a bit of mid-tone contrast
and snap.
| | 02:24 |
We can also increase our overall contrast
and modify our exposure and highlights.
| | 02:28 |
And here, we can just customize things a
bit in order to change the overall look in
| | 02:31 |
the picture.
And these adjustments sometimes will be
| | 02:34 |
subtle.
But many times they can help us to really
| | 02:36 |
finish off the photograph.
In this case, I just want to modify this a
| | 02:40 |
little bit further here and I think that
looks good.
| | 02:43 |
Now when we click on the Preview check-box
we can see the overall before.
| | 02:47 |
And then, after with all of these
adjustments applied.
| | 02:51 |
And as we've discovered here in this
movie, we can create dramatic and
| | 02:54 |
interesting black and white images by
taking a two step approach.
| | 02:59 |
Here, we can start off in Grey Scale
panel, and then finish our image off by
| | 03:02 |
modifying our basic adjustment sliders.
| | 03:06 |
| | Collapse this transcript |
| Converting a portrait to black and white| 00:00 |
In this movie I want to highlight a few
more techniques and tips for you, as you
| | 00:03 |
start to convert your images to black and white.
| | 00:07 |
We'll be working with two different
portraits, and we'll start off with this
| | 00:09 |
image here.
Building upon what we already learned,
| | 00:13 |
we've talked about how one of the first
steps which you'll want to take is to
| | 00:16 |
navigate to the HSL Grayscale panel.
You can access that by clicking on this
| | 00:21 |
icon right here.
Now once you access that area, you can
| | 00:25 |
click on the option to convert your image
to grayscale.
| | 00:28 |
And when you do that, by default, Camera
Raw will try to figure out the image, an
| | 00:32 |
modify these sliders, in order to create
what's called an automatic grayscale
| | 00:36 |
conversion.
Now if we zoom in on the photograph by
| | 00:40 |
using the Zoom tool.
Here I'll just click a couple times.
| | 00:43 |
One of the things we can discover is that
it's created a grey-scale version which is
| | 00:46 |
okay.
Yet I want to make this even better.
| | 00:49 |
So here, I'll click and drag my Red slider
to the right to brighten up the face.
| | 00:54 |
Yet in doing this I'm noticing that it's
starting to look a little bit strange.
| | 00:58 |
Lemme exaggerate the variation which we're
seeing here by decreasing my reds.
| | 01:03 |
Now this is going to look horrible, but
just stick with me.
| | 01:05 |
In doing that do you notice how this looks
really strange?
| | 01:08 |
How it's not consistent?
Well the reason why there's inconsistency.
| | 01:12 |
Is because my oranges and my yellow
sliders aren’t moving, as well.
| | 01:16 |
The skin tone in this image, it contains
reds, oranges, and yellows, so therefore
| | 01:20 |
this default conversion, this automatic
conversion, it actually isn’t the best
| | 01:24 |
conversion for this image.
Rather, with this photograph, I would
| | 01:29 |
prefer to start off at Default, and you
can change the preference for Camera Raw
| | 01:32 |
so that it always starts with Default by
clicking on your preferences icon right
| | 01:36 |
here.
One of your Defualt Image Settings that
| | 01:40 |
comes preinstalled Is to apply auto
grayscale mix when converting to
| | 01:44 |
grayscale.
Here, you may want to turn that option
| | 01:47 |
off, then I'll go ahead and click OK.
Next step is to turn off the convert to
| | 01:52 |
grayscale button.
This will then remove all of the grayscale
| | 01:55 |
conversion.
Well, now with that preference turned off,
| | 01:58 |
when we click on convert to grayscale, it
will convert the image to grayscale and
| | 02:02 |
zero out all of the sliders.
Here, I can click and drag my red slider
| | 02:06 |
up, my orange and my yellow.
Now, you may find that you kind of like
| | 02:10 |
having the automatic correction and that's okay.
| | 02:13 |
I simply wanted to highlight that
preference so that you know how you can
| | 02:17 |
turn that on or off.
Well, in order to work on the rest of the
| | 02:20 |
photograph, I need to zoom out.
Here I'll press Cmd + Minus on the Mac, or
| | 02:24 |
Ctrl + Minus on Windows.
Next we'll select the targeted adjustment
| | 02:27 |
tool and choose Grayscale Mix.
And then I'll click and drag in the
| | 02:30 |
background in order to darken up the
background a bit more.
| | 02:34 |
After having worked with these sliders
here, next I'll navigate to the basic
| | 02:38 |
panel.
Here in the basic panel, I'll increase the
| | 02:41 |
exposure a little bit more, add some
contrast, deepen those blacks by working
| | 02:44 |
with the black slider there, and also add
just a little bit of clarity.
| | 02:49 |
In this way, I'm really looking to create
a nice, clean, crisp black and white
| | 02:52 |
conversion.
And by modifying these sliders here in the
| | 02:55 |
basic panel, it helps me to finish this
image off.
| | 02:59 |
Well now that we've seen how we can
convert this portrait to black and white,
| | 03:02 |
let's take a look at another.
Here we'll click on this photograph titled
| | 03:06 |
rob.jpg.
Rather than beginning by navigating to the
| | 03:09 |
HSL panel by clicking on the icon, What
I'm going to do is simply click on the
| | 03:13 |
Targeted Adjustment tool, and here select
Gray Scale Mix.
| | 03:18 |
When you do that it will convert the image
to black and white.
| | 03:22 |
And it will take you to this panel.
And this is the way that I recommend you
| | 03:25 |
start off converting your images to black
and white.
| | 03:28 |
It's just a bit of a quicker step that you
can take.
| | 03:30 |
Then, you can either use this tool or you
can always use the sliders.
| | 03:34 |
For example, I can position the cursor
over the shirt, and click and drag down in
| | 03:37 |
order to darken that part of the photograph.
| | 03:40 |
Or we can simply use the slider here in
order to change the brightness of one area
| | 03:43 |
of the image.
And in this way, we can use this tool or
| | 03:46 |
we can use the slider in order to
customize the way that our photograph
| | 03:49 |
appears.
And here I'll go ahead and just make a few
| | 03:52 |
changes to the picture.
After having made a few Grayscale Mix
| | 03:56 |
changes, next stop is to go to the Basic panel.
| | 03:59 |
Again, here in the Basic panel, we want to
customize this.
| | 04:02 |
This image has a lot of bright whites.
So Bring down the highlights.
| | 04:07 |
Next, I want to brighten up the overall
image, so I will increase the exposure.
| | 04:12 |
Here we can add a bit more contrast, we
can deepen our blacks, add a little bit of
| | 04:16 |
clarity.
And this way, we can start to customize
| | 04:20 |
this so we have a really crisp, high
contrast look.
| | 04:23 |
Now, how far you go with all of these
sliders is obviously completely up to you.
| | 04:28 |
You'll notice that this image has a very
distinct look in comparison to this
| | 04:31 |
photograph.
In this photograph, I was going for a bit
| | 04:35 |
of a softer conversion.
In order to really focus in on the
| | 04:38 |
character in this portrait, in contrast,
this portrait, well it's kind of out of
| | 04:42 |
this world.
This guy's hair is all messy and curly and
| | 04:46 |
big and bold.
In this case, I wanted a big and bold and
| | 04:49 |
high contrast look.
And in order to create dynamic black and
| | 04:53 |
white conversions half of the battle is
learning how to use the sliders.
| | 04:57 |
The other half is having the vision of
what you want to do.
| | 05:01 |
Often in order to know what you want to
do, what you really have to do is
| | 05:05 |
experiment.
Take one slider and drag it one way and
| | 05:08 |
then drag it another and keep dragging it.
Even drag it too far and realize that okay
| | 05:14 |
that's a bit too far and then drag it
exactly where you want it.
| | 05:19 |
And I have found that by experimenting, it
can help you to accomplish even better or
| | 05:23 |
more interesting black-and-white
conversions.
| | 05:26 |
| | Collapse this transcript |
|
|
10. Reducing Noise and Sharpening Reducing unwanted noise| 00:00 |
One of the most important, and also one of
the most frequently overlooked steps in an
| | 00:04 |
effective camera workflow.
Well it's working on the details in your
| | 00:08 |
photograph.
It's working on reducing the noise and
| | 00:10 |
also sharpening the image.
We can find the controls for sharpening
| | 00:14 |
and noise reduction in the details panel,
you can find that by simply clicking on
| | 00:18 |
the third icon here.
You will see that we have controls for
| | 00:22 |
sharpening and noise reduction.
As you'll discover these controls are here
| | 00:26 |
together intentionally and here's why.
When you sharpen an image you could
| | 00:31 |
inadvertently sharpen or exaggerate
unwanted noise.
| | 00:34 |
So then, what you can do is navigate to
the Noise Reduction controls to get rid of
| | 00:37 |
that.
Also, when you reduce the noise, you can
| | 00:40 |
inadvertently over-soften the image, so
again, you can then go back to the
| | 00:44 |
Sharpening controls to compensate for that.
| | 00:47 |
In other words these are two sides of the
same coin and these sliders and controls
| | 00:50 |
work really well together.
In this movie we'll focus in on noise
| | 00:54 |
reduction.
Now before you start working on your
| | 00:57 |
photograph, its helpful to pay attention
to this little warning message below.
| | 01:02 |
It says for a more accurate preview you
want to zoom into 100% ,well why is that?
| | 01:07 |
Well, have you ever heard the saying that
something is good from far but far from
| | 01:10 |
good?
What that saying means is that you can see
| | 01:13 |
something from a distance and it looks
great But then when you get up close it
| | 01:16 |
isn't so great after all.
And that's definitely the case with this
| | 01:21 |
photograph here.
from a distance everything looks fine, yet
| | 01:24 |
if we double click the zoom tool in order
to zoom into 100% as that little warning
| | 01:28 |
message suggests.
What we'll see is that this image needs a
| | 01:32 |
lot of work.
Here I'll press the Spacebar key and then
| | 01:35 |
click and drag to pan around.
And what we'll see here is that this
| | 01:38 |
photograph has a lot of noise.
There's a lot of luminance and color noise
| | 01:42 |
that we need to reduce or just get rid of.
Because these movies become a little bit
| | 01:47 |
small once they're compressed, I'm
going to Zoom In past 100%.
| | 01:51 |
Typically you won't need to do that on
your images, yet here for a demo purposes,
| | 01:55 |
I'm going to Zoom In pretty close.
Well, again here, we can see on the
| | 01:59 |
subject of the photograph and in the
background, we have a lot of noise issues.
| | 02:03 |
The reason that is is because this image
had a higher ISO setting.
| | 02:07 |
Now, while this image needs a lot of work,
keep in mind that almost every image that
| | 02:10 |
you work on.
Can benefit from a certain amount of what
| | 02:13 |
we'll be working on here.
And that is noise reduction.
| | 02:17 |
Let's start off with our sliders.
You'll notice that there are two main
| | 02:20 |
types of noise reduction, luminance and color.
| | 02:23 |
Let's begin with color.
When you click and drag this slider to the
| | 02:25 |
right.
What you'll discover is that it will
| | 02:28 |
remove color artifacts.
If I zoom in even closer.
| | 02:31 |
Here, now I'm at 300%.
You'll notice that as we work with this
| | 02:35 |
slider, here we have strange color
artifacts in the background.
| | 02:38 |
As I drag this to the right, I can remove
or reduce those.
| | 02:42 |
Underneath the color slider, we have color detail.
| | 02:44 |
Drag this to the left for less detail,
drag it to the right to bring back more
| | 02:48 |
details.
You'll even see some of the color come
| | 02:52 |
back as well.
So then you just want to use these sliders
| | 02:55 |
so your image looks good at one hundred
percent zoom rate.
| | 02:59 |
Here again I've zoomed in closer than
needed but i've done that in order to
| | 03:01 |
illustrate how these controls work.
Well what about luminance well the word
| | 03:06 |
luminance essentially means brightness.
Notice there are a lot of little specs of
| | 03:10 |
brightness and darkness here all over the image.
| | 03:14 |
If we drag this to the right, we'll see
those disappear.
| | 03:16 |
I'm going to exaggerate this slider and
bring this all the way up to 100.
| | 03:20 |
Here I'll click on the preview check box.
You can see there's before and then now
| | 03:24 |
here's after.
Here we've reduced or removed a lot of the
| | 03:27 |
luminence noise that we have therein the image.
| | 03:30 |
With this exaggerated amount, it will help
us to understand illuminance detail, and
| | 03:33 |
let me show you why.
When we drag this to the left, notice that
| | 03:36 |
I'm removing all of the detail there.
Now the image doesn't even look like a
| | 03:40 |
photograph.
It looks like a bad watercolour painting.
| | 03:43 |
Well here this detail slider allows us to
control how much detail we're going to
| | 03:47 |
have in that area as we're reducing the noise.
| | 03:50 |
So these two sliders are sliders that
you'll use together.
| | 03:53 |
Then contrast is a little bit more
difficult to see.
| | 03:56 |
As I bring this up, what we'll discover is
that there's more contrast or shape.
| | 04:01 |
Perhaps if I bring this way down, we might
be able to see how it really looks flat
| | 04:04 |
and smudged out.
As I bring up the Contrast, well, it just
| | 04:07 |
looks like there's a little bit more shape
to that area.
| | 04:11 |
Now that we've seen how these sliders work
in an exaggerated view, let's reset them
| | 04:14 |
and apply an appropriate amount of nose reduction.
| | 04:18 |
Here to do that, I'll double-click the
Luminance slider and I'll double-click the
| | 04:21 |
Color slider, and that will bring us back
to the original image.
| | 04:25 |
Again, you want to view an important area
of your photograph.
| | 04:28 |
In this case, the subject the face is
really important and also the background,
| | 04:31 |
right?
That gives us a sample of what the overall
| | 04:34 |
image looks like.
Let's start off with luminance.
| | 04:37 |
Here I'll go ahead and bring up my
Luminance slider to deal with some of the
| | 04:39 |
artifacts that we have in the background.
In regards to the detail, I also want to
| | 04:43 |
bring that up a little bit as well.
Now as I do that, I'm noticing that the
| | 04:47 |
overall noise in the image looks a lot better.
| | 04:50 |
You want to be careful not to go too far
because you don't want to create an image
| | 04:53 |
that looks fake or like a painting or too soft.
| | 04:57 |
Next I need to work on this contrast slider.
| | 04:59 |
That's way too high.
Typically, you have a lower amount of
| | 05:02 |
luminous contrast here.
Very often, you won't even notice a
| | 05:05 |
difference with this slider unless you
have a lot of noise and you have a really
| | 05:08 |
exaggerated amount.
Of luminance noise reduction.
| | 05:13 |
So here in this image I think a lower
amount of contrast is fine.
| | 05:16 |
Then our color, we want to bring that
color slider up to deal with all of the
| | 05:19 |
strange color artifacts that we had there
in the photograph.
| | 05:23 |
And Color Detail, remember, this is less
detail, this is more.
| | 05:26 |
So again, just use those sliders so that
your photograph looks good.
| | 05:30 |
Alright, well the noise reduction looks
pretty good.
| | 05:32 |
Let's press the P key to turn our preview off.
| | 05:34 |
So here's the before.
Press the P key again and there's the
| | 05:37 |
after.
We can also click on the checkbox to see
| | 05:39 |
that overall before and then after.
Now as I look at that, I realize the image
| | 05:43 |
looks good.
Although I think I’ve removed a bit too
| | 05:46 |
much of the color there, so I’m going to
reduce this a little bit more because
| | 05:49 |
again, it’s ok to have some color in the image.
| | 05:53 |
We’re just looking to remove those
exaggerated color artifacts.
| | 05:57 |
In order to make my decision a bit more
honest, I’m going to double-click my zoom
| | 05:59 |
tool so I can see the photograph at 100%.
And you’ll want to do that on your
| | 06:03 |
photographs.
Again, 100% or closer.
| | 06:06 |
Click on the preview checkbox to look at
your before, click again to look at the
| | 06:09 |
after.
An in this case I think it looks pretty
| | 06:12 |
good.
I'm just going to modify my sliders a
| | 06:14 |
little bit more so that, that, looks nice.
Alright, well there you have it.
| | 06:18 |
We've taken a look at how we can reduce
the noise in our photographs.
| | 06:21 |
Yet more importantly, we've started to
really understand how these noise
| | 06:24 |
reduction sliders were.
As you start to work with these sliders on
| | 06:28 |
your own photographs, I recommend you
start at the top, work on your Luminance
| | 06:31 |
slider, and then make your way down.
And then also, after you finish, as you
| | 06:35 |
saw that I did here in this movie, go back
to those sliders and customize them a bit
| | 06:39 |
further.
Because as you make adjustments to one
| | 06:43 |
area.
Say, luminance that will affect color.
| | 06:46 |
As you work on the color, that will also
affect the luminance.
| | 06:48 |
So it's a bit of a give and take here a
bit of a back and forth.
| | 06:52 |
Which will allow you to accomplish the
best results.
| | 06:55 |
Well now that we've talked about noise reduction.
| | 06:57 |
I also want to talk about how we can
sharpen this photograph using the controls
| | 07:00 |
that we have above.
So go ahead and leave this image open as
| | 07:03 |
we'll continue to work on it in the next
movie.
| | 07:06 |
| | Collapse this transcript |
| Sharpening your photographs| 00:00 |
In this movie, we're going to pick up
where we left off in the previous movie.
| | 00:04 |
And in the previous movie, we explored how
we can work with the Detail panel, and in
| | 00:07 |
particular, we looked at how we can reduce
the noise in our photographs.
| | 00:11 |
If I click on the Preview check box, we
can see here's the before, and then now
| | 00:14 |
here's the after.
Now the great thing about the noise
| | 00:17 |
reduction sliders is that it allows us to
remove any unwanted noise so that we have
| | 00:20 |
a cleaner and a better photograph.
The downside of reducing noise is that it
| | 00:26 |
can make the image a little bit soft.
That's why the noise reduction controls
| | 00:30 |
and the sharpening controls are right next
to each other.
| | 00:33 |
So, here let's focus in on sharpening this picture.
| | 00:36 |
Currently, I've zoomed in to 100% and
that's what you'll want to do on your own
| | 00:40 |
photographs yet for demo purposes I'm
going to zoom in even closer.
| | 00:44 |
So here, with the Zoom tool, I'll click in
order to zoom into 200%.
| | 00:49 |
And I'm doing this so that we can
deconstruct and reverse engineer how these
| | 00:52 |
controls work.
Alright, well for starters, we have our
| | 00:55 |
amount slider.
This one's pretty straightforward, click
| | 00:58 |
and drag to the right and it increases the
overall amount of the sharpening.
| | 01:02 |
Now, there's also a handy modifier key
that you can press and hold in order to
| | 01:05 |
help you understand how these sliders
work, and also in order to help you
| | 01:08 |
determine how far you want to push these
sliders one way or another.
| | 01:13 |
And that modifier key is the Opt key on a
Mac or the Alt key on Windows.
| | 01:18 |
Press and hold that key and then click on
the slider.
| | 01:21 |
When you do that, it shows you a grayscale
version of the image.
| | 01:24 |
In this way, it can help you decide how
far you want to push this.
| | 01:27 |
In order to understand how these sliders
work, I'm going to exaggerate.
| | 01:31 |
Now I know that the image doesn't look
good, yet stick with me.
| | 01:35 |
This exaggerated amount will help us
understand radius in detail even more
| | 01:38 |
clearly.
Well, with the radius slider, when we
| | 01:41 |
click and drag this up, what it will do is
it will create our edges or it will make
| | 01:45 |
the edges glow a bit more.
It's difficult to see here so hold down
| | 01:49 |
the Opt + Cmd on Mac or Windows and what
you'll notice here is that as you click
| | 01:52 |
and drag that while holding down that
Modifier key you can see that the edges
| | 01:56 |
are increased in intensity.
That's creating a little bit more of a
| | 02:01 |
glow around the edge.
That's why typically when you work with
| | 02:05 |
radius, you'll have a relatively low amount.
| | 02:08 |
in this case, probably about one will work
really well.
| | 02:12 |
Next we have Detail.
Again, press Opt on Mac, ALT on Windows
| | 02:15 |
and click and drag this slider.
Drag it to the left to remove detail.
| | 02:19 |
Drag it to the right to bring out more details.
| | 02:22 |
We already know about how this slider
works right, because we have other detail
| | 02:25 |
sliders, luminance and color, which we
talked about in the previous movie.
| | 02:30 |
Again, when you drag to the left, you have
less luminance detail there or less color
| | 02:34 |
detail.
And again, this is now with our
| | 02:36 |
sharpening.
What this allows us to do is have
| | 02:38 |
sharpening, which isn't sharpening a lot
of those small little details.
| | 02:43 |
Or, if you want a lot of small detail
sharpened, drag that to the right.
| | 02:47 |
Well let's bring this up again just to
exaggerate for a moment.
| | 02:50 |
We have one more slider to look at here at
this exaggerated amount, and that is
| | 02:53 |
masking.
When you drag this to the right, what
| | 02:56 |
you'll notice is that this is limiting the
sharpening to certain areas.
| | 03:00 |
Hold down Opt on the Mac, alt on Windows,
and click and drag this.
| | 03:04 |
And you can actually see the mask.
Now what is this mask?
| | 03:07 |
And what is this view?
What this is showing us is a preview of
| | 03:10 |
the areas which will be effected.
In Photoshop and in Camera Raw when you
| | 03:15 |
have a mask.
The black area what that means is that is
| | 03:18 |
concealed.
The white area that's where the effect is
| | 03:21 |
being revealed.
In other words, it's only on the white
| | 03:24 |
area that you see on this mask where the
sharpening effect will be applied.
| | 03:29 |
In this way if I click on the preview
checkbox, you can sort of see how it's
| | 03:32 |
just affecting this area of the image.
Alright, well this is obviously way
| | 03:36 |
over-exaggerated and it doesn't look good.
So let's drag these sliders back to the
| | 03:41 |
left here in order to bring them to.
Lower amounts and let's start from
| | 03:45 |
scratch.
Let's say that we have an image without
| | 03:47 |
any sharpening applied as we do here.
Well first what you want to do is set your
| | 03:51 |
radius probably to about one.
Next bring up your amount and you just
| | 03:55 |
want to nudge your amount up to where you
see the photograph fall apart.
| | 04:00 |
Click on your preview checkbox.
Here's before, here's after, so far so
| | 04:03 |
good.
Next we want to work with our radius.
| | 04:06 |
Bring this over to the right and you
want to look for that moment when the
| | 04:09 |
edges start to glow.
Here I've zoomed in too close to kind of
| | 04:13 |
exaggerate the view.
But what you'll notice on your own images
| | 04:17 |
is that the edges will just start to look
a little bit strange.
| | 04:20 |
When you see that, stop and then go back.
Bring that back down.
| | 04:24 |
If you need a default starting point, one
is typically good.
| | 04:27 |
Also keep in mind, the lower the
resolution of the file, the lower the
| | 04:30 |
radius.
So if you're sharpening a small JPEG here
| | 04:33 |
in Camera Raw, you'll probably have a
radius of 0.1, 2 or 3.
| | 04:37 |
Higher resolution files will, will go up a
little bit higher.
| | 04:40 |
That being said, you will very, very
rarely have a radius which is two.
| | 04:45 |
Typically, it’s somewhere around one or
perhaps a little bit higher, right here in
| | 04:49 |
this range.
Well, with this image, I’ll try this at
| | 04:52 |
about one.
Next we have the detail slider.
| | 04:54 |
Because this is a portrait, I’m going to
leave the detail slider to zero.
| | 04:58 |
If it wasn’t a portrait, and if I wanted
to bring out small details, I might bring
| | 05:02 |
this up.
In this case, it’s just going to look
| | 05:04 |
better so I’ll go ahead and leave that at
a low setting.
| | 05:07 |
Then with the masking slider what I like
to do is to hold down Opt a Mac, Alt on
| | 05:11 |
Windows, and just click and drag this up.
As you do that, you can start to see which
| | 05:16 |
area of the photograph will be sharpened.
In this case it's primarily working on the
| | 05:20 |
edges.
Let me zoom out a little bit in this
| | 05:22 |
image.
I'm going to do that again just for demo
| | 05:24 |
purposes.
And then hold down Opt on Mac, Alt on
| | 05:27 |
Windows.
And here you can see which areas of the
| | 05:29 |
image will be sharpened.
In this case, if we drag this far to the
| | 05:33 |
right, you'll notice It's just going to
sharpen all of these little edges.
| | 05:37 |
As we drag this down, it's going to
sharpen more of the photograph.
| | 05:40 |
Well, with this image, do we need to
sharpen the background and all of the
| | 05:43 |
texture?
No, so here I'll drag this up so it's
| | 05:46 |
primarily sharpening the edges in the photograph.
| | 05:50 |
Now of corse I need to double-click the
zoom tool to go back to 100% so i can
| | 05:54 |
evaluate how I've done.
I just wanted to zoom out, so you could
| | 05:57 |
get that masking perspective and kind of
see how that slider worked on a larger
| | 06:00 |
area of the photograph.
Now that we've done all this hwat we
| | 06:04 |
want to do is check our preview.
To do that we'll click on the preview
| | 06:08 |
checkbox.
Here's before here's the image without any
| | 06:10 |
sharpening or noise reduction.
Click again and then here's after.
| | 06:14 |
Now after having looked at that before and
after, I realized that you know what?
| | 06:18 |
I can actually sharpen this image a little
bit more, and bring my radiance up a
| | 06:21 |
little bit more as well.
I also might want to modify my noise
| | 06:24 |
reduction.
Sometimes when you sharpen an image, you
| | 06:27 |
can bring out more noise.
So drag that over to the right a little
| | 06:31 |
bit.
In order to correct for that.
| | 06:33 |
So in other words, you may need to go back
and forth between the sharpening in the
| | 06:36 |
Noise Reduction controls in order to get
it just right.
| | 06:40 |
With this photograph I think we've done a
good job.
| | 06:42 |
So here I'll press the P key.
There's our overall before.
| | 06:45 |
And then press the P key again.
And now you can see the after.
| | 06:49 |
| | Collapse this transcript |
| Sharpening and noise reduction workflow| 00:00 |
In this movie, we'll be working on this
photograph of one of my vacation homes.
| | 00:04 |
(LAUGH), no, I'm just kidding.
This actually isn't one of my vacation
| | 00:07 |
homes.
If we were to look at that, we would have
| | 00:09 |
to look at my tent which I hike around
with up in the Sierras in California.
| | 00:14 |
Yet nonetheless, this is a beautiful
photograph, and here I want to look at how
| | 00:17 |
we can improve this image.
And I want to walk through a detailed
| | 00:20 |
panel workflow with this photograph.
Now, the first thing that you want to do
| | 00:24 |
when you open up your file is you want to
navigate to the Detail panel by clicking
| | 00:27 |
on this tab here.
And then you want to double-click the Zoom
| | 00:31 |
tool.
That's the quickest way to zoom in to
| | 00:33 |
100%, or one of the quickest ways.
And here when we get up close, next we
| | 00:37 |
want to press the Space bar key and Click
and Drag around so we can view some
| | 00:40 |
important details in the image.
In this case, we can see that the
| | 00:44 |
background has some noise, and I want to
clean that up.
| | 00:47 |
I also want to sharpen the photograph.
Now, in the previous few movies, we sort
| | 00:51 |
of deconstructed how all of these sliders work.
| | 00:54 |
What I want to do here is reconstruct a
bit of a workflow.
| | 00:58 |
So with this image, I'll start off by
working on my Sharpening.
| | 01:01 |
I'll Click and Drag the amount slider over
to the right because, I know that every
| | 01:05 |
image needs a certain amount of sharpening.
| | 01:08 |
I also might try holding down Option or
Alt, then clicking an dragging this, in
| | 01:10 |
order to drag this to the right.
Now as I do that, I realize that the image
| | 01:15 |
looks a lot better, but It's also brought
out some noise.
| | 01:19 |
So, I want to target that noise right away.
| | 01:21 |
Here, I'll go to my Noise Reduction
sliders, in particular the Luminance Noise
| | 01:24 |
Reduction and I'll drag this to the right.
Doing that can help me decide how much I
| | 01:29 |
might want to sharpen this image.
And you know it, with this photograph,
| | 01:33 |
with two simple adjustments it's already a
ton better.
| | 01:36 |
Here, when we click on the Preview
checkbox, you can see before the image is
| | 01:40 |
a bit blurry and soft and here after it is
more defined and it loooks just a ton
| | 01:43 |
better.
Next, I also want to work on the detail by
| | 01:48 |
working on the Detail slider.
With this picture, it wont benefit from
| | 01:51 |
sharping the detail, so I'll Click and
Drag this to the left.
| | 01:56 |
Really, I want sharpening, which is more
focused on the edges.
| | 01:59 |
Now, as you reduce the detail slider,
though, sometimes you'll find a little bit
| | 02:03 |
of detail sharpening makes for a look
which is more cohesive.
| | 02:07 |
Rather than just sharpening the edges,
this sort of connects all of it together a
| | 02:10 |
bit.
So I'm going to leave a little bit of
| | 02:13 |
detail there as well.
Now, I'm going to work on my Noise
| | 02:15 |
Reduction slider and continue to work on that.
| | 02:18 |
In regards to the details here I can,
increase or decrease the amount of detail
| | 02:21 |
that we have.
I think it's going to work best with a
| | 02:24 |
lower, Luminance Detail amount here.
I see some small color artifacts there in
| | 02:28 |
the background.
So I'll Click and Drag this up a little
| | 02:30 |
bit.
And then again, bring down those color
| | 02:32 |
details as well.
How you work with the sliders obviously
| | 02:35 |
depends upon your photograph.
With this photograph I want the overall
| | 02:39 |
sharpening a bit more focused on the
edges, and I want my Noise Reduction to be
| | 02:42 |
nice and even and smooth.
Next we have a Masking slider.
| | 02:47 |
As you remember you can hold down the
Option key on a Mac, Alt on Windows and
| | 02:50 |
Click and Drag the Masking slider.
Here I'll drag this to the right so again
| | 02:54 |
it can really focus in on the edges of the photograph.
| | 02:57 |
And then what I'll do is I'll let go of it
and then click and drag the slider just to
| | 03:01 |
evaluate how it looks.
We can click on the Preview checkbox,
| | 03:05 |
here's before, click again and there's after.
| | 03:07 |
The image looks great although it's just a
little bit too soft.
| | 03:11 |
So here I'll click and drag my Amount
slider up a bit more.
| | 03:14 |
Now what about Radius?
Radius I've left at one.
| | 03:18 |
For the most part you're not going to
swing or move the Radius slider very much.
| | 03:23 |
If you hold down the Option key on Mac or
Alt on Windows you can Click and Drag this
| | 03:26 |
one way or another.
When you drag it over to the right, it's
| | 03:30 |
just going to cause problems.
So again, for the most part, you're
| | 03:33 |
going to have a really low radius amount,
so that the edges look good.
| | 03:38 |
Here, I'll let go of Option or Alt and
just Click and Drag that slider.
| | 03:41 |
Now, so far we've focused in on one area
of the image.
| | 03:44 |
We also want to press the Space bar key
and click and pan around and look at other
| | 03:47 |
areas of the photograph.
For example, let's look at some other
| | 03:50 |
important areas, like these details here.
When we click on the Preview checkbox, we
| | 03:55 |
can see the before.
Click it again, and we can see the after.
| | 03:58 |
And what we should see is a just sort of
cleaning things up a little bit.
| | 04:01 |
Now if it's cleaning things up too much,
what we might want to do is bring back
| | 04:04 |
some of the noise by lowering our Noise
Reduction slider.
| | 04:08 |
I think this image could benefit from that.
| | 04:10 |
I'm also going to bring up just a little
bit more Detail.
| | 04:13 |
I want to do that so that the image looks good.
| | 04:15 |
Next I'm just clicking and panning around
the photograph in order to evaluate and
| | 04:18 |
view other areas of the image.
And here you want to make sure to travel
| | 04:22 |
around your photograph.
And this is one of those situations where
| | 04:25 |
having a large monitor really would be helpful.
| | 04:28 |
Alright, well, after having moved around
the picture a little bit, we'll go back to
| | 04:31 |
where we started.
We'll click on our Preview checkbox to see
| | 04:34 |
the before, and then here to see the
after.
| | 04:37 |
| | Collapse this transcript |
| Sharpening and reducing noise on a portrait| 00:00 |
The more you can learn about working with
a Detail panel the better.
| | 00:04 |
So here, let's take a look another
workflow example or work with this
| | 00:07 |
portrait.
We'll look at how we can sharpen the
| | 00:10 |
image, and also reduce any unwanted noise.
In this, let's just navigate to the Detail
| | 00:14 |
panel by clicking on the tab.
It's the third icon there.
| | 00:18 |
And then, let's zoom into one 100%.
But rather than double-clicking the Zoom
| | 00:23 |
tool in order to zoom in, on a Mac you
press Cmd+Option, on Windows press
| | 00:27 |
Ctrl+Alt, and then tap 0 key.
That will zoom the image into 100%.
| | 00:33 |
Now, if you like shortcuts, I recommend
you write that one down because it can
| | 00:36 |
help you to access this view even more quickly.
| | 00:39 |
Press the space bar key and click and drag
around in order to view the important area
| | 00:43 |
in the photograph.
Now, often what you'll do is you'll start
| | 00:47 |
off with sharpening.
And you'll work your way from the top
| | 00:49 |
down.
Here, we'll bring our amount slider up.
| | 00:52 |
Hold option on Mac, Alt on windows, and
click and drag that up so you can see how
| | 00:55 |
it's going to sharpen the overall image.
It looks like this area looks about good.
| | 01:01 |
The reason why I think this looks good is
if I go a little bit too high you can see
| | 01:04 |
how the image looks a little bit too
gritty or over sharpened.
| | 01:08 |
So, what I like to do is to find the point
where it's a little bit too strong, and
| | 01:12 |
then just to drop it back a bit and there
I think that looks pretty good.
| | 01:16 |
Then, with our radius, if we hold down the
Option key on a Mac, Alt on Windows and
| | 01:20 |
click and drag this.
We can change the edge detail.
| | 01:24 |
In this image, I think, we get this great
view of how this works.
| | 01:27 |
When you let go of the Option or Alt key,
you can see how those edges start to glow
| | 01:31 |
a little bit or become too strong.
In this case, because this is a little bit
| | 01:35 |
of a lower resolution file, my radius, it
needs to go lower as well.
| | 01:40 |
If you have a really small file, you're
going to bring this down to 0.1, 0.2, or
| | 01:43 |
0.3.
This image isn't quite that small, so I'll
| | 01:47 |
leave this at about 0.5.
Next, we have the detail slider.
| | 01:51 |
Now, a detail, typically, because it's a
portrait, you'll want a lower detail
| | 01:53 |
amount.
Click on the Preview check box and look at
| | 01:56 |
your before.
And then, click again to see the after.
| | 02:00 |
This is going to be really difficult to
see, because this one's a bit more subtle.
| | 02:04 |
So, I'll grab the Zoom tool, I'll zoom in
close to the eye.
| | 02:06 |
Now, I've zoomed in to 300%, so the image
will appear like it's falling apart a
| | 02:10 |
little bit, but that's because we zoomed
in so close.
| | 02:15 |
And I wanted to do this to illustrate the difference.
| | 02:17 |
Here's before, and then, now, here's the after.
| | 02:19 |
Notice how the image sort of snaps, and it
looks sharp and good.
| | 02:23 |
It isn't over exaggerated.
Again, when you're working with these
| | 02:26 |
controls, you want to be careful to have a
sharpening effect which isn't overdone.
| | 02:31 |
Because if the image is over sharpened.
Well then, the viewer will notice that
| | 02:35 |
rather than the photograph.
I'll zoom out by double-clicking the Zoom
| | 02:38 |
tool.
That will take the image back to 100%.
| | 02:42 |
Next, after having dialed that in, I'll
click on my masking slider while holding
| | 02:45 |
on Option or Alt, so I can limit the
sharpening to certain areas.
| | 02:49 |
In this case it will limit it to the edges.
| | 02:52 |
After having done that, I realize, shoot I
can crank up my amount a little bit more
| | 02:55 |
because now it's really focused in on
those edges.
| | 02:58 |
Well, what about noise in this image?
Well, you want to look for areas of noise
| | 03:01 |
in the background or in the shadows.
So here, I'm just going to click and drag
| | 03:04 |
around, so I can see a little bit of the
background because I see some of the image
| | 03:08 |
noise there in this area of the picture.
I'll click and drag this up, bring my
| | 03:13 |
Detail slider down just a little bit.
In this case, when I drag it up, I feel
| | 03:17 |
like the image has become a bit too soft.
So, I'm going to bring this down, and
| | 03:22 |
leave my detail up.
I'm just going to reduce the noise in
| | 03:25 |
really subtle ways.
Color noise?
| | 03:28 |
There isn't that big of an issue, so I'll
just bring my slider up just a touch.
| | 03:32 |
And this is one of those scenarios where
yes, every image benefits from a certain
| | 03:35 |
amount of noise reduction and sharpening.
With this image, it benefited from more
| | 03:40 |
sharpening and just a touch, or just a
dash of noise reduction.
| | 03:44 |
And if you make those changes here, later
if you were to work on this image in
| | 03:47 |
Photoshop or if you were to process it in
more dramatic ways, well it would just
| | 03:50 |
help out in that overall process.
Well, after having made those adjustments,
| | 03:55 |
of course, we want to look at our before
and after.
| | 03:58 |
Here, I’ll click the Preview checkbox to
see the before, and then click again to
| | 04:01 |
see the after.
Again, because this is a bit more of a
| | 04:04 |
subtle example in a little bit of a lower
resolution file, I’ll zoom in.
| | 04:08 |
Here, you can see the before, and then now
you can see the after.
| | 04:11 |
The characteristics or the quality of the
image look really good if we’re to look at
| | 04:15 |
the areas of noise we can see just soften
those out and we have nice sharp detail.
| | 04:20 |
And we'll go back 100%, at least on my monitor.
| | 04:23 |
The overall perspective looks awesome.
So, I just want to evaluate that one more
| | 04:27 |
time, so I'll press the P key to see the
before and press the P key again to view
| | 04:30 |
the after.
And hopefully, in this workflow, what
| | 04:33 |
you're seeing is how you can work on a
different type of photograph.
| | 04:37 |
We're also revisiting how we can work
these sliders, and as we work through the
| | 04:40 |
sliders, we were checking our Preview a lot.
| | 04:43 |
We want to see the before and after, to
sort of track our progress.
| | 04:47 |
And what we're trying to do when we're
working on the details of our photograph,
| | 04:50 |
is to make that subtle yet significant
difference which sometimes can really help
| | 04:54 |
you to improve your photographs.
| | 04:57 |
| | Collapse this transcript |
| Basic and Detail panel workflow| 00:00 |
This is perhaps one of the more important
movies in this chapter because here, we're
| | 00:04 |
going to take a look into how our details
work fits into our overall workflow.
| | 00:09 |
In most workflows you begin in the basic
panel, and here, all of our adjustments
| | 00:13 |
that we apply, affect how we sharpen or
reduce the noise in our image later.
| | 00:18 |
So let's start off with this photograph.
This is a picture that I captured of this
| | 00:21 |
beautiful Frank Gehry building in Los Angeles.
| | 00:24 |
You can see the sun was rising and it's
reflecting off of the building.
| | 00:28 |
And if we double-click on the Zoom tool
that will take the image to 100%.
| | 00:32 |
Then press the Space bar key and Click and
Drag and I want to do that so we can view
| | 00:35 |
the building and also the sky and these
birds here.
| | 00:39 |
Now, as you start to work on your image
here in the Basic panel, you obviously
| | 00:42 |
don't Zoom In this far.
I wanted to Zoom In this far to illustrate
| | 00:46 |
a point.
If I change my contrast by increasing the
| | 00:49 |
overall Contrast, what that does is it
makes the image appear sharper.
| | 00:53 |
So the amount of contrast that I have here
will affect how I sharpen the image later.
| | 00:58 |
If we decrease the Contrast, well the
image appears a little bit more dull and a
| | 01:02 |
little bit softer.
So I'll contrast using a Sharpening
| | 01:05 |
slider, in a way, it is.
That's typically why we like to increase
| | 01:09 |
the Contrast in our photographs.
It creates a little bit more of an edge, a
| | 01:13 |
little bit more of a difference between
the things that we have in our photograph.
| | 01:17 |
What then about Clarity?
Well, Clarity has to do with midtone
| | 01:20 |
contrast.
If we click and drag this to the right,
| | 01:22 |
we're going to exaggerate all of these
little details.
| | 01:25 |
And you know what we're doing here?
We're bringing out a little bit more
| | 01:28 |
luminance noise.
So, the level of the Clarity will then
| | 01:31 |
affect how we work with our Noise
Reduction later.
| | 01:34 |
You can really see this if we drag this to
the left.
| | 01:37 |
Here it, when I reduce the Clarity, notice
that the image is much softer.
| | 01:40 |
Here's before, and here's after.
So with a negative Clarity amount, I'm
| | 01:44 |
going to need to do a lot when it comes to
sharpening and kind of bringing back some
| | 01:47 |
of those details.
Because now the image is just too soft.
| | 01:51 |
So again, the amounts of any of the
sliders that we use here will affect our
| | 01:55 |
adjustments later.
And the same thing can be said of color,
| | 01:58 |
if we modify the Temperature by dragging
it one way or another we'll see a
| | 02:01 |
different type of color noise.
So as we make these changes, just keep in
| | 02:06 |
mind that it will affect the rest of our workflow.
| | 02:09 |
Well obviously we wouldn't zoom in this
far in the basic panel, so here I'll
| | 02:12 |
double click the Hand tool, which will
give me this Fit and View perspective.
| | 02:16 |
With this image I might just want to cool
off my color Temperature, or customize
| | 02:20 |
that just a little bit here.
I'll increase my Clarity, bring up some
| | 02:23 |
Vibrance, maybe some saturation and I'll
just go through a few controls.
| | 02:28 |
The point here isn't that you need to do
exactly what I'm doing, but you just
| | 02:31 |
want to modify your image so that it looks
good to your eye.
| | 02:34 |
In this case, I'm just making a few little
subtle changes and I think that that looks
| | 02:37 |
pretty cool.
These adjustments are not very extreme, we
| | 02:41 |
click on the Preview checkbox, here's
before, here's after.
| | 02:44 |
In this case again just some really subtle adjustments.
| | 02:47 |
I'm going to make it a little more
dramatic here in order to change a few of
| | 02:50 |
these sliders.
After you've dialed all that you need to
| | 02:53 |
do here in the basic panel or in other
areas of Camera Raw.
| | 02:57 |
Last but not least, what you want to do is
navigate to the Details panel.
| | 03:00 |
To do that, click on the third icon.
This will access our Details controls
| | 03:04 |
where we can sharpen and reduce the noise
in the image.
| | 03:08 |
Now there are a number of different ways
that we can zoom into 100%.
| | 03:12 |
One shortcut which I want to remind you of
is Cmd+Option+0 on a Mac or Ctrl+Alt+0 on
| | 03:16 |
Windows.
Or just double click on the zoom tool and
| | 03:19 |
that will do the same thing.
Then press the Space bar key and Click and
| | 03:24 |
Drag, so you can view an important area of
the image.
| | 03:26 |
In this case, I'll focus in on a building,
the sky, the birds up here.
| | 03:31 |
Now, I see a lot of color artifacts in the image.
| | 03:34 |
Let me Zoom In past 100%.
I hope you can see those as well.
| | 03:38 |
We'll use that Color slider to reduce that.
| | 03:41 |
Sometimes you'll attack different things
in your photographs.
| | 03:43 |
If you see a problem, just go for it and
try to get rid of it.
| | 03:46 |
I also see that I have Luminance noise, so
I'll bring this up a little bit as well.
| | 03:51 |
Now in doing that though, the image
appears a bit soft.
| | 03:54 |
Look at the before, and then now here is
the after.
| | 03:57 |
So, it softened the image up a little bit
too much.
| | 03:59 |
So I'm going to drag that down, and bring
back a little bit more of the detail.
| | 04:02 |
Next, we want to work on sharpening the image.
| | 04:05 |
Here it will bring up our amount, and as
you bring up the amount, what you want to
| | 04:08 |
do is bring it up til you think the image
looks good.
| | 04:12 |
Then go a little bit too far so that you
can find that sort of threshold, and then
| | 04:15 |
bring it back down a bit.
You want to find that point where you've
| | 04:19 |
gone just a bit too much and scale it back
to try to find just the right sweet spot.
| | 04:23 |
You want to do this so that you're
sharpening the image enough, but not too
| | 04:26 |
much.
With Detail, we'll leave the detail at
| | 04:29 |
zero because if we bring this up this is
just going to bring back all of that
| | 04:32 |
Luminance noise which we have there.
So we'll leave that at a really low amount
| | 04:36 |
and then we can use the Masking slider.
I was like to press Option or Alt when I
| | 04:40 |
click on this one because it helps me to
see if I can focus on Sharpening down
| | 04:43 |
these edges.
And I Click and Drag to bring that up.
| | 04:48 |
As you start to sharpen your photograph,
you obviously want to view it at 100%.
| | 04:53 |
So here I'll double-click the Zoom tool,
to zoom my view back to 100%.
| | 04:56 |
Then I want to click on my Preview checkbox.
| | 04:58 |
Here's my before.
There's a lot of noise before.
| | 05:01 |
I can see a lot of noise in the background.
| | 05:03 |
Click Preview again and then there's
after.
| | 05:06 |
| | Collapse this transcript |
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