IntroductionWelcome| 00:00 |
(MUSIC).
Welcome to the second course in our
| | 00:05 |
series, which focuses in on Adobe Camera
Raw.
| | 00:08 |
Hi.
My name is Chris Orwig.
| | 00:11 |
In this course, we'll focus in on how we
can use Adobe Camera Raw more effectively
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in order to improve our photographs.
We'll look at how we can paint in
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adjustments using the Adjustment Brush.
Or how we can do some other detail work,
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like improve eyes or whiten teeth with
this tool.
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We'll explore how we can use a Graduated
Filter to work on a larger area of our
| | 00:30 |
photograph, in order to correct exposure,
and do other things as well.
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We'll look at how we can apply some
circular adjustments in order to
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selectively modify certain areas of our
photographs.
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We'll explore how we can remove some of
those distractions and blemishes which we
| | 00:44 |
often encounter in our images.
We'll talk about how we can add a
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Split-toning effect to our photograph, and
we'll look at how we can make some
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important lens corrections.
So if you are ready to take your Camera
| | 00:56 |
Raw skills to the next level, let's begin.
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| Using the exercise files| 00:00 |
If you are a premium member to the
lynda.com online training library you have
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access to the exercise files.
Once you've downloaded the exercise files,
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locate the folder and open it up.
When you open it up you'll discover that
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our exercise files are organized into
different folders...
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Based on the various chapters that we have
in this course.
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If you open up one of these folders,
you'll discover all of the images that we
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will be working on in that particular
chapter.
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Now if you don't have access to the
exercise files, no big deal you can always
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work on your own images, or of course you
can just simply follow along.
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Alright lets begin.
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|
|
1. Using the Adjustment BrushIntroducing the Adjustment Brush| 00:00 |
One of the ways that you can make more
specific and more advanced adjustments in
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Camera Raw is by using the adjustment
brush.
| | 00:07 |
So here in this movie, I want to provide
you with a broad overview of how we can
| | 00:10 |
start to work with the adjustment brush.
Then, in the next few movies, we'll dig a
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bit deeper.
Well, for starters, you can select
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adjustment brush by way of a shortcut.
The shortcut key is the K key or simply
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click on the brush icon, which is located
right here.
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Next, when you position your cursor over
the image after you've selected this tool,
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you'll notice that you have an interesting
cursor which is made up of two concentric circles.
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We'll talk a little bit more about that
later.
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Yet for now, I want to highlight that
those circles give us insight into our
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brush size.
With this tool, what we can do is paint in
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adjustments into certain areas of our
photograph.
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What I want to do with this picture is I
want to brighten up the wave.
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I also want to change the color
temperature, and brighten this area up in
| | 00:52 |
order to increase the visual interest in
this photograph.
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Well, we can paint in different types of
adjustments.
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If we want to change the color
temperature, we'll just click and drag one
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of the Temperature or Tint sliders.
If we want to brighten an area up, we can
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click and drag the Exposure slider to the
right.
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Next, if you scroll down, there are some
sliders which will allow us to control
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some of the characteristics of the brush.
Here I can create a bigger brush by
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clicking and dragging this to the right.
We also have a Feather slider, which
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allows us to control the hardness or the
softness of the edge of the brush.
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We'll dig into that a bit more later.
Yet for now I simply want to start to
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paint over this area.
I'll paint back and forth over this part
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of the photograph.
And in this way you can start to see that
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what I'm doing here is brightening up this
area of the image.
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And by painting over that area of the
image, you can see how we've made a
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specific adjustment.
When you click on the Preview checkbox,
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you can see there's the before.
Click again, and here's the after.
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The great thing about this is that we can
continue to modify or edit the adjustment.
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For example, if we also want to bring in
some contrast in to this area, we can add
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a little bit more contrast by clicking and
dragging the Contrast slider to the right.
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Or if we want to brighten this up further
or darken it, we can drag our Exposure
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slider in order to customize how bright or
how dark that area is.
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This gives us a lot of flexibility,
because we can continually modify and edit
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the area which we've been working on.
Now because the adjustment brush is such
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an important and powerful tool, let's dig
a little bit deeper into how we can work
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with this tool.
And we'll do that in the next movie.
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| Customizing the Adjustment Brush characteristics| 00:00 |
Now that we know a little bit about how
the adjustment brush works, what I want to
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do next is talk about how we can customize
some of the adjustment brush characteristics.
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And here I want to talk about the sliders
and short cuts that we can use, which will
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help us to work with the adjustment brush
more effectively.
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For starters, go ahead and select the
adjustment brush by pressing the K key.
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Or by clicking on the adjustment brush
icon here.
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Next, let's go over to the adjustment
brush controls, and click on the plus icon
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for exposure here.
That will reset all of the other sliders
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to zero.
And then click and drag the exposure slider.
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Over to the right.
Now when we position the cursor over the
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image, you'll notice that we have these
two concentric circles.
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These show us the brush size, and also the
hardness or softness of the brush edge.
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Here if you scroll down into these
controls on the right, you'll notice that
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we have four sliders which allow us to
customize the way that we work with the brush.
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The first is size.
Click and drag this to the right and we'll
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have a larger brush size, drag to the left
and we'll have a smaller brush size.
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Or we can use the shortcuts which I listed
in this demo file which I have open.
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Tap the left bracket key to make your
brush sizer smaller.
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Tap the right bracket key in order to make
your brush size bigger.
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In this way we can quickly change our
overall brush size.
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Now, currently, the brush has a feather
amount of 48 or so.
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I want to drag this all the way up to 100,
and then I'm going to click and drag to
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paint an area of brightness across my
image.
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This is the exposure effect, which I
dialed in above, thereby increasing the
| | 01:26 |
exposure amount.
Now, when you have a high amount of
| | 01:29 |
feather, you can see that you have a brush
with that really soft or subtle edge.
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In contrast, if you decrease the feather
amount, and then make a very similar brush
| | 01:37 |
stroke, you can see that this now has a
defined or much more hard brush edge.
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With the feather amount, it allows us to
control the hardness or the softness of
| | 01:45 |
the brush edge.
You can change the feather, either by
| | 01:49 |
using the slider, or by using this
shortcut located right here.
| | 01:52 |
Press shift + right bracket key, in order
to increase the feather amount, or the softness.
| | 01:57 |
Press the shift left bracket key in order
to decrease it.
| | 02:00 |
Well let's go ahead and click clear all in
order to clear off those adjustments, and
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next let's talk about flow.
Flows really interesting.
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Here I'll go ahead and decrease the flow
amount and in order to create a demo of
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how flow works.
Let me create a series of brush points or
| | 02:14 |
brush strokes here.
I'll go ahead and click and paint one
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right here.
That's flow at about 9.
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I'll bring the next one up to say about 30
or so, and then click and paint, and then
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I'll move a little bit further along.
Here I'm just increasing my flow amount so
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you can see the difference between the
different amount of flow, and as you're
| | 02:31 |
seeing here, with a higher amount of flow
it allows us to paint in the adjustment
| | 02:35 |
more quickly.
Notice that when I had a very low flow amount.
| | 02:40 |
Just a little bit of that brightening
effect was painted in.
| | 02:43 |
As I increase the flow amount, more of
that adjustment was painted in more quickly.
| | 02:48 |
So what you can do with flow is this.
If you have a low flow amount.
| | 02:52 |
And let's say you want to brighten an area
of the image.
| | 02:54 |
You can paint back and forth.
And slowly build it up as you paint back
| | 02:57 |
and forth in order to bring more and more
of that adjustment in.
| | 03:01 |
In contrast, if you want to bring in the
adjustment at full intensity, crank that
| | 03:04 |
flow slider all the way up, and click and
paint.
| | 03:07 |
And there it is, with one brush stroke.
Yet typically, when you're working with
| | 03:11 |
the adjustment brush, you'll want to start
with a low flow amount so you can bring in
| | 03:14 |
the adjustment in subtle ways.
And slowly build it up.
| | 03:19 |
Yet, either way, you may need to know how
to modify that flow amount, so now you
| | 03:21 |
know how that slider works.
Well lets click clear in order to remove
| | 03:25 |
that breast stroke.
Now, what about density?
| | 03:29 |
What's interesting about density is if we
decrease this density slider here, lets
| | 03:32 |
bring this way down, and then paint back
and forth.
| | 03:35 |
Here I am painting back and forth with a
relatively low flow.
| | 03:38 |
It doesn't matter how many times I paint
back and forth, it will never get above.
| | 03:42 |
.
.
| | 03:42 |
This density amount.
In a sense, you can think of density as
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the overall intensity of all of your
adjustments above.
| | 03:50 |
If we increase the density, and then if I
click back and forth, and back and forth,
| | 03:53 |
you can see how I'm painting in a much
brighter effect.
| | 03:56 |
Yet still, it isn't allowing me to
brighten it all the way.
| | 03:59 |
Because I've decreased the overall
density, or I like to think of that as
| | 04:03 |
intensity, of the adjustment.
You can start to see how we can use these
| | 04:07 |
various sliders in order to customize the
way that we work with the adjustment brush.
| | 04:12 |
Well now that we've been introduced to how
we can start to modify and change the
| | 04:15 |
characteristics of the adjustment brush,
let's go ahead and take a look at how we
| | 04:18 |
can use this tool on some photographs and
let's do that in the next few movies.
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| Correcting exposures with multiple adjustments| 00:00 |
Now that we know a little bit about the
Adjustment Brush, let's dig a bit deeper
| | 00:03 |
and let's explore how we can use the
Adjustment Brush in order to brighten up a
| | 00:07 |
certain area of the image and to darken
another.
| | 00:11 |
Well first, let's select the Adjustment
Brush by pressing the K key on the
| | 00:14 |
keyboard or by clicking on the Adjustment
Brush icon here.
| | 00:18 |
This is a photograph of my daughter Annie
at one of her soccer practices.
| | 00:22 |
What I want to do with this image is I
want to brighten up her face.
| | 00:25 |
And add a little bit of contrast and
increase the warmth of her face there.
| | 00:28 |
And I want to darken up some of this lower
area of the image.
| | 00:32 |
Well in order to start to work on an area,
say the face what you want to do is modify
| | 00:35 |
a few of the sliders.
Here I'll click and drag the Temperature
| | 00:38 |
slider to the right.
We'll increase the exposure, and a little
| | 00:41 |
bit of contrast as well.
Now you don't need to be too concerned
| | 00:45 |
about the amounts with these sliders,
because you can always change them, after
| | 00:48 |
the fact.
Next I'll scroll down to the area, where
| | 00:51 |
we have some sliders which will allow us
to customize the brush characteristics.
| | 00:56 |
Now, what I like to do is either click and
drag the slider or position the cursor
| | 00:59 |
over the image and then tap the right
bracket key to make the brush bigger, or
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the left bracket key to make the brush
smaller.
| | 01:06 |
Now, typically, it works well to have a
relatively high amount of feather, so
| | 01:09 |
here, press Shift + Right Bracket key to
increase the feather amount or just click
| | 01:13 |
and drag the feather slider to the right.
Now, with the density what I prefer to do
| | 01:19 |
is to take the density all the way up then
just dial back my flow.
| | 01:23 |
This will allow me to subtly paint in this
adjustment.
| | 01:27 |
So, here we'll bring this back to ten or
15 or 20.
| | 01:29 |
Somewhere in this area which allows us to
paint in multiple brush strokes in order
| | 01:33 |
to brighten up an effect a certain area of
the image.
| | 01:36 |
Next we'll go ahead and just start to
paint over the photograph.
| | 01:39 |
What you want to do is try to paint evenly
so make sure that your hitting all of
| | 01:42 |
these areas together.
You also may need to paint over a little
| | 01:45 |
bit of the surrounding area, so that the
adjustment isn't overly intense in one
| | 01:49 |
area of the photograph.
So, here, I'll just make a few more little brushstrokes.
| | 01:54 |
Then we can click on the preview check box
to see the before.
| | 01:57 |
And now, to see the after.
Well, I like this effect.
| | 02:00 |
Except this pin right here is in a pretty
awkward position.
| | 02:03 |
It's right on her tooth and her lip.
I want to get rid of that, or just hide
| | 02:06 |
that temporarily.
Well, you can hide that by pressing the V
| | 02:09 |
key on your keyboard or, you can click on
the show pins icon right here.
| | 02:14 |
Think Of 'V' as visibility.
So, when you press that 'V' key it will
| | 02:18 |
toggle the visibility of those pins on and
off.
| | 02:22 |
And then press the 'P' key, or click on
the preview checkbox to see the before and
| | 02:25 |
the after.
You want to do that in order to evaluate
| | 02:28 |
the adjustment to make sure you're going
in a good direction.
| | 02:32 |
In this case I think it's a little bit too
warm.
| | 02:34 |
So here I'll scroll back up to the top and
I'll customize a color temperature by
| | 02:37 |
dragging this a little bit further back.
Or conversely you could bring in more warmth.
| | 02:42 |
Again, it's completely up to you.
I just simply want to highlight how you
| | 02:45 |
can change these sliders in amounts after
the fact.
| | 02:48 |
Well, next, after having brightened up the
face, I now want to darken the lower area.
| | 02:52 |
So what we need to do is create a new
adjustment.
| | 02:55 |
To do that, simply click on the New button
right here, and this will allow us to make
| | 02:58 |
a new adjustment.
Well, with this adjustment, I'm not
| | 03:02 |
interested in changing my temperature,
exposure, and contrast in this way.
| | 03:06 |
Rather, I want to decrease the exposure,
so click on the Minus icon, which will
| | 03:09 |
reset all the other sliders to their
default setting of 0.
| | 03:14 |
And then I'll drag this a little bit
further to the left.
| | 03:17 |
I also want to darken up those shadows a
little bit as well.
| | 03:20 |
Next, we'll go ahead and scroll down to
where we can customize the brush characteristics.
| | 03:24 |
Again, we want a really low flow amount.
Perhaps even lower.
| | 03:28 |
When it comes to darkening, I find having
a low flow amount is helpful because, you
| | 03:31 |
can then slowly darken an area so that
you're not, over exaggerating the effect
| | 03:35 |
in any way.
Now with this brush size, I think I just
| | 03:38 |
need to increase the size there a little
bit so I have a bigger brush size.
| | 03:42 |
I'm going to start to paint over this area
of the picture, also paint over the
| | 03:45 |
background a little bit over here as well,
and again, I'm just looking to sort of
| | 03:48 |
darken up a part of this part of my
photograph,and in doing that we can see
| | 03:51 |
how we're bringing more focus to the face,
we click on the preview checkbox we can
| | 03:54 |
see here's the before.
And then, now, here's the after.
| | 03:59 |
After having viewed the before and after.
And here, I'll turn on my show pins.
| | 04:03 |
We can see that we have two adjustments.
The first one, I think, is good.
| | 04:07 |
The second one, not so much.
Well, you can toggle between these two by
| | 04:11 |
clicking on the pin to select this one or
click on this pin to select the darkening effect.
| | 04:17 |
The reason why the darkening effect, I
think, isn't working, is, it's too much.
| | 04:21 |
It's too extreme.
Also, we need to change the color temperature.
| | 04:24 |
Here, I'll click and drag this to the
right a little bit in order to warm that up.
| | 04:28 |
And then I'll bring my exposure back up.
I think it's nice to sort of darken that
| | 04:32 |
area, but it went a little bit too far, so
again, just sort of bring this up so it's
| | 04:35 |
much more subtle Now click on the preview
checkbox.
| | 04:39 |
We can see the before and then now the
after.
| | 04:41 |
Well there you have it.
a technique of how we can make multiple
| | 04:44 |
adjustments on one image using adjustment
brush, and in addition I highlighted a few
| | 04:49 |
helpful shortcuts which will help you as
you dig deeper into working with this tool.
| | 04:55 |
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| Making selective adjustments with Auto Mask| 00:00 |
In the next two movies, I want to dig a
bit deeper into working with the
| | 00:03 |
Adjustment Brush.
And in particular, I want to look at how
| | 00:06 |
we can work with what's called Auto
Masking.
| | 00:09 |
Which allows us to limit or conceal the
adjustments to really.
| | 00:13 |
Specific areas in our photographs.
We'll start off with this image here.
| | 00:16 |
Here you can see I've already converted
the image to black and white, and added a
| | 00:19 |
bit more contrast.
And what I want to do next is brighten up
| | 00:23 |
the road.
In order to do that, we'll work with the
| | 00:25 |
adjustment brush and auto masking.
To select the adjustment brush press the K
| | 00:30 |
key or press the on Adjustment Brush icon
right here.
| | 00:33 |
Next, let's click on the Plus icon for
exposure, that will reset all of the other
| | 00:37 |
sliders to the default setting of zero.
Next, I'm going to click and drag the
| | 00:41 |
Exposure slider way up.
And I'm going to do this for demo purposes.
| | 00:46 |
Now the adjustment initially won't look
very good, but by having an exaggerated
| | 00:49 |
amount of exposure, it will really help us
to understand how auto masking actually works.
| | 00:55 |
Next let's scroll down to where we can
control some of our brush characteristics.
| | 00:59 |
Here in regards to the brush size, I'm
going to increase my brush size there a
| | 01:02 |
little bit.
I have a nice soft feather edge that'll
| | 01:04 |
work fine.
And I'll bring up the flow a little bit.
| | 01:08 |
Now you may have noticed that there are 2
check boxes, Auto Mask and Show Mask.
| | 01:11 |
We'll talk about those in just a minute.
But first let me paint in an adjustment
| | 01:15 |
and I'm going to decrease the brush size a
little bit more there and also lower the feather.
| | 01:20 |
And by doing that I just want to paint
over this area of the image.
| | 01:23 |
Here you can see that as I paint back and
forth, I'm brightening up the road.
| | 01:27 |
But I'm also brightening up the
surrounding area as well.
| | 01:30 |
So I'm brightening up the middle of the
road and outside of the road here.
| | 01:33 |
So that when we click on the preview check
box you can see the before, and then the after.
| | 01:37 |
Now it doesn't look as bad up here, but as
we get further along.
| | 01:41 |
The adjustment isn't really focused on the
road at all.
| | 01:44 |
Especially because my brush becomes much
too big as I get further away.
| | 01:48 |
Well we can actually limit the adjustment
just to the road or conceal it just to the
| | 01:52 |
road there, those two tracks by using Auto
Mask.
| | 01:56 |
let me show you what i mean,you can delete
an adjustment by clicking on the pan and
| | 02:00 |
pressing delete on a map or backspace on
windows .Next just try it on how to mark
| | 02:03 |
by clicking on the check box here,now with
the same exact brush and same exact
| | 02:07 |
setting we will move our cursor back here
to the road And focus in on those little cross-hairs.
| | 02:15 |
Now, whatever the cross-hairs paint over,
camera RAW is going to try and find areas
| | 02:18 |
which are different than that and then
stop the adjustment at those edges.
| | 02:23 |
Here you can see how I'm just brightening
up this part of the road.
| | 02:26 |
Now, the adjustment here is, of course, a
bit over the top, but this really starts
| | 02:30 |
to illustrate how when you use auto-mask
it allows you to limit or conceal an
| | 02:33 |
adjustment to specific areas.
Now this won't work perfectly, but it can
| | 02:38 |
help out as you can see here.
An what you might want to do, is after
| | 02:42 |
having used auto mask, is turn it off, an
then just soften up these edges here so
| | 02:46 |
they aren't quite so harsh, in other
areas.
| | 02:50 |
To do that, you can either press the M
key, or you can click on the check box in
| | 02:53 |
order to turn auto mass off.
Next, I'll decrease the flow amount and
| | 02:58 |
here just paint across the edges.
In order to create a little bit softer
| | 03:01 |
look here on these edges in a few areas of
the photograph.
| | 03:04 |
In this way we're taking advantage of both
techniques, we're using Auto Mask to
| | 03:08 |
create a real limited adjustment.
And then we're soften the edges and sort
| | 03:12 |
of connecting it a little bit or smoothing
out those edges by turning Auto Mask off.
| | 03:17 |
Well again let's take a look at the before
and after.
| | 03:20 |
Here's the before and here's the after.
Well the adjustment's too high, so let's
| | 03:23 |
go back to that exposure setting.
And here we're drop that exposure amount
| | 03:27 |
back down to something a little bit more
realistic.
| | 03:29 |
We just want a little highlight there in
the road.
| | 03:31 |
Here's before And then now here's after.
I'm also going to brighten up this area a
| | 03:35 |
little bit more here just to sort of
finish this off.
| | 03:37 |
Well, another thing that you might want to
do is actually view the mask.
| | 03:42 |
You can show the mask by clicking on this
icon here.
| | 03:45 |
And in this case, it's showing us this
mask in white.
| | 03:48 |
This is the area that's affected by our
brush strokes.
| | 03:51 |
You can change that by clicking on this
icon.
| | 03:53 |
And here, let's choose another color, say
light blue, and then click okay.
| | 03:57 |
We'll notice that we can see all of the
areas which are being affected.
| | 04:01 |
Now if too much of the image is being
affected, you can erase the area which is modified.
| | 04:06 |
To do so click on the Erase check box.
Now here as I click and paint across this.
| | 04:11 |
You can see how I'm limiting the
adjustment from these areas.
| | 04:14 |
I can also control this brush here if we
want to little bit more feather on that
| | 04:17 |
and a softer erasing, you can do that by
changing this.
| | 04:21 |
So each brush can have different
characteristics to our different qualities.
| | 04:25 |
When you click to go to add notice the
thou can then customize the brush there as well.
| | 04:29 |
Here I'll go ahead and paint back in in
certain areas.
| | 04:32 |
And sometimes by showing the mask it can
help you really focus in on what part of
| | 04:35 |
the image is being effected.
Again you can toggle this mask on and off
| | 04:40 |
with the shortcut.
It's the y key.
| | 04:43 |
Think of, why am I making this adjustment?
So tap the Y key and you can toggle that
| | 04:46 |
visibility on and off...
An again, the show mask feature, it's just
| | 04:50 |
something that's a, handy way to sort of
highlight our focus in on the area that
| | 04:53 |
you're effecting.
Alright, well now that we've modified this
| | 04:57 |
image, an improved this photograph using
auto mask, an also learned a few
| | 05:00 |
shortcuts, let's go ahead an take a look
at the preview.
| | 05:03 |
Here we'll review the overall result.
Here we can see we have the before, click
| | 05:07 |
again, there's the after.
Let's take a look at how we can continue
| | 05:11 |
to work with this technique in the next
movie.
| | 05:14 |
| | Collapse this transcript |
| Using Auto Mask to remove color| 00:00 |
In order to further deepen our
understanding of working with the
| | 00:03 |
adjustment brush in auto masking, I want
to take a look at another project and that
| | 00:06 |
will be working with this image here.
And what I want to do with this photograph
| | 00:11 |
is I want to desaturate everything except
for the car.
| | 00:15 |
To do that, we'll be using the adjustment
brush and also auto masking.
| | 00:18 |
So press the K key to select the
Adjustment brush, or click on the
| | 00:21 |
Adjustment brush icon.
Next we'll go ahead and click on the minus
| | 00:24 |
icon for the saturation slider, then click
and drag the saturation all the way down
| | 00:28 |
to negative one hundred.
This will allow us to desaturate an area
| | 00:33 |
of our image completely.
Next scroll down to the area we have a few
| | 00:37 |
sliders which allow you to control the
brush characteristics.
| | 00:41 |
Now for the brush flow, I'm going to crank
this up we're going to bring this all the
| | 00:44 |
way up to 100.
Density, leave that at on 100, and here
| | 00:48 |
we'll just try this out with a certain
brush size.
| | 00:51 |
Now if I start to paint over the image, in
this case the background, you notice that
| | 00:54 |
I'm desaturating that but I'm also
desaturating the car.
| | 00:58 |
So that won't work.
Here click Clear All.
| | 01:01 |
What we need to do is turn on Auto Mask,
you can do that by pressing the M key or
| | 01:04 |
clicking on this check box here.
Now when I make the same brush strokes
| | 01:09 |
what I'm able to do is to just desaturate
the background and here I'm not affecting
| | 01:12 |
the car.
Now if you want to get more specific, tap
| | 01:15 |
the left bracket key to make the brush
smaller.
| | 01:18 |
And what you want to do is go around the
edge of the car.
| | 01:21 |
And what auto mask is allowing us to do is
to really just focus in on the area
| | 01:25 |
underneath the crosshairs and desaturate
that from the image.
| | 01:29 |
So I'll go ahead and make my way around
the edge of the car here, and paint across
| | 01:32 |
the road as well.
The trick with this, of course, is that,
| | 01:36 |
you need to make sure that you're really
moving in close, and covering up all of
| | 01:38 |
these little details.
Eventually, after you've worked on some of
| | 01:43 |
these areas close to the car.
What you want to do is turn auto mask off
| | 01:47 |
and work on the larger areas.
To do that, press the M key or click on
| | 01:50 |
this icon here, tap the right bracket key
to make the brush bigger because once
| | 01:54 |
you've done the work on the edges well all
that we need to do now is paint with big bold.
| | 02:00 |
Broad brush strokes in order to desaturate
these other areas, and here we'll just
| | 02:03 |
paint across the sky a little bit.
Make the brush smaller by pressing the
| | 02:07 |
left bracket key.
I'm going to get into a few of these
| | 02:10 |
flowers which I missed, and occasionally,
as you're working on adjustments like this
| | 02:13 |
what you want to do is turn on the mask.
Click on this color chip and you can
| | 02:18 |
change it's color.
And in this case, we have a blue mask and
| | 02:21 |
then click Okay.
Now in doing that, I realized I missed a
| | 02:24 |
few really important areas.
I miss the sky area up here, so I'll press
| | 02:27 |
the right bracket key to make my brush
bigger.
| | 02:30 |
Paint over that area, miss that corner,
miss this part of the road, and I also
| | 02:33 |
miss the windows on the car and the
wheels.
| | 02:37 |
So here I'll go ahead and paint over the
wheels.
| | 02:39 |
I want to desaturate those.
To get into the windows we needed to turn
| | 02:42 |
Auto Mask back on, otherwise we'll
desaturate some of the paint of the car.
| | 02:47 |
So here we'll click on the Auto Mask
button or press the M key, and then just
| | 02:51 |
click and paint over this area.
And sometimes having this Mask View on by
| | 02:56 |
turning on this checkbox can really help
you to identify which areas you're affecting.
| | 03:01 |
In this case, we're just working on this
part of the image.
| | 03:03 |
We can then turn that off and of course
see the overall results of the affect.
| | 03:07 |
So again, sometimes you'll need to go back
and forth between these sliders.
| | 03:11 |
Here I need to desaturated a little bit
more of the tires I missed a few areas
| | 03:14 |
there so I'm just going to paint across
those.
| | 03:17 |
Now we have this really interesting kind
of color splash effect where everything
| | 03:21 |
else is desaturated except for the car and
we're only able to accomplish that by
| | 03:25 |
working with our adjustment brush and with
auto mask.
| | 03:30 |
| | Collapse this transcript |
| A workflow for improving exposure| 00:00 |
Now, that we know quite a bit about how we
can work with the adjustment brush.
| | 00:03 |
In the next few movies, I want to
highlight a few examples where we can
| | 00:06 |
improve or correct exposure.
And I also want to highlight a few work
| | 00:10 |
flow techniques.
We'll start off with this image here.
| | 00:13 |
This is a photograph of my sister and her
family.
| | 00:16 |
Now what I want to do is brighten up the
faces.
| | 00:19 |
I just want to brighten up a few other
areas as well.
| | 00:21 |
To do that, we'll work with the Adjustment
Brush.
| | 00:24 |
Go ahead and click on the Adjustment Brush
icon up here or press the K key.
| | 00:28 |
Next, let's scroll down to the area where
we can change our brush size and we can
| | 00:31 |
click and drag this slider to the right to
have little bit of a larger brush.
| | 00:36 |
Also going to remove a little bit of that
feather.
| | 00:38 |
I'll bring this down to say about 50 or
so.
| | 00:41 |
And in this way you can see how we could
start to paint over these faces.
| | 00:45 |
The brush is currently a touch too big.
We'll just press the Left Bracket key in
| | 00:49 |
order to decrease its size.
Now, here for the Flow amount, we'll bring
| | 00:53 |
the flow down to about 20 or 30 or so.
Then, I'll go back and dial in the effect.
| | 00:58 |
Now in order to bring in the effect of the
brightening here, I'm going to drag my
| | 01:01 |
Exposure slider to the right and warm this
up a little bit and add a little bit of contrast.
| | 01:07 |
The reason why you often need to add
contrast when you brighten something up is
| | 01:10 |
because you're losing some of the
contrast, or some of the overall exposure
| | 01:13 |
there, and sometimes you need to bring
back a little bit of the detail, or the
| | 01:16 |
depth there, by increasing contrast.
Next, we can go ahead and click and paint
| | 01:22 |
over one area of the picture, another, and
then another.
| | 01:24 |
Just brightening these areas up.
And in this way, we're brightening the
| | 01:28 |
image up a little bit too far, yet
sometimes what we'll do is have a higher
| | 01:31 |
intensity on this slider here.
So we can really sort of define the area
| | 01:36 |
that we're affecting.
Then we can scale it back so we have a
| | 01:39 |
more appropriate amount, and then paint in
over the edges and the areas where we need to.
| | 01:44 |
In this case, it looks like it's going to
be a pretty subtle amount.
| | 01:47 |
Well, once we brighten up the faces, as
you can see here, here's the before and
| | 01:50 |
then here's the after.
I also want to brighten up a few other areas.
| | 01:54 |
Well, to do that next we'll decrease the
flow amount.
| | 01:58 |
When you're going to work on an area where
you want the effect to be a little bit
| | 02:01 |
less intense, just decrease the flow.
But this will help us to, sort of, tie
| | 02:05 |
these adjustments together so that we're
brightening the faces and also brightening
| | 02:08 |
the subjects, here, of this portrait.
With different intensities.
| | 02:13 |
So again, now that we have painted that
in, we can click on the preview check box,
| | 02:16 |
and you can see the before, and then here
the after.
| | 02:20 |
They're pretty subtle adjustments, but
with a picture like this, they really make
| | 02:23 |
a significant difference Now the pin of
course, is a bit distracting.
| | 02:28 |
You remember the shortcut to hide the
visibility of that that?
| | 02:31 |
It the 'V' key.
Next, I'll scroll back up to my controls,
| | 02:33 |
I'm going to warm these areas up a little
bit more and add just a touch of magenta
| | 02:37 |
And Increase the contrast there.
The brightness a little bit.
| | 02:41 |
Brighten up some of those shadows and
again just modify these sliders, really
| | 02:44 |
paying attention to that natural look of
this photograph.
| | 02:48 |
Because this image is captured using
natural and available light.
| | 02:51 |
The sun was setting.
It was a fall afternoon.
| | 02:54 |
Again, I want this to have a really nice
look, so we'll click on the preview check box.
| | 02:58 |
And you can see the before, and then now
the after.
| | 03:00 |
And in this case, this difference here is
something that most people might not even
| | 03:04 |
notice, or know that we did.
Yet what we need to do, is now that we
| | 03:08 |
know how the adjustment brush works, we
need to start to look for these areas that
| | 03:11 |
we can focus in on and improve.
And in regards to the work flow, what you
| | 03:16 |
notice is that we start off by simply
brightening it.
| | 03:20 |
Then we painted in a few other
adjustments.
| | 03:22 |
Then we went back to those controls to
really finesse or fine-tune the
| | 03:25 |
adjustments in order to create the best
adjustment for this image.
| | 03:29 |
| | Collapse this transcript |
|
|
2. Making Specific Corrections with the Adjustment BrushMaking subtle exposure improvements with multiple adjustments| 00:00 |
In this movie, I want to take a look at a
few techniques that we can use in order to
| | 00:03 |
improve exposure.
Well let's start by working on this
| | 00:07 |
photograph here.
This one was captured, in natural and
| | 00:09 |
available light, and because of that,
notice that there are some areas, some
| | 00:12 |
highlights and some shadows that I want to
reduce, or diminish.
| | 00:16 |
To do that, let's work with the adjustment
brush.
| | 00:19 |
Click on the adjustment brush icon.
Then, what I want to work on first are the shadows.
| | 00:23 |
So, I'll click and drag to brighten up
those shadows.
| | 00:26 |
And I'll go ahead and bring those up to
about 40, and we'll scroll down to our
| | 00:29 |
brush characteristics here.
We'll decrease the brush size.
| | 00:33 |
Keep the feather amount pretty high, but
we'll bring down the flow.
| | 00:36 |
By having a low flow amount, it will allow
us just to start to paint over the image
| | 00:39 |
in some pretty broad ways.
Here, as I start to paint, we can see the
| | 00:42 |
first pin there is right on his chin.
It's a little bit distracting, so we can
| | 00:47 |
get rid of that by pressing the V key.
The V key allows us to toggle the
| | 00:51 |
visibility of that on and off.
Again, all I'm looking to do here is just
| | 00:55 |
to brighten up some of these shadows These
are pretty subtle adjustments so far,
| | 00:59 |
here's before and then here's after.
Well after having made one adjustment I
| | 01:03 |
also want to make another.
Yet rather than clicking on the New
| | 01:07 |
button, what you can do to create another
adjustment is to select the type of
| | 01:10 |
adjustment you want to work on, say for
example, shadows.
| | 01:14 |
Perhaps we want to work on these smaller
shadows here.
| | 01:17 |
We'll just click on this icon in order to
create a new adjustment.
| | 01:21 |
Notice it created a new adjustment brush
for us, and also it can apply this at a
| | 01:24 |
new amount.
Then I'll decrease the brush size, and as
| | 01:28 |
I decrease my brush size, notice that I
can't quite get a smallest enough brush.
| | 01:32 |
Notice that it turns into crosshairs.
What we need to do is zoom in on the image.
| | 01:37 |
So press Cmd+Plus on a Mac or Ctrl+Plus on
Windows.
| | 01:40 |
Now the brush shows up, and now I can
start to work on these areas.
| | 01:43 |
So sometimes you can change your brush
size, so to speak, by zooming in on the photograph.
| | 01:48 |
It actually doesn't change the size, it
just changes that zoom rate so that you
| | 01:51 |
can then paint in the adjustment that you
want to work on.
| | 01:54 |
In this case I'm just working on a few
little shadows here.
| | 01:57 |
All I'm trying to do here is just diminish
some of these shadows.
| | 01:59 |
Tap the right bracket key to make this a
little bit bigger, and again I'm going for
| | 02:03 |
a natural and subtle look.
So these aren't too over the top.
| | 02:07 |
Next I want to work on the highlights.
So rather than clicking on the new button
| | 02:10 |
I'll click on the minus icon for
highlights and click and drag this to the left.
| | 02:15 |
This will allow me to create a new
adjustment which will sort of allow us to
| | 02:18 |
bring down the brightness of those
highlights.
| | 02:21 |
Looks like I need to take that even
further and paint a few more times over
| | 02:24 |
these highlights just to diminish the
brightness of a few of those.
| | 02:29 |
Also paint over the jacket a little bit
here, bring in some more detail.
| | 02:32 |
Again some shuttle adjustments but
nonetheless some helpful improvements,
| | 02:36 |
let's press the V key to hide all those
pins and click on the preview check box
| | 02:39 |
before and here is after ,and with this
image really what I wanted to highlight
| | 02:43 |
how we could make shuttle adjustments.
And also how we could start to stack up
| | 02:49 |
multiple adjustments in order to build up
the effect.
| | 02:52 |
Sometimes, that's what you'll want to to
do in order get into specific areas,
| | 02:55 |
especially when it comes to exposure.
Also, keep in mind when you're working on
| | 03:00 |
exposure, it's helpful to work with the
really soft-edged brush, and to work with
| | 03:04 |
a really low flow amount you can subtlety
paint in all of those adjustments.
| | 03:09 |
Alright, now that we've finished up our
work on this image we'll go ahead and
| | 03:12 |
continue our conversation about working
with exposure and correcting exposure in
| | 03:16 |
the next movie.
| | 03:18 |
| | Collapse this transcript |
| Brightening shadows and darkening highlights| 00:00 |
In this movie, I want to continue to talk
about how we can correct exposure or
| | 00:03 |
brightness in a photograph.
And with this image you can see that the
| | 00:07 |
right side of the image is a bit to
bright, the face is over exposed, that's
| | 00:10 |
because the subject is standing next to a
window which is over here.
| | 00:15 |
In contrast, the left side of the image is
a touch too dark.
| | 00:19 |
So what I want to do, is use the
adjustment brush in order to even out the
| | 00:22 |
brightness or the tonality of this image.
Well to do that, let's go ahead and select
| | 00:27 |
the adjustment brush by clicking on the
icon or by pressing the k key.
| | 00:31 |
Next we'll click on the minus icon for
highlights and click and drag this to the left.
| | 00:36 |
Then, scroll down to the area where we can
control the brush characteristics.
| | 00:39 |
Here I want a relatively low-flow amount,
and a much smaller brush size so I can
| | 00:43 |
focus in on my adjustments just on this
area.
| | 00:46 |
We'll start to click and paint over this
area, because we have a low-flow amount
| | 00:49 |
we'll need to paint multiple times.
So go ahead, paint back and forth over
| | 00:53 |
this area.
We can also work on some of the other
| | 00:55 |
highlights like the highlight on the scarf
and the hand, little bit of over exposure
| | 00:58 |
there as well.
Also, a little bit of the highlights on
| | 01:02 |
the jacket.
Well, alright, here we have our first adjustment.
| | 01:06 |
I'll decrease my highlight slider, even a
little bit further.
| | 01:09 |
I'll just go ahead and paint over this
area and then scroll back up to make a few
| | 01:12 |
other adjustments.
You know whenever you change brightness
| | 01:16 |
you also may want to work with other
sliders, rather than just focusing on the
| | 01:19 |
highlights, maybe you want to, darken that
area just a little bit with the Exposure
| | 01:22 |
slider, or perhaps add just a touch of
Contrast and maybe a little bit of Warmth.
| | 01:28 |
All right, well now that we've affected
this side of the image, let's take a look
| | 01:30 |
at the preview.
Here's a before and here's the after.
| | 01:33 |
Well that's nice.
You notice we have the pin there.
| | 01:36 |
What will happen is, when we hover over
the pin, it will highlight the area that
| | 01:39 |
we've affected.
Or, because I was using a pretty big
| | 01:43 |
brush, it affected the right side of the
face and the left side.
| | 01:47 |
Actually, I only want it on the right
side, so here, I need to go back to the
| | 01:50 |
Erase option, click on Erase, position
your cursor over the image and you can
| | 01:53 |
change the brush characteristics here as
well.
| | 01:58 |
Increase the flow, decrease the feather,
decrease the brush size, also tap the Left
| | 02:01 |
Bracket key to make the brush smaller.
I can paint the adjustment away from this area.
| | 02:07 |
Now, sometimes it difficult to see what
you're painting away.
| | 02:10 |
This is where I like to turn on the Show
Mask icon.
| | 02:14 |
You can click on this icon or press the Y
key.
| | 02:16 |
And I also like to change the color to a
really hiatus bright color say like green.
| | 02:21 |
Because this will show me that as I erase,
I'm actually erasing it from this part of
| | 02:24 |
the image.
Now previously I hadn't really been able
| | 02:27 |
to identify which area was being affected
and which wasn't.
| | 02:31 |
In this way I'm able to really focus the
adjustment in on that area.
| | 02:34 |
Next, you may want to increase the feather
amount and decrease the flow and then make
| | 02:38 |
another brush stroke right along the edge.
That will just allow you to have a little
| | 02:43 |
bit of a softer adjustment right along the
edge there.
| | 02:46 |
Create a little bit more of a transition.
All right.
| | 02:48 |
Well, the turn the mask visibility off.
Click on this icon or press the Y key.
| | 02:52 |
Also, you may discover as you work on
small areas of your photograph, having
| | 02:55 |
these little icons here, which show us the
pan or the adjustment area, are a little
| | 02:59 |
bit distracting, especially as you start
to roll over a lot of those.
| | 03:04 |
What I like to do is press the V key to
get rid of them so I can move my cursor
| | 03:07 |
anywhere without seeing the mask.
And if I want to see the mask, I'll just
| | 03:12 |
click on this side here to show or to hide
it.
| | 03:15 |
All right.
Great.
| | 03:16 |
We've worked on one side of the face.
Let's now work on the other.
| | 03:19 |
To do that, we'll go ahead and scroll back
up and we'll apply a different adjustment.
| | 03:23 |
This adjustment will work on the shadows.
So, click on the plus icon for the shadows.
| | 03:27 |
This will allow us to brighten up the
shadows, also brighten up the exposure
| | 03:30 |
just a little bit and add just a little
bit of contrast.
| | 03:34 |
Now we'll scroll back down to our brush
characteristics.
| | 03:37 |
We have a low flow amount, pretty high
feather that's fine.
| | 03:40 |
We'll go ahead and start to paint over
this side of the image.
| | 03:43 |
In this case I'm going to paint over a few
of these shadow areas just to brighten
| | 03:45 |
those up a little bit.
Then as I get closer to the face.
| | 03:49 |
I'll tap the left bracket key to make sure
I have a much smaller brush, so that brush
| | 03:53 |
adjustment isn't spilling over into the
other side of the face.
| | 03:57 |
In this way, we can really sort of get
specific about what area were effecting in
| | 04:00 |
this case we're just effecting some of
these shadows here and again just trying
| | 04:04 |
to even out the overall tonality.
Now as I'm painting these subtle brush
| | 04:09 |
strokes over the image, one of the things
I'm noticing is that the colors are a
| | 04:12 |
little bit lacking on this side of the
photograph.
| | 04:15 |
So here I'll scroll back to the top and
increase the overall color temperature to
| | 04:19 |
warm that up a touch.
I also notice that this brush, even though
| | 04:23 |
it's small, it is spilling over to the
other side.
| | 04:26 |
Press the V key to bring back the
visibility of these, little icons, an you
| | 04:29 |
can see how it is effecting the other side
of the image a bit, the highlight there.
| | 04:33 |
So I might as well darken that highlight,
so I can bring that down on the nose.
| | 04:37 |
Again, which just helps me to sort of even
out the exposure in this image.
| | 04:41 |
Of course we could even this out even
further, how far you go with this is
| | 04:44 |
really up to you in the over all style and
look that you want to create in the photograph.
| | 04:49 |
We'll take a look at how we're doing here.
I'll press the V key to hide those pins
| | 04:52 |
and click on the Preview checkbox, you can
see the before An then now the after.
| | 04:57 |
Well after you've made some adjustments,
using the adjustment brush, often what
| | 05:00 |
you'll want to do, is go back to the basic
panel.
| | 05:02 |
To do that, select another tool.
Select the zoom tool, an this'll bring
| | 05:06 |
back our basic panel adjustments.
Here we could increase the overall
| | 05:10 |
contrast or exposure.
Work on the shadows or the highlights, and
| | 05:13 |
by doing that we can again just further
build upon those adjustments which we've
| | 05:17 |
made and correct the image even more, and
i wanted to bring us back to the basic
| | 05:20 |
panel here just to highlight the
importance of integrating the adjustment
| | 05:23 |
brush into our overall work...
Flow.
| | 05:28 |
And in this case making these few little
adjustments here can help to create a
| | 05:31 |
better looking photograph.
Now, if you click on the Preview checkbox
| | 05:35 |
now, this will only show you the before
and after with the basic panel adjustments.
| | 05:40 |
Some pretty subtle adjustments here, and
make them a little bit more dramatic so
| | 05:43 |
you can see the difference Here we'll go
ahead and click on this.
| | 05:46 |
Here's before and then here's after.
Yet if you want the overall before and
| | 05:49 |
after, navigate back to the adjustment
brush by clicking on the adjustment brush icon.
| | 05:54 |
And then click on the preview check box
then here we can see that overall before.
| | 05:58 |
And then now after.
| | 06:01 |
| | Collapse this transcript |
| Enhancing the color, tone, and sharpness of the eyes| 00:00 |
The eyes are so revealing.
And I love my daughter Anika's big blue
| | 00:04 |
eyes in this photograph here.
And in this movie we'll explore how we can
| | 00:08 |
improve eyes using the adjustment brush.
One of the things that you'll want to do
| | 00:11 |
as you start to work on the eyes is to
zoom in on that area of the image.
| | 00:15 |
So here with the Zoom tool selected, I'll
go ahead and click a few times until I've
| | 00:19 |
zoomed into 100%.
Now when you zoom into 100% you'll have
| | 00:23 |
this really up close view, you'll start to
notice all of the little details of the eyes.
| | 00:28 |
Well here I want to bring out some of
those details.
| | 00:30 |
So let's click on the adjustment brush
icon, or press the K key to select the
| | 00:34 |
adjustment brush.
Next before we even start to dial in the
| | 00:38 |
settings, we need to change the brush
size, so here I'll decrease the brush size
| | 00:41 |
by pressing the Left Bracket key or by
clicking and dragging the size slider to
| | 00:45 |
the left.
You also want a really low feather amount,
| | 00:49 |
so here press Shift + Left Bracket to
decrease the feather, or just click and
| | 00:53 |
drag this slider to the left.
And the reason is is, as you paint over
| | 00:57 |
the eyes, you want to make sure the effect
won't spill into the eyelids or or the
| | 01:00 |
whites of the eyes.
Here my brush is still too big, so again
| | 01:04 |
I'll press the Left Bracket key till I
have a nice small brush in order to make
| | 01:07 |
some improvements there.
All right well after we've dialed in some
| | 01:10 |
setting for our brush.
Last but not least we want to decrease the flow.
| | 01:14 |
So we can paint these in progressively.
Here I'll go down to about 30.
| | 01:18 |
Next, let's scroll back to our sliders.
When working on eyes what I found is that
| | 01:22 |
there are a combination of sliders which
work best.
| | 01:25 |
Typically, you want to increase the
exposure, the contrast.
| | 01:29 |
Bring up some clarity and saturation, and
also sharpness.
| | 01:33 |
Often, as you drag these sliders to the
right, you won't really know how far to go.
| | 01:37 |
And many times, you'll go too far.
So let me exaggerate this a little bit
| | 01:41 |
more, and bring up more exposure than we
want to.
| | 01:43 |
But I'll do this for demo purposes, so we
can really see the effect.
| | 01:47 |
Then we'll scale the effect back in just a
few minutes.
| | 01:50 |
Next you may want to change the overall
color.
| | 01:52 |
We have a few options for that.
One obvious and easy way to affect color
| | 01:56 |
is temperature and tint.
These eyes are blue, so I'll click and
| | 01:59 |
drag this to the left.
Add a little bit more of a blue tint to
| | 02:02 |
that area of the image.
Next we need to start to click and paint
| | 02:05 |
over the eye.
In this case what we're painting in is
| | 02:08 |
clarity, and contrast, and color, and
saturation, we're bringing that into this
| | 02:11 |
area of the photograph.
Now again, the effect here is a little bit
| | 02:15 |
over the top, but let me just go ahead and
paint over both eyes, and then customize a
| | 02:18 |
few of these settings, so that we can
scale this back a little bit.
| | 02:22 |
What often happens is we paint an effect
up close like this and we get excited
| | 02:26 |
about it.
Here if we click on the preview checkbox
| | 02:29 |
we see the before and the after and it
looks pretty facinating.
| | 02:32 |
We have this little bit of color, I'll add
even a little bit more perhaps.
| | 02:36 |
Bring up some more saturation and clarity
and sharpness allows us to bring out all
| | 02:39 |
of those nice little details.
Yeah what you always need to do is when
| | 02:43 |
you get up close, you also need to scoop
back.
| | 02:46 |
You can to do that by pressing Cmd + Minus
on a Mac or Ctrl + Minus on Windows.
| | 02:50 |
Well, now when I scoop back a little bit
and take this in and kind of see how it
| | 02:53 |
fits in the overall photograph.
I realize it's overpowering.
| | 02:58 |
It's like her eyes are glowing.
Click on the preview check box, you can
| | 03:01 |
see the before and now the after.
When you make specific adjustments you
| | 03:05 |
want to be careful not to make the
adjustment so strong that your drawing too
| | 03:08 |
much attention to that area.
So here we can easily scale this back by
| | 03:12 |
simply dropping our exposure back.
The brightness can we one of those sort of
| | 03:17 |
dead giveaways in regards to overdoing it.
So here I'll just scale that back a little bit.
| | 03:21 |
You can also modify the color temperature
and I'm just going to slide these around a
| | 03:24 |
little bit until I think it's a little bit
more subtle and it looks good.
| | 03:27 |
Again, here's the before.
They look a little bit too yellow.
| | 03:31 |
Now here's the after there's more blue
color in the eyes.
| | 03:34 |
Now when it comes to working on the color
of the eyes, you can push that color even
| | 03:37 |
further, by using this control here, the
color control.
| | 03:41 |
Notice that there's a little color swatch
or color chip, if you click on that it
| | 03:44 |
opens up the color picker.
So here we could choose a color, say like
| | 03:48 |
blue, notice how the eyes take on a really
strong blue tint or we could change them
| | 03:52 |
to an extreme, a different color here.
You can see as I click and drag around, we
| | 03:56 |
can affect the over all color of the eyes
in that area, you can also desaturate that
| | 04:00 |
color if you want a little bit more of a.
Subtle color shift.
| | 04:04 |
Now if you want to fully replace the color
of the eyes.
| | 04:07 |
What you need to do is click OK here to
apply that color shift.
| | 04:11 |
And then choose the desaturation amount of
negative 100.
| | 04:14 |
That will allow you to remove all of the
color so that the only color that's coming
| | 04:18 |
in Is now the color, which is coming in
from the Color Picker.
| | 04:22 |
And you can see that here in this area.
Now sometimes it's helpful to actually do that.
| | 04:26 |
Yet in most situations I find that this
can make a color effect which is just a
| | 04:29 |
little bit too strong.
So again though, you want to experiment
| | 04:32 |
with that.
And at least you know how to modify the
| | 04:35 |
color, so I'm going to to bring this back
down to a light blue, bring back some of
| | 04:38 |
the original color, so that those colors
are mixing together.
| | 04:42 |
Here we have some of the original color,
as well as a little bit of the color that
| | 04:45 |
I added here, in this area.
If ever that's too strong Just desaturate
| | 04:49 |
if further.
The further you desaturate that, well the
| | 04:52 |
more color you can remove.
Alright, well after having modified that a
| | 04:55 |
bit let's take a look at the overall
before and after of the adjustments to the eyes.
| | 05:00 |
Click on the preview check box.
There you can see the before, and then now
| | 05:03 |
the after.
Let me zoom in a bit closer so you can see
| | 05:05 |
that better.
Here it is before and after, and that
| | 05:08 |
wraps up our look at how we can use the
adjustment brush in order to improve the eyes.
| | 05:14 |
| | Collapse this transcript |
| Whitening teeth| 00:00 |
As we started to discover the adjustment
brush is quite a versatile little tool.
| | 00:04 |
It allows us to make big and broad
adjustments to our photographs.
| | 00:08 |
Or we can also use it to make subtle and
precise adjustments.
| | 00:12 |
Here we're going to explore how we can
whiten the teeth in this portrait.
| | 00:16 |
In order to start to work on the portrait
let's zoom in on the teeth.
| | 00:19 |
To do that, select the Zoom tool and then
click a few times so you can zoom in nice
| | 00:21 |
and close to the area that you're going to
work on.
| | 00:24 |
Alright well after having zoomed in nice
and close the next step of course is to
| | 00:28 |
select the Adjustment brush.
Press the K key to select that tool or
| | 00:32 |
simply click on it in the Tools panel.
Next I need to change my brush size, so
| | 00:36 |
here scroll down to the area where we have
some sliders.
| | 00:40 |
Which allow us to change the
characteristics of the brush.
| | 00:42 |
We want a really small brush with a low
feather amount.
| | 00:46 |
So, decrease the feather here and decrease
the brush size by clicking and dragging
| | 00:49 |
these sliders, or use shortcuts which I've
highlighted.
| | 00:52 |
Press the Left Bracket key to make your
brush much smaller, press Shift Left
| | 00:55 |
Bracket to decrease the feather.
You want a brush size that allows you to
| | 01:00 |
be able to work on an individual tooth.
Here, the brush is still too big so I'll
| | 01:04 |
press the left bracket key in order to
have an even smaller brush.
| | 01:08 |
Well, after having decreased the brush
size, let's also decrease the flow there a
| | 01:12 |
little bit.
Then next, let's customize some of the settings.
| | 01:15 |
Now, what we want to do with the yellow
there is remove some of the overall color.
| | 01:19 |
So we're going to reduce the color
saturation, so we'll remove some color there.
| | 01:24 |
We want to increase the contrast, and also
a little bit of exposure.
| | 01:28 |
Add some clarity.
This will bring back a little bit of the
| | 01:30 |
contrast so that as we whiten the teeth,
we don't over smooth out that area.
| | 01:35 |
Next, what I like to do when I start to
work on the teeth is actually turn on auto
| | 01:38 |
mask and show mask Let's go ahead and
click on both of those options, and then
| | 01:42 |
start to paint over the teeth.
And the reason why I like to have the Show
| | 01:47 |
Mask on, is because what you want to do is
really focus in on the teeth and make sure
| | 01:51 |
you aren't affecting the gums, or the
lips.
| | 01:55 |
And by zooming in really close and using a
small brush size and having auto mass
| | 01:59 |
turned on.
It allows us to paint over the teeth,
| | 02:02 |
Currently I have a mass color that's
green.
| | 02:04 |
You can change that by clicking on this
icon here and just choose a new color.
| | 02:08 |
What I like to do is to have a color Which
is really sort of loud, so it's showing me
| | 02:11 |
the area that I'm selecting as I'm
starting to paint over the teeth.
| | 02:16 |
Now, invariably, what we'll need to do is
go back with the auto mask turned off, and
| | 02:20 |
we'll need to soften a few of these edges.
But again, here, what I like to do just
| | 02:24 |
start by doing this.
Paint back and forth.
| | 02:27 |
You also, because we have a lower flow
amount, will want to paint multiple times
| | 02:30 |
on some of the teeth that you know will
need a little bit more work.
| | 02:34 |
Now I know this looks absolutely strange
right now, but just stick with me for just
| | 02:37 |
another moment.
Let's turn auto mask off.
| | 02:41 |
And then go ahead and paint over those
edges just to smooth those out.
| | 02:44 |
Here I'm going to increase my feather
amount.
| | 02:46 |
This will allow me to have a little bit
softer of an edge there on some of those teeth.
| | 02:50 |
The reason why we want this to happen is
we want the transition, or the color
| | 02:53 |
effect to be nice and soft.
We don't want it to be too strong there on
| | 02:57 |
those edges.
Okay, well that looks pretty good,.
| | 03:00 |
Let's turn off this show mask.
Let's take a look at the teeth and the
| | 03:03 |
effect we have so far.
We may need to customize our adjustment.
| | 03:07 |
But, let's look at our preview first.
So here's before without the teeth whitening.
| | 03:11 |
And then here's after.
And we were able to paint this in, simply
| | 03:14 |
by using a few adjustments.
Remember we desaturated.
| | 03:18 |
By desaturating we removed a lot of the
color there.
| | 03:21 |
And just by removing that color, again the
teeth look much better.
| | 03:24 |
But we also brighten the teeth up a little
bit.
| | 03:26 |
Here you can see, we can darken or
brighten those teeth.
| | 03:29 |
Now how far you go with each of these
sliders.
| | 03:31 |
It really depends on the photograph.
And you want to be careful not to go too far.
| | 03:35 |
When it comes to teeth whitening, teeth
aren't really pure white.
| | 03:39 |
They should have a little bit of tint or a
little bit of color in them.
| | 03:42 |
The contrast an clarity slider allows you
to have some shape there, as you start to
| | 03:46 |
bring up your exposure.
And if you need to make more adjustments,
| | 03:50 |
go ahead and do so.
And as you get better at this technique
| | 03:52 |
what you'll discover is that you'll leave
these two check boxes down here turned off.
| | 03:57 |
Yet initially I find it's helpful to
really focus in on what it is that you're affecting.
| | 04:02 |
So that you have some good adjustments and
so that you're whitening and brightening
| | 04:05 |
those teeth up in a nice and natural way.
All right.
| | 04:08 |
Let's evaluate how we've done on this
project.
| | 04:11 |
Here you can see is the before and I'll
click again and now you can see the after.
| | 04:16 |
Of course, as I mentioned previously, if
you would like to remove more of the
| | 04:19 |
yellow, by all means do so.
Just be careful that you don't go too far
| | 04:23 |
so that the teeth look unnatural.
You want a nice, natural, bright smile so
| | 04:27 |
that it creates a more flattering look.
There's a technique that you can use in
| | 04:32 |
order to use the adjustment brush to
whiten or brighten teeth.
| | 04:36 |
| | Collapse this transcript |
| Removing moiré patterns| 00:00 |
We can use a Camera Raw adjustment brush
in order to paint in different types of corrections.
| | 00:05 |
We can use it to paint away noise or color
fringing or to paint away moire pattern
| | 00:08 |
like we have here in this photograph.
If you double-click the Zoom tool to take
| | 00:13 |
this image to 100%, you'll notice that
there's this interesting pattern all
| | 00:17 |
across the photograph.
This often happens in digital capture when
| | 00:21 |
you're capturing images of textiles or
clothing like this, sometimes these
| | 00:24 |
patterns will appear.
Whether you want to remove noise or
| | 00:28 |
defringing or moire pattern The technique
is exactly the same, and here's how we do it.
| | 00:32 |
Go ahead and select the adjustment brush
by clicking on the adjustment brush icon above.
| | 00:37 |
Next, in the adjustment brush panel you
want to scroll down to this area where we
| | 00:40 |
have a few sliders which allow us to
reduce noise or reduce the murray pattern
| | 00:43 |
or to defringe the image and get rid of
color fringing.
| | 00:48 |
Here what I want to do is increase the
murray reduction, so we'll click and drag
| | 00:51 |
this all the way to 100...
Next, let's go down to our brush settings.
| | 00:56 |
We'll increase the flow so we can paint
this in at full intensity, or the full
| | 00:59 |
amount in one brush stroke, and then this
brush actually will work pretty well.
| | 01:03 |
All that we need to do is simply click and
paint across the photograph.
| | 01:07 |
Now if we need to limit this to certain
areas, notice that as I paint across this,
| | 01:10 |
it's affecting this background over here.
What we'll want to do is go ahead and
| | 01:14 |
deselect this, or delete this.
I'll click on this and press the Delete or
| | 01:18 |
Backspace key.
And then go to the option where we can
| | 01:21 |
turn on Auto Mask.
Now when I click and paint across that
| | 01:24 |
area, notice how it's not affecting the
background.
| | 01:26 |
Now once you get away from the edges, turn
Auto Mask off.
| | 01:30 |
Because in here it works a little bit
better.
| | 01:32 |
If you have Auto Mask off as you start to
paint across the garment.
| | 01:36 |
Also as you're making the adjustment, you
may want to experiment with the slider amount.
| | 01:40 |
Here as I drag this down, what we'll see
is a little bit more of the moire pattern
| | 01:43 |
comes back, now we see it in full
intensity and it changes in different ways.
| | 01:47 |
And different moire patterns will need a
different amount in regards to remove it.
| | 01:52 |
In this one I think full 100 there works
well.
| | 01:54 |
And again all that we need to do is to
paint across the image and make our way
| | 01:57 |
through our photograph.
Now here I don't think I need to show you
| | 02:00 |
all of the details of working on the
edges.
| | 02:02 |
Because by now, you get the point that if
you're going to work on the edges turn on
| | 02:05 |
auto mask.
If you aren't, turn it off.
| | 02:08 |
Alright.
Well let's look at the area that we worked on.
| | 02:10 |
Here if I click on the preview check-box
you can see the before, and then click
| | 02:13 |
again, andnow you can see the after.
An keep in mind, you can paint away moire
| | 02:17 |
patterns or noise.
So if you have an issue with your image
| | 02:20 |
where you have some noise or you have a
pattern like this.
| | 02:23 |
Experiment with those sliders because they
can help you to selectively brush or paint
| | 02:28 |
away those problems.
| | 02:31 |
| | Collapse this transcript |
| Making colors come alive| 00:00 |
Using camera raw or photoshop for that
matter is often about clarifying our
| | 00:04 |
vision for a particular photograph.
Here I want to take a look at how we can
| | 00:08 |
try to attempt to achieve my vision of
this picture.
| | 00:12 |
i walk by one of my friends offices and I
noticed these sort of sad balloons hanging
| | 00:16 |
on this cabinet door, yet I loved the
quality of the light.
| | 00:21 |
What I want to do with this image is I
want to make the background completely
| | 00:24 |
black, I want to reduce and simplify.
I also want to bring out nice vibrant and
| | 00:28 |
rich colors.
We'll take a look at how we can try to
| | 00:31 |
actualize that vision by working with the
basic panel and also the adjustment brush.
| | 00:36 |
Now before I start to do anything with our
photograph often what I like to do is to
| | 00:39 |
try to crop or recompose it Just to see if
there's something there so that I can then
| | 00:43 |
focus in on the area that I actually want
to work on.
| | 00:47 |
So here, let's began by selecting the Crop
tool.
| | 00:50 |
We'll go ahead and just click and drag
this Crop area out over this image and
| | 00:53 |
again what I'm interested in doing is
changing the coposition.
| | 00:57 |
So a click and drag in these crop handles
because I really want this to be about
| | 01:00 |
these balloons here.
I'm going to get rid of all the
| | 01:03 |
distracting elements in the background.
And sometimes it makes sense to crop those
| | 01:07 |
away before you start to make any
adjustments so that you don't do any
| | 01:09 |
unnecessary work.
Already simply by cropping the image we've
| | 01:14 |
solved a lot of issues.
Next I'll go ahead and press Enter on
| | 01:17 |
Windows or Return on a Mac.
After having done that I realize there's a
| | 01:21 |
little bit too much space on top.
So I'll select the Crop tool here.
| | 01:24 |
And just going to click and drag this down
a little bit more.
| | 01:27 |
And then press Enter or Return one more
time.
| | 01:29 |
Alright next, let's begin in the basic
panel.
| | 01:31 |
In the basic panel I want to crank up the
contrast.
| | 01:34 |
So I'll go ahead and click and drag this
to the right, I'm going to bring this up
| | 01:37 |
to about 60 or so.
In doing that, all of a sudden the colors
| | 01:40 |
come to life, the background is starting
to fade away I'll bring up the whites in
| | 01:43 |
order to bring back a little bit of the
color there, the brightness I should say.
| | 01:48 |
We'll increase the clarity.
By increasing clarity it adds some
| | 01:51 |
mid-tone contrast.
Then I'll bring up some vibrance to add
| | 01:54 |
some more color and color variety, and
also some saturation.
| | 01:58 |
Now already just working in the basic
panel, we have a much better photograph.
| | 02:02 |
Here's before, and then now here's after.
It of course the problem at this point is
| | 02:06 |
the background and also the problem is
that two of the balloons, well they're
| | 02:09 |
pretty dark and they're kind of
disappearing there in the background.
| | 02:13 |
So what I want to do is to clean up the
background and bring up this yellow and
| | 02:16 |
orange balloon here so that they're
brighter in order to finish off this project.
| | 02:21 |
First let's go ahead and select the
adjustment brush.
| | 02:24 |
With the adjustment brush, what we need to
do is we need to change some settings here.
| | 02:27 |
So let's click on the minus sign for
exposure and then click and drag this down.
| | 02:31 |
We're going to bring this down pretty far
because I want this background area to
| | 02:34 |
become really black.
Next we can go ahead and decrease the highlights.
| | 02:38 |
So I'll go ahead and decrease those, cause
I want to darken those up.
| | 02:42 |
And then we can make other adjustments as
well.
| | 02:44 |
If we want to remove some of the color
from the background.
| | 02:46 |
Perhaps we could drag that down.
Next, I'm going to change my brush characteristics.
| | 02:50 |
So down here we have a brush size which is
just a little bit too big.
| | 02:53 |
We can leave that feather amount where it
is.
| | 02:56 |
The flow I'll drag down just a bit there,
but I'll leave that pretty high.
| | 02:59 |
And then we'll go ahead and click and
paint over the background.
| | 03:02 |
And as we paint over the background, what
we're going to start to see is it's
| | 03:05 |
darkening that up.
And my feather, I'm realizing is much too
| | 03:08 |
low so I'm going to increase that, because
I want to have a nice soft effect.
| | 03:12 |
And I'm just going to start to work on the
bigger or larger areas, I'm not going to
| | 03:15 |
worry about the seams or the edges just
yet.
| | 03:18 |
So again we'll just paint over these areas
making big broad brush strokes.
| | 03:23 |
after shaving made a few of those let's
turn on auto mask by clicking on this icon
| | 03:26 |
here, then we want to move in a little bit
closer.
| | 03:29 |
This will allow us to get really close to
the edges of the balloons and to get rid
| | 03:33 |
of any distracting elements there, go
ahead and get closer to this area.
| | 03:38 |
You just want to make sure that the cross
hairs in the center of the circles is
| | 03:41 |
isn't overlapping or touching anything
important like a balloon.
| | 03:45 |
And here, we have a pretty good work on
the background.
| | 03:48 |
I need to make a new adjustment, so I'll
click on New.
| | 03:50 |
I'm going to click and Paint over this
area down here.
| | 03:52 |
Notice how there's still some brightnest
in that area.
| | 03:55 |
Drag up and we'll decrease our exposure
even further, bring the highlights down.
| | 04:00 |
What I'm going to do is try to darken this
area up as well.
| | 04:03 |
My shadows are going to become darker.
What I'm interested in doing is trying to
| | 04:06 |
get rid of those bright spots that I have
there.
| | 04:09 |
So again, just painting back and forth
over those areas.
| | 04:11 |
Alright, I'll go ahead and paint over a
few other areas as well, just to sort of
| | 04:15 |
clean up that background.
Next, we'll scroll down and turn off Auto Mask.
| | 04:20 |
This will enable me to really get rid of
all of those little issues there.
| | 04:23 |
Alright, well great, we cleaned up the
background.
| | 04:25 |
If we click on the Preview checkbox, you
can see here's before.
| | 04:28 |
And then here's after.
Often, in photography, if you can reduce
| | 04:31 |
and simplify, you can create a better
photograph.
| | 04:34 |
Okay, well next what I want to do is work
on the two balloons.
| | 04:37 |
In order to work on the these balloons,
we're going to need to make a few adjustments.
| | 04:41 |
So let's go ahead and create a new
adjustment, but let's do this by clicking
| | 04:44 |
on one of these icons, the plus or minus
icon.
| | 04:47 |
Let's click on the plus icon for exposure.
Now here with exposure what I know that
| | 04:52 |
I'm going to need to do is to brighten
this up a little bit, so I'm simply
| | 04:55 |
going to go and click and drag this to the
right, then scroll down to Auto Mask.
| | 05:00 |
I want to turn on Auto Mask because I just
want to work on the yellow balloon.
| | 05:03 |
So here we'll click and drag around this
and it's almost like we're just lighting
| | 05:06 |
this balloon up.
I also want to light up the other balloon
| | 05:09 |
as well.
We're going to need to make a second
| | 05:12 |
adjustment for this one.
What happens often when you take something
| | 05:15 |
from a different type of exposure or you
brighten it up dramatically like this is
| | 05:18 |
that you may be bringing in some noise
there, so we have to be careful We don't
| | 05:21 |
overdo it.
So we can reduce the noise here by working
| | 05:25 |
with this slider.
And here, what you'll want to do is just
| | 05:29 |
watch that area and reduce any noise
that's sort of unwanted.
| | 05:33 |
Then you may need to go back to your
exposure slider and just dial that in.
| | 05:36 |
Exactly as you want it.
Make sure the edges look good and that
| | 05:40 |
area looks nice.
Here we'll saturate those colors and work
| | 05:43 |
on the overall shadows as well.
I bring up my shadows slider, we're
| | 05:46 |
going to see that orange balloon start to
come in a little bit more.
| | 05:49 |
Let's make a new adjustment.
Here we'll click New, and then we'll paint
| | 05:52 |
another adjustment in over this balloon.
This one's a bit too strong.
| | 05:56 |
That's okay, you know, sometimes it's nice
to have a higher setting as you paint in
| | 06:00 |
so you can actually see how it's affecting
that area.
| | 06:04 |
Then just scale it back, so that this
looks nice and natural, or bring in some contrast.
| | 06:08 |
And these adjustments here, they really
make all the difference.
| | 06:11 |
Take a look at this.
The image looks fine when we worked in the
| | 06:13 |
basic panel.
But it's the adjustment brush that helped
| | 06:16 |
us to really Actualize and finalize our
vision for this photograph.
| | 06:21 |
It allowed us to reduce and simplify, and
bring out these nice vivid colors.
| | 06:25 |
Here, lets press the V key to hide those
pins, and then I'll click on the preview checkbox.
| | 06:30 |
Here's before, and then now here's after.
Again, another situation where knowing how
| | 06:34 |
to use the Adjustment Brush can really
help out.
| | 06:37 |
And what you have to keep in mind is that
even if you aren't going to work on an
| | 06:40 |
image like this, you can apply all of
these concepts to your photographs.
| | 06:45 |
And what's most important is that you know
how the tool works and then, you ask
| | 06:48 |
yourself well, what's my vision?
And how can I use this tool to help me to
| | 06:52 |
accomplish my vision for my photographs?
| | 06:56 |
| | Collapse this transcript |
|
|
3. Making Adjustments with the Graduated Filter ToolCorrecting an overexposed sky with the Graduated filter| 00:00 |
Here I want to introduce you to an
incredibly handy tool which is called the
| | 00:03 |
Graduated Filter.
You can select the Graduated Filter.by
| | 00:07 |
pressing the G key, or click on the Tool
icon which is located right next to the
| | 00:10 |
Adjustment brush.
Now this is located next to the Adjustment
| | 00:14 |
brush because when you click on it, you'll
notice that we have the same sliders and
| | 00:17 |
controls that we had with the Adjustment
brush..
| | 00:20 |
Yet here with the Graduated Filter., we
can apply these settings in a different way.
| | 00:24 |
This tool allows us to work on a larger
area, then slowly transition away from
| | 00:28 |
that effect.
.
| | 00:30 |
.
(UNKNOWN).
| | 00:30 |
Let me show you what I mean..
In this photograph, the sky is washed out,
| | 00:33 |
it's too bright.
So here we'll choose some settings.
| | 00:36 |
We'll decrease our Exposure.
We'll also bring down some of the
| | 00:39 |
Highlights there and bring up a bit of
Clarity to add some texture or mid-tone
| | 00:43 |
contrast into the sky.
Next I want to control the color, so we'll
| | 00:47 |
shift the tint or temperature here a
little bit.
| | 00:49 |
In this case, I'll drag it to the left so
that the sky will be a bit more blue.
| | 00:53 |
Now how this tool works is fascinating.
You simply click and drag.
| | 00:57 |
As I do that, you can see that this is the
area which is affected and this area isn't affected.
| | 01:02 |
Now if you click and drag a short
distance, well then the transition area is
| | 01:05 |
very small.
Sort of like a really defined line, yet if
| | 01:09 |
you click and drag a long area, notice
that it will slowly sort of subtly fade away.
| | 01:14 |
So that the area being effected isn't as
noticeable, or you can't really tell where
| | 01:18 |
the effect starts or stops.
Now the effect starts in full intensity at
| | 01:22 |
the green and then slowly transitions away
to the red.
| | 01:26 |
You can also rotate this around.
Here if I bring this back you can notice
| | 01:29 |
how I can rotate this, so you can use this
in a number of different ways.
| | 01:33 |
Let's go ahead and darken the sky and add
a little bit of a color tint to that are
| | 01:36 |
of the image.
After having brought that effect in, what
| | 01:40 |
I'm going to do is just bring up my
exposure there a little bit, then also
| | 01:43 |
change the overall temperature so it's not
quite so blue.
| | 01:47 |
This will help to make the sky just a
little bit more interesting.
| | 01:50 |
This will help to make the sky just a
little bit more interesting.
| | 01:53 |
Now obviously you can dial this in exactly
how you want it, how you want a certain
| | 01:56 |
area of your image to look.
Let's click on the preview check box,
| | 02:00 |
here's our before and then click again and
then now you can see the after.
| | 02:04 |
I should point out that this particular
tool works best when you're working with
| | 02:07 |
raw files.
Because when you have raw files, you can
| | 02:10 |
make more dramatic adjustments.
That being said, this is a JPEG file here.
| | 02:15 |
And I think this adjustment really
improves this photograph.
| | 02:17 |
Well now that we've been introduced to the
Graduated Filter.
| | 02:20 |
Let's go ahead an take a look at a few
more scenarios where this tool can be helpful.
| | 02:24 |
And let's do that in the next few movies.
| | 02:26 |
| | Collapse this transcript |
| Using multiple Graduated filter adjustments| 00:00 |
Here, I want to continue our conversation
about working with the Graduated Filter.
| | 00:04 |
In particular, I want to look at how we
can make multiple adjustments with the
| | 00:07 |
Graduated Filter.
And also talk about how we can integrate
| | 00:11 |
this tool into our overall workflow.
Well, in this portrait there is definitely
| | 00:15 |
a bright side of the image.
I want to darken that up.
| | 00:18 |
So let's reach for the Graduated filter.
Click on the icon or press the G key in
| | 00:22 |
order to select it.
I'm going to decrease my exposure by
| | 00:26 |
clicking and dragging the Exposure slider
to the left.
| | 00:30 |
I also know that I'm going to add or
change the color temperature.
| | 00:32 |
I want to add a little bit of blue here.
So I'll click and drag that to the left,
| | 00:36 |
because I want this side to be a little
bit cooler.
| | 00:38 |
Sometimes when you darken up an area what
will happen is it will shift the color so
| | 00:41 |
you may need to work on a temperature or
tint slider when you darken an area.
| | 00:46 |
Let's go ahead and decrease the highlights
there a little bit and then just click and drag.
| | 00:50 |
Now if you click and drag a short distance
between these two points you'll have a
| | 00:54 |
really short and defined transition area.
If you click and drag a little bit further
| | 00:58 |
that will be a little bit of a softer
transition.
| | 01:00 |
Okay.
Let's go ahead and bring that in so that
| | 01:02 |
this is primarily effecting this part of
the image That looks pretty good.
| | 01:07 |
We click on the preview check box you can
see there's the before and now here's the after.
| | 01:11 |
Well this particular overlay is helpful in
helping me to see which area is being
| | 01:15 |
effected but it's also really distracting.
Well you can hide the visibility of that
| | 01:20 |
in the same way that you can hide those
pins when working with the adjustment brush.
| | 01:24 |
Press the V key.
That will allow you to toggle the
| | 01:26 |
visibility of that adjustment on and off
Next, lets work on the other side of the photograph.
| | 01:32 |
So here we'll click New, and with this one
I'm going to go ahead and click the plus
| | 01:35 |
icon for my exposure.
And I'll also add a little bit of a
| | 01:38 |
temperature tint to that area, and then
just click and drag over here on this side
| | 01:41 |
of the photograph.
In doing this, I'm just bring in a little
| | 01:45 |
bit more light to this area.
We click on the preview checkbox you can
| | 01:48 |
see now.
Our before and then click again to see the after.
| | 01:51 |
Of course, you may want to press the V key
to get rid of those overlays.
| | 01:55 |
Or if you forget the shortcut just click
on this icon here to turn this off so that
| | 01:58 |
you can really evaluate the overall before
and then after.
| | 02:01 |
Well so far we've worked on each side of
the iamge.
| | 02:04 |
But let's say we also want to darken from
the top down.
| | 02:08 |
Let's press the v key to bring back these
two adjustments.
| | 02:12 |
Notice that these adjustments are really
affecting the top part of the image.
| | 02:16 |
Well you can stack these up, or have
multiple Graduated Filter adjustments.
| | 02:21 |
And here I'll show you how.
We'll just click new there then, I'm
| | 02:23 |
going to go ahead and leave my temperature
as is, and click and drag this to the left
| | 02:26 |
a little bit to darken that up.
And then, click and drag down.
| | 02:30 |
In doing this, you can see that I can
darken this from the top down, and this is
| | 02:33 |
allowing me to sort of stack up these
different adjustments.
| | 02:36 |
And we can stack them up in other ways as
well.
| | 02:38 |
I can add another one over here too.
Now, I have a whole bunch of adjustments.
| | 02:43 |
Sometimes what you'll need to do when you
have a lot of adjustments, so just modify
| | 02:46 |
some of these sliders so that they all
work together, and in this case I will
| | 02:48 |
just tweak the sliders a little bit so
that they blend together well.
| | 02:53 |
Next press the V key in order to toggle
the visibility of those off.
| | 02:56 |
And then, press the P key or click on this
icon here to see the before, and then
| | 02:59 |
click again to see the after.
And so, really, the point here is to
| | 03:03 |
highlight how you can start to work with
multiple Graduated Filter adjustments.
| | 03:08 |
Well after having made those adjustments
you may want to go back to the basic
| | 03:11 |
panel, to further modify the photograph.
To do that, just click on another tool.
| | 03:16 |
Say like, the Zoom tool.
An that will bring back your basic panel controls.
| | 03:19 |
Here I'll click an drag the highlight
slider to the left a little bit to darken
| | 03:22 |
those highlights, an also bring up some
light into the shadows.
| | 03:26 |
We'll increase the contrast there a little
bit.
| | 03:28 |
The clarity as well.
An in doing that I'm just customizing the
| | 03:31 |
overall look.
I'll change the color temperature just a
| | 03:33 |
bit so we have a little bit of a different
color palette, here, with this photograph.
| | 03:37 |
And again, I'm just kind of having some
fun working in the basic panel.
| | 03:40 |
You can do, really, whatever you want
here.
| | 03:42 |
But if we click on the preview checkbox,
you can see here's the before, and then
| | 03:45 |
here's the after.
So again, integrating the Graduated Filter
| | 03:49 |
into our overall workflow can allow us to
create different looks.
| | 03:52 |
And let's say that after having worked in
the basic panel.
| | 03:55 |
You want to go back to one of those
adjustments you made.
| | 03:58 |
To do that just reselect the graduated
filter by clicking on this icon here.
| | 04:02 |
And then press V or make sure to show
those overlays.
| | 04:06 |
Next you can click on one of those
adjustments like this one here.
| | 04:09 |
And you can modify the color temperature.
Here I'll warm that up a little bit.
| | 04:13 |
So that that blue in the background isn't
quite so blue.
| | 04:15 |
Now, it's a little bit more of a teal blue
versus a deeper darker blue.
| | 04:19 |
Then this way you can click through these
adjustments and make further changes to
| | 04:22 |
any of these settings that you'll discover
here.
| | 04:25 |
Well let's go ahead and take a look at the
before and after one last time.
| | 04:28 |
Tap the V key to hide those overlays.
Next, press the P key, or click on this
| | 04:33 |
icon here to see the before and then now,
the after.
| | 04:37 |
| | Collapse this transcript |
| Creative color and effects with the Graduated filter| 00:00 |
Sometimes you'll use the graduated filter
in order to make corrections to your photograph.
| | 00:05 |
In other situations you may just use a
graduated filter to have some fun or to
| | 00:08 |
modify the color that you have in your
photograph.
| | 00:11 |
Well that's what we are going to do here,
we're going to look at how we can modify
| | 00:14 |
the color of the mountains.
And how we can change the color there
| | 00:17 |
differently than we change the area of the
sky.
| | 00:19 |
Let's use the graduated filter to do that.
Go ahead and click on the graduated filter
| | 00:24 |
icon, or press the G key to select it.
Next I'm going to modify the temperature,
| | 00:29 |
here I'll click and drag this to the left.
Because I really want to emphasize these
| | 00:33 |
nice cool tones that we have here, also
increase the saturation there a little
| | 00:36 |
bit, add some clarity, add a little bit of
contrast there and for the exposure I want
| | 00:39 |
to experiment with brightening and
darkening that area.
| | 00:44 |
So let's go ahead and leave this right at
0 for now and then just click and drag
| | 00:47 |
across this area of the photograph.
In doing that, you can see that this area
| | 00:51 |
now has much more of a cool tone to it.
I click on the Preview check box, you can
| | 00:55 |
see the before, and then now the after.
We could go even further, and make this a
| | 00:59 |
little bit more blue, and increase the
overall contrast there and exposure just
| | 01:02 |
to brighten up that area.
And also have some nice contrast and
| | 01:06 |
texture, but a little bit more of a cool
tone in that part of our photograph.
| | 01:11 |
Next I want to modify the sky.
To do that, we can press the End key or
| | 01:14 |
simply click New in order to create a new
adjustment.
| | 01:18 |
Now with this adjustment rather than
cooling this off I'm actually going to
| | 01:20 |
warm things up just a little bit.
We'll leave the contrast up.
| | 01:24 |
We'll take our exposure down.
We'll leave the clarity up and the
| | 01:27 |
saturation up.
Then just click and drag across the sky.
| | 01:30 |
In this way I'm able to bring up some of
these vivid colors up here in the sky.
| | 01:34 |
You can see the before and after and how
it's creating a different look in this photograph.
| | 01:39 |
Now one of the things that I'm noticing is
that in this area down here or this
| | 01:42 |
adjustment, I want to darken that back up.
So I get a little bit of a deeper blue, so
| | 01:46 |
I'm going to go ahead and darken that up.
I'll click in the other one, I'm going to
| | 01:49 |
darken that one up as well.
So I have these nice sort of deep, rich
| | 01:52 |
colors, these dusk colors that you often
get at the end of the day up in the mountains.
| | 01:58 |
Well let's press the V key to hide those
overlays, then click on the preview
| | 02:01 |
check-box to see the before.
Click again, to see the after.
| | 02:05 |
We're just having fun with color and we're
bringing in different colors to different areas.
| | 02:09 |
There are other things that you can do as
well.
| | 02:11 |
Here let's press the N key to create a new
adjustment.
| | 02:14 |
Then I want you to click on the Negative
icon for sharpness and click and drag this
| | 02:17 |
all the way down.
You can actually add a blur effect to your photographs.
| | 02:22 |
For example, if I click and drag across
the image here.
| | 02:25 |
Let me turn on the overlay so you can see
where I'm clicking and dragging, as I do
| | 02:28 |
that, notice how this part of the image is
completely blurry and out of focus.
| | 02:33 |
Here I can click and drag to set another
blurry point and this way I kind of have a
| | 02:36 |
little bit of a tilt shift effect.
I'll go ahead and just click and drag this
| | 02:40 |
around till I have a nice smooth
transition area.
| | 02:43 |
Go back to this point, and create a little
bit of a distance.
| | 02:45 |
Now, it's near impossible to tell what's
happening with all of these overlays, so
| | 02:48 |
tap the v key to get rid of those.
But what you can see is that this side of
| | 02:52 |
the image is blurry, as well as this side,
and we created that in camera raw with a
| | 02:56 |
graduated filter.
So sometimes what you do is can use these
| | 03:00 |
filters to to have fun with color, or with
focus, or whatever it is.
| | 03:04 |
So while this tool is often used to make
corrections, keep in mind, you can also
| | 03:07 |
use it for creative output as well.
Let's click on the preview icon, so you
| | 03:11 |
can get a feel for the overall.
Here's the before and then click again to
| | 03:15 |
see the after.
I'm going to turn back on the overlays
| | 03:17 |
here because with this photograph I think
the blur effect is okay, but I actually
| | 03:20 |
like to see the mountains a little bit
more.
| | 03:24 |
So I'll click on those points and press
Delete or Backspace in order to remove them.
| | 03:28 |
Click on this adjustment, and then press
Delete on a Mac, Backspace on Windows.
| | 03:32 |
Alright, I just want to effect the color
here, so I'll turn off the overlay view
| | 03:35 |
there or visibility and then look at the
overall before and after one last time to
| | 03:38 |
make sure it looks good, and I think in
this case we did a good job.
| | 03:42 |
It looks great, and more importantly we
looked at how we can start to work with
| | 03:46 |
the graduated filter in order to
accomplish and achieve creative results.
| | 03:50 |
| | Collapse this transcript |
|
|
4. Creating Circular Gradients with the Radial FilterIntroducting the Radial filter| 00:00 |
In this movie, I want to introduce you to
another way that you can apply selective
| | 00:04 |
adjustments to your photographs using the
Radial Filter.
| | 00:08 |
The Radial Filter allows you to create an
elliptical shape and then modify or affect
| | 00:12 |
the area inside Or outside of that shape.
Let's take a look at how we can use this
| | 00:17 |
tool in order to improve this photograph.
First though, I want to zoom in on the
| | 00:20 |
image a little bit here.
So with the Zoom tool selected, let's go
| | 00:23 |
ahead and click a few times.
Well, now that I've zoomed in, we can see
| | 00:26 |
this image up close and you'll notice that
the lighting is pretty even and flat.
| | 00:30 |
What I want to do is add a bit more drama
and focus on the subject.
| | 00:34 |
To do that we'll work with the Radial
Filter.
| | 00:36 |
It's located right next to the Graduated
Filter, you can click on the icon or press
| | 00:40 |
the j key to select it.
When you do, you'll notice that we have
| | 00:43 |
the same exact slider and controls.
As we saw with the Adjustment Brush, and
| | 00:47 |
the Graduated Filter.
Here we can modify temperature, tint,
| | 00:51 |
exposure, contrast, etcetera.
Well what I want to do is I want to
| | 00:54 |
brighten up this area, and warm it up as
well.
| | 00:57 |
And now I want to apply multiple
adjustments.
| | 01:00 |
So here I'll go ahead and click and drag
my Temperature slider to the right, also
| | 01:03 |
bring up my Exposure as well.
And then, just click and drag across the image.
| | 01:08 |
Now I'm going to do this to demonstrate
how this works.
| | 01:10 |
Notice that the area inside of the shape
is being effected.
| | 01:14 |
We can click and drag to move this around
so we can.
| | 01:17 |
Bring in this particular adjustment into
different areas.
| | 01:19 |
You can also change the shape here.
Simply click and drag on one of these
| | 01:23 |
points and you can change the overall
shape.
| | 01:25 |
In this case, you can see we have a really
narrow adjustment.
| | 01:29 |
You can rotate these adjustments by
position the cursor near the edge.
| | 01:32 |
When you see the cursor turn into a bent
arrow, well you can click and drag in
| | 01:35 |
order to rotate that adjustment.
As you can start to imagine, this can
| | 01:40 |
allow you to make a lot of really
interesting and fascinating selective adjustments.
| | 01:45 |
What I want to do is brighten up the face.
So I'll go ahead and change the shape there.
| | 01:49 |
And then position this over the subject.
I'm going to click and drag to extend this
| | 01:52 |
out even more.
I'm just going to change the overall
| | 01:55 |
characteristics of this so we have a
little more, glow and focus on this area
| | 01:58 |
of the image.
Now obviously, the overlay it's distracting.
| | 02:02 |
To get rid of that or to hide the
visibility of the overlay, as with the
| | 02:05 |
other tools we've talked about, the
Adjustment Brush, the Graduated Filter,
| | 02:08 |
you press the V key.
It allows you to toggle the overlay on and
| | 02:13 |
off or just flick on the show overlay
icon, which is located at the bottom of
| | 02:16 |
the Radial Filter controls there.
Next, we'll click on the preview check box
| | 02:21 |
and we can see the before.
Click again to see the after.
| | 02:24 |
Well, let's press the V key again to bring
back that overlay and then let's zoom out
| | 02:27 |
so that we can see the whole image.
Well not that we've zoomed out we can see
| | 02:31 |
we have one adjustment.
Which is brightening up this part of the image.
| | 02:35 |
And it's improving the overall portrait.
But what I want to do is also make another
| | 02:39 |
which brightens up this area as well.
So here we'll go ahead and just click and
| | 02:43 |
drag across the photograph.
In order to add another shape.
| | 02:46 |
Now we have these two shapes, and these
two shapes are really, bringing this area
| | 02:50 |
of interest or this focus into the
subject, in a completely different way.
| | 02:54 |
It's almost like we're using photographic
lights, after the fact.
| | 02:59 |
And that's what this tool allows us to do.
It allows us to make other adjustments as well.
| | 03:03 |
But yet, here with this photograph, it's
kind of interesting to bring in some light.
| | 03:06 |
We'll just move these around.
Whenever the circles overlap, you may need
| | 03:09 |
to be careful, because it will stack up,
or build up the overall effect.
| | 03:14 |
Right well here in this photograph, let's
keep things simple.
| | 03:17 |
Let's press the v key to hide those
overlays, we made two different adjustments.
| | 03:21 |
Next, click on the Preview checkbox, and
here you can see the before, click again,
| | 03:22 |
and now you can see the after.
And as you are starting to see, we can use
| | 03:24 |
this tool, the Radial Filter, in some
fascinating ways to start to improve our photographs.
| | 03:27 |
And as you are starting to see, we can use
this tool, the Radial Filter, in some
| | 03:30 |
fascinating ways to start to improve our
photographs.
| | 03:33 |
Let's continue to talk about how we can
use the radial filter, and let's do that
| | 03:37 |
in the next movie.
| | 03:39 |
| | Collapse this transcript |
| Creating a vignette effect with the Radial filter| 00:00 |
Now that we've been introduced to the
radio filter, next I want to continue our
| | 00:03 |
conversation, about how we can use this
tool.
| | 00:06 |
And this time I want to focus in on how we
can affect the area outside of the
| | 00:10 |
elliptical shape, and I also want to talk
about how we can stack up adjustments.
| | 00:15 |
So that we can affect different areas of
the photograph.
| | 00:17 |
All right, well let's go ahead and select
this tool.
| | 00:20 |
You can do so by pressing the J key, or by
clicking on the radio filter icon here.
| | 00:24 |
Next, I want to darken up the outer edges
of this photograph.
| | 00:28 |
I want to add a bit of a vignette effect.
To do that, let's go ahead and click on
| | 00:31 |
the minus icon for exposure.
Then click and drag this way to the left.
| | 00:35 |
We're going to exaggerate our decreased
exposure in order to illustrate a point.
| | 00:40 |
If you position the cursor on the nose
say, an then click an drag out, you can
| | 00:43 |
see that we have a darkening effect, which
is applied to the center area of the circle.
| | 00:48 |
Well I want the exact opposite.
You can change which area's affected by
| | 00:52 |
scrolling down to the base of the radio
filter controls.
| | 00:55 |
Notice you have these two effect buttons.
You can either click on the option which
| | 00:59 |
works best, or you can press the X key.
When you press the X key it will toggle
| | 01:03 |
back an forth between these two options.
So if ever it's backwards, just tap the X
| | 01:08 |
key, so now this darkening effect is
primarily effecting the outside edge of
| | 01:12 |
the photograph.
Next, lets hide the overlay, to do that
| | 01:16 |
press the v key or click on the Show
Overlay button which is located right here.
| | 01:21 |
The reason why I want to hide the overlay
is to talk about the feather amount.
| | 01:24 |
If we decrease the feather amount, notice
that there's a very hard, or defined edge.
| | 01:29 |
If we increase the feather amount, well
that becomes much more transitioned.
| | 01:33 |
It also extends a little bit further past
the edge of that elliptical shape.
| | 01:38 |
Alright, well here I want to increase the
size of that shape, so, press the v key to
| | 01:41 |
bring back the overlay, and then just
click and drag this out.
| | 01:45 |
In doing this we can limit the vignette a
little bit more there to the edges, and
| | 01:47 |
then I'll click and drag to reposition
this.
| | 01:50 |
You'll notice that you can also click and
drag this outside of the edge of the photograph.
| | 01:54 |
In this way you can sort of change the
overall characteristic of that darken
| | 01:57 |
effect, and then reposition it exactly
where you want it.
| | 02:01 |
So far so good.
We've seen how we can affect the area
| | 02:04 |
outside of the circle.
Well let's say that now I also want to
| | 02:07 |
warm up the face a little bit and decrease
the highlights.
| | 02:10 |
Well how can we do that with this
adjustment which is affecting everything
| | 02:14 |
but the center of the photograph.
Well what we need to do is to create a new adjustment.
| | 02:20 |
So here let's go ahead and click on the
new icon right here.
| | 02:22 |
Then let's dial in a few controls, go
ahead and click on the + icon for exposure
| | 02:26 |
just to increase that a little bit.
So here I'll drag the slider to the left
| | 02:30 |
so it's just +10.
Then I'll decrease my highlights there a
| | 02:33 |
little bit, and I'll drag the temperature
slider up.
| | 02:36 |
I want to warm up the face and change the
exposure there just a touch.
| | 02:39 |
And then clicking on the nose, I click and
drag out.
| | 02:42 |
In doing that I can see that this
adjustment is affecting everything but
| | 02:46 |
what I want it to affect.
It's affecting the vignette not the face.
| | 02:50 |
Remember how to flip-flop that?
Well, you can either scroll down to this
| | 02:54 |
area and then click on the Inside option
or press the x key.
| | 02:58 |
So that this adjustment is now affecting
or modifying this part of the photograph.
| | 03:02 |
Now it's near impossible to really
evaluate this with all of these overlays.
| | 03:06 |
That's why I love that shortcut which is
the V key, which allows you to hide those overlays.
| | 03:11 |
Or of course, just click on this icon here
if you forget the shortcut.
| | 03:14 |
Next let's look at the preview.
Here you can see the before and then now
| | 03:17 |
you can see the after.
And in this way we've started to see how
| | 03:20 |
we can create an elliptical shape, and we
can affect the outside area and also we've
| | 03:24 |
started to look at how we can stack up
adjustments.
| | 03:28 |
And we can have two adjustments which
literally overlap, yet which allow us to
| | 03:31 |
modify the image in different ways.
And by starting to look at how we can
| | 03:35 |
stack up adjustments, well it can help us
to get a little more advanced as we work
| | 03:38 |
with this tool.
Alright, well that wraps up our work on
| | 03:42 |
this image here, yet let's continue to
talk about how we can use the radio filter
| | 03:46 |
and we'll do that in the next movie.
| | 03:49 |
| | Collapse this transcript |
| Improving exposure and adding blur| 00:00 |
In this movie, we'll take a look at how we
can use the Radial Filter in order to
| | 00:03 |
correct the exposure in one area of the
picture.
| | 00:06 |
We'll also explore how we can use the
Radial Filter in order to dial in or
| | 00:09 |
create interesting blur or focus effect.
I'll select the Radial Filter by pressing
| | 00:15 |
the J key or just click on the Radio
Filter icon right here.
| | 00:18 |
First I want to work on the face.
To do that let's go to our sliders, and
| | 00:22 |
here we'll warm this up a little bit and
also increase the exposure.
| | 00:26 |
And I want to do that because this image
is backlit.
| | 00:28 |
The subject has his back to the sun, so
this area's a little bit underexposed.
| | 00:33 |
So position the cursor over the middle of
the image and then just click and drag out
| | 00:36 |
in order to drag out that shape.
And here you can now see we now have this
| | 00:40 |
area being affected.
What I want to do is bring this in a
| | 00:42 |
little bit and rotate it.
So it follows the tilt of the head there,
| | 00:46 |
it allows us just to bring in a little
more focus and brightness to this part of
| | 00:49 |
the photograph.
And so far we've been able to make
| | 00:52 |
adjustments like this, and this isn't
anything new, yet what it does illustrate
| | 00:56 |
is how we can start to use this tool in
order to make really quick and easy
| | 00:59 |
improvements to our photographs that
sometimes helps our images in really
| | 01:02 |
significant ways.
Here, if we click on the Preview
| | 01:07 |
checkbox,you can see the before, click
again to see the after.
| | 01:10 |
Press the V key to turn off the overlay.
You can see how we can brighten up that
| | 01:13 |
area, and warm it up as well too.
You may want to increase the contrast a
| | 01:17 |
little bit or clarity or saturation.
By doing that, again, we can just focus in
| | 01:21 |
on that part of the photograph and draw
the viewer into the subject of this portrait.
| | 01:26 |
Well, next what I want to do is reduce and
simplify.
| | 01:29 |
And I want to do that by blurring
everything out except for the face.
| | 01:34 |
To do that, let's press the V key to turn
on the overlay so we can see that overlay.
| | 01:38 |
And I want to create another adjustment.
To create another adjustment, press the N
| | 01:41 |
key or just click on the new icon here.
The next adjustment that I want to create
| | 01:46 |
has to do with focus.
So let's click on the Minus icon for
| | 01:49 |
Sharpness and then drag this all the way
down until it's negative 100.
| | 01:53 |
Now if you want an unsharp or a blurry
look that's a little bit softer you may
| | 01:56 |
want to decrease the clarity as well.
In this case, I think it will work better
| | 02:00 |
with a clarity of zero, yet you may
want to experiment with that slider as well.
| | 02:05 |
Next, let's go ahead and scroll down to
the option where we can affect the inside
| | 02:08 |
or the outside of the shape.
Here let's choose outside because I
| | 02:12 |
want to blur everything out except for the
face.
| | 02:15 |
Then, go ahead and click and drag across
the face and you can see how we can bring
| | 02:18 |
in this area focus.
Notice how just this area is in focus, and
| | 02:22 |
then as we extend this out we can create a
larger area that's in focus as well.
| | 02:27 |
Let's position the cursor near he outer
edge and follow the tilt of the head there.
| | 02:31 |
And then just click and drag this around
so that we can then bring this in.
| | 02:34 |
So that we have this nice effect, where
the subject is in focus and everything
| | 02:38 |
else isn't.
Now when you're working with this effect,
| | 02:40 |
you want to make sure your Feather slider
is cranked all the way up.
| | 02:44 |
If you bring it down, it will look
incredibly odd and unnatural, So again,
| | 02:47 |
just drag that all the way over to the
right so you have a value of one hundred there.
| | 02:52 |
Next, we need to hide the overlays.
Click this icon or press the V key to do so.
| | 02:57 |
Then press the P key to see the before,
and then now the after.
| | 03:01 |
Let me zoom in a little bit closer so you
can see that perhaps a bit better.
| | 03:04 |
Here we have the before.
And then again, now, the after.
| | 03:07 |
You can see that the focus really is on
the face and the rest of the subject sort
| | 03:10 |
of drifts or melts away into an area which
is out of focus.
| | 03:14 |
If this out of focus effect is too strong,
we can increase the Sharpness by dragging
| | 03:18 |
the slider over here.
And sometimes I've discovered that just
| | 03:22 |
with a little, subtle area that's out of
focus, it can have a real nice look.
| | 03:27 |
Because again, we can help to direct the
viewer and to what's important, in this
| | 03:30 |
case, the subject of this portrait.
Well, there you have it.
| | 03:34 |
Another creative way we can work with the
Radial Filter in order to create a unique
| | 03:37 |
or distinct look in a photograph.
| | 03:40 |
| | Collapse this transcript |
| Creative adjustments with the Radial filter| 00:00 |
In this movie, I want to highlight how you
might try to experiment with the radio
| | 00:03 |
filter, and here I want to show you a
couple of experiments.
| | 00:07 |
And just talk about how you might have fun
working with this tool.
| | 00:10 |
You can think of this move in a sense as a
little bit of a bonus movie because I
| | 00:12 |
won't be covering the essentials here.
Rather I'll be talking about how we can
| | 00:16 |
use this tool in some odd and maybe even
creative ways.
| | 00:20 |
Let's go ahead and press the J key or
click on the tool in order to select it.
| | 00:23 |
Next what I want to do is I want to apply
a little bit of a brighten effect so
| | 00:26 |
increase the exposure and also the
temperature a little bit.
| | 00:29 |
And then I'm going to click and drag over
the background.
| | 00:32 |
In doing that, I can see that it isn't
affecting this area, so I'll press the X
| | 00:35 |
key to make sure that it's affecting this
area.
| | 00:38 |
What I've discovered that you can do, is
that you can click and drag and create
| | 00:41 |
multiple points here.
And again, I'm just going to do this by
| | 00:44 |
going through the photograph and applying
different sizes and different shapes in
| | 00:47 |
different areas, and what it can do is it
can help you to create a little bit more
| | 00:50 |
of dappled light type of a look.
Now, I have no idea if the look that I am
| | 00:54 |
creating here is going to look any good at
all.
| | 00:57 |
Yet what I am hoping to illustrate is how
you can experiment and have some fun with
| | 01:00 |
these different controls.
Let's press the V key to hide those
| | 01:04 |
overlays and then click on the Preview
check box to see the before and then now
| | 01:07 |
the after.
Again, the look isn't amazing, but it does
| | 01:11 |
illustrate how you can start to add a lot
of different adjustments in order to
| | 01:14 |
create a different type of look or
different type of light in a photograph.
| | 01:19 |
Next let's clear all of these, and let's
look at another scenario.
| | 01:22 |
Here I'll increase the exposure a little
bit more, and then I'm going to click and
| | 01:25 |
drag to create a shape.
Press the V key to bring back the overlay.
| | 01:29 |
What I want to do is create a bit of a
directional light source.
| | 01:32 |
So here we're going to have some light
coming from the top right corner of the photograph.
| | 01:36 |
Now what I want to do is just brighten up
the right side of the frame.
| | 01:39 |
I'll click and drag to create another
light source over here, and then press the
| | 01:43 |
V key to hide those.
In this way you can see that we've changed
| | 01:46 |
the direction of light so that the light
is coming in from this side of the photograph.
| | 01:51 |
We can also press the V key and click on
these icons and drag them over a bit to
| | 01:54 |
make this perhaps a little bit more
subtle, or we could also decrease the
| | 01:57 |
overall amount.
And sometimes what you can do is you can
| | 02:01 |
use these radio filter adjustments.
In order to change the overall sort of
| | 02:05 |
flow of the light in the photograph, here
I'll press the V key to hide the overlays
| | 02:08 |
and then click on the Preview check box to
see the before and then now the after.
| | 02:14 |
In this way the light travels here to the
subject and then also down here a little
| | 02:17 |
bit, and this directs the eye to this
area.
| | 02:21 |
Because when we look at an image, we're
attracted to the area of focus and, also,
| | 02:25 |
the areas of brightness.
Alright, well that wraps up our look at
| | 02:29 |
how we can work with the radio filter in
different ways as well.
| | 02:32 |
I recommend that you experiment with this
tool because what I think you'll discover
| | 02:35 |
is that sometimes you can work with this
tool in kind of non-traditional ways, in
| | 02:38 |
order to come up with some interesting or
creative effects.
| | 02:43 |
| | Collapse this transcript |
|
|
5. Retouching BlemishesRetouching skin blemishes| 00:00 |
Regardless of the type of photography you
do, sooner or later the spot removal tool
| | 00:04 |
will just save the day.
It's one of those tools that you'll start
| | 00:09 |
to use on almost all of your images, and
it's worhwhile to use when you're
| | 00:12 |
capturing portraits or landscaps or
whatever.
| | 00:16 |
Let's take a look at how we can start to
work with this tool in order to retouch or
| | 00:18 |
remove blemishes in a photograph like with
this one here.
| | 00:22 |
Here we're going to go ahead and zoom in
on the image.
| | 00:24 |
To do so, select the zoom tool and then
click a few times on the photograph so we
| | 00:27 |
can zoom in close so we can view a few of
these little skin variations or blemishes
| | 00:30 |
that we might want to reduce or remove.
You know, often in still photography what
| | 00:36 |
we're trying to do is reduce or remove
those things which we wouldn't have
| | 00:39 |
noticed in real life.
So here let's do that using the spot
| | 00:43 |
removal tool.
You can press the B key to select the
| | 00:46 |
tool, or just click on the tool icon which
is located right here.
| | 00:49 |
On the right hand side, you'll notice that
we can work with different types of spot removal.
| | 00:54 |
Healing or cloning.
Cloning is helpful when you want something
| | 00:57 |
exactly the same.
Healing Does a little bit better job at
| | 01:00 |
blending texture together.
Typically I find that healing works best,
| | 01:04 |
although in a few minutes we'll talk about
an example where cloning works best.
| | 01:08 |
Next we have our brush size, you can
change that with the slider.
| | 01:11 |
Or, position the cursor over the image you
can use the brush shortcut which we've
| | 01:14 |
learned before.
Left Bracket key makes the brush smaller.
| | 01:18 |
Right Bracket key makes the brush bigger.
Here let's go ahead and press the left
| | 01:21 |
bracket key a few times so we have a nice
small brush, which is just a little bit
| | 01:24 |
bigger than some of these blemishes that
we might want to work on.
| | 01:27 |
Now before we start to work on the
blemishes, I want to highlight this feature.
| | 01:31 |
It's called Visualize Spots.
If you turn on this and then click to drag
| | 01:35 |
the slider to the right, you'll notice
that it's highlighting where ever there is variation.
| | 01:40 |
Here we can see a few little skin
variations show up on the screen in this
| | 01:44 |
mask view and all that this is, is a way
to start to identify issues.
| | 01:49 |
With certain images this can really help
you identify those quickly, then take care
| | 01:52 |
of them..
We'll look at another example as wel
| | 01:55 |
You'll want to toggle this on and off and
drag the slider in order to start to focus
| | 01:58 |
in a couple little areas that you might
want to work on.Well, next what you can do
| | 02:01 |
is you can either simply click, when you
do that what Photoshop will do is create a
| | 02:05 |
couple of icons.
Notice that you have two icons one which
| | 02:10 |
is a checkered red and white circle
Another checkered green and white.
| | 02:15 |
Well the red and white checkered circle is
the area where you're removing something.
| | 02:19 |
Now this is the source area that Photoshop
has selected for you in order to put that
| | 02:23 |
on top of the blemish and blend it away.
If you don't like the source area which is
| | 02:28 |
selected, you'll notice there's a little
message here Says you can use the forward
| | 02:31 |
slash button, that's the slash which leans
to the right, in order to have Photoshop
| | 02:34 |
select a new area.
So if it doesn't do a good job, just tap
| | 02:38 |
that forward slash key until it selects a
source which is good.
| | 02:42 |
Here I'll go ahead and reposition this
over here as well.
| | 02:45 |
Now we can change the size by positioning
the cursor over these circles.
| | 02:48 |
We can also change their position by
simply clicking and dragging.
| | 02:51 |
Alright, well next we'll go ahead and just
click over some of these little blemishes.
| | 02:55 |
Press the Left Bracket key to make the
brush much smaller and i will just go
| | 02:58 |
around and tap over these skin variations
,all you want to do this is make your way
| | 03:02 |
around your photograph so that you don't
retouch that one little area as i am doing
| | 03:06 |
here,but you retouch other areas as well
You can also click and drag.
| | 03:13 |
When you click and drag it allows you to
retouch a larger area.
| | 03:16 |
Sometimes this is really helpful as it
allows you to retouch an area where you
| | 03:19 |
have a blemish, which isn't just a spot.
Here you can I created a spot which was
| | 03:25 |
too big.
That was an accident.
| | 03:27 |
Or, you can just select, and then press
delete on a Mac or backspace on Windows.
| | 03:31 |
Let's say that in this scenario, the
client has asked us to remove this little
| | 03:34 |
ring right here.
Press the Right Bracket key to make the
| | 03:37 |
brush a bit bigger and then click in order
to remove that.
| | 03:40 |
So again it's either clicking and dragging
or just clicking on little tiny variations.
| | 03:44 |
These overlays are helpful because they
help us to be able to go back to different
| | 03:48 |
areas that we worked on.
But sometimes they're just distracting,
| | 03:52 |
especially now when I have all of these
little teeny icons on the screen.
| | 03:56 |
It's hard to even focusing on anything
that's important at all.
| | 03:59 |
We'll press the V key and that would
toggle off the visibility of those.
| | 04:03 |
Then you can press the preview check box
to see the before.
| | 04:06 |
And then press again to see the after.
I find that sometimes it's helpful to get
| | 04:09 |
rid of all of those and just start to
click around and retouch the image without
| | 04:12 |
all of the sort of obnoxious overlays
showing you the areas that you've worked on.
| | 04:17 |
Because no one else is going to see those.
What you eventually want to do is make
| | 04:20 |
sure you turn off the visibility, and just
go through the photograph and make any
| | 04:23 |
little changes as we've done here.
Alright, well so far so good.
| | 04:27 |
Without a lot of effort, we've retouched
this image, in a really natural and
| | 04:31 |
beautiful way.
If we click on the preview check-box you
| | 04:34 |
can see here's the before, then here's the
after.
| | 04:37 |
Lemme go ahead and zoom in even closer so
that you can see that better.
| | 04:40 |
Again, here is our before, and then now
here is our after.
| | 04:44 |
So without a lot of effort, we have
successfully retouched away a lot of these
| | 04:48 |
small blemishes or skin variations.
| | 04:51 |
| | Collapse this transcript |
| Removing dust spots in the sky on multiple photos| 00:00 |
As we saw in the previous movie, the spot
removal tool is helpful when working with
| | 00:04 |
portraits, yet it's also helpful in other
situations as well.
| | 00:08 |
In this movie, we'll take a look at how we
can use this tool in order to retouch or
| | 00:11 |
remove blemishes that we have in the sky
area of this photograph, and also another.
| | 00:17 |
Here, we'll explore how we can use the
Visualize Spot slider in order to identify
| | 00:21 |
some problems, and then we'll also look at
how we can synchronize these settings
| | 00:24 |
across multiple files.
All right.
| | 00:27 |
We'll go ahead and select the Spot Removal
tool by pressing the V key or click on the
| | 00:31 |
icon right here.
Next, let's turn on the Visualize Spots
| | 00:34 |
option and then click and drag this slider
over to the right.
| | 00:38 |
In doing that, what you'll discover is as
we drag this to the right.
| | 00:42 |
Eventually you'll bring back all of the
texture.
| | 00:44 |
That isn't what we want.
We want to see this area where we have
| | 00:47 |
these blemishes, these little circles, and
these were the result of having some dust
| | 00:50 |
on my lens, or maybe if you have dust on
your sensor.
| | 00:54 |
And the reason I know that is that if we
go to this other image here,
| | 00:57 |
concert_hall-2, it's a different
photograph, but notice the spots are in
| | 01:01 |
the same exact position.
What we can do is we can retouch these
| | 01:06 |
away and apply or synchronize the settings
across multiple files, and this can really
| | 01:10 |
help out.
You know, sometimes when you have really
| | 01:14 |
identifiable spots, with the Visualize
Spots slider turned on, this visualization
| | 01:17 |
which helps you to find those, you can
actually retouch them away, with this
| | 01:21 |
turned on.
Here I have a healing brush.
| | 01:24 |
I'll make my brush size a little smaller.
Opacity at 100, and then just tap.
| | 01:28 |
And here I'm just clicking, not tapping I
should say, just clicking on those little blemishes.
| | 01:33 |
Now go ahead and go through in order to
remove all of those little problems.
| | 01:36 |
It looks like in this case it sampled an
area which wasn't very good, so I'll move
| | 01:39 |
that one around.
And again I'm just watching to make sure
| | 01:43 |
all of those little white areas are gone.
I'm not even looking at the photograph
| | 01:47 |
rather I'm doing all of this with
visualize spots on.
| | 01:50 |
And the reason is, is that sometimes that
can help you to find those blemishes.
| | 01:55 |
Here let me turn off the overlay circles
and let's go ahead and turn off the
| | 01:58 |
preview for a second.
Notice how it's difficult to even see the
| | 02:01 |
little blemishes.
You might not even notice em.
| | 02:04 |
That's why visualize spots can really help
out in certain situations.
| | 02:08 |
Here let's turn back the overlays.
Now we can start to see all of these
| | 02:11 |
little areas that we worked on.
Again, I would've neglected to work on a
| | 02:14 |
few of these.
Because those spots aren't very noticeable.
| | 02:17 |
At least on my monitor.
Yet when you create the final print they
| | 02:21 |
will probably show up.
So far, we've worked on this file and we
| | 02:24 |
have retouched all of those little area's
away.
| | 02:27 |
Well, now what I want to do, is apply
these settings to the other photograph.
| | 02:31 |
To do that, hold down the Cmd key on a Mac
or Ctrl key on Windows, and then click on
| | 02:34 |
another photograph in the filmstrip.
Next, click on the Synchronize button.
| | 02:39 |
When you synchronize, you have the ability
to select different things to synchronize.
| | 02:43 |
You can click on this pull down menu, and
here you can choose from a number of
| | 02:46 |
different options.
In this case, the only thing I want to
| | 02:49 |
synchronize is Spot Removal, so by
choosing that it will deselect all of
| | 02:53 |
these other options, and only leave Spot
Removal turned on.
| | 02:58 |
Next click okay, and then go ahead and
click over to the other photograph, and
| | 03:01 |
you'll see that we now have all of these
little circles and all of these little
| | 03:04 |
areas where we retouched away problems
turned on.
| | 03:07 |
If we turn on the visualize spot slider
here, and drag this over to the right,
| | 03:11 |
you'll notice that this image has a few
others, which the other didn't.
| | 03:15 |
That's because there was part of the
structure here of this really fascinating building.
| | 03:20 |
In this image, my composition was
different, so I have a few other little issues.
| | 03:24 |
No big deal.
We'll just go through and fix those up.
| | 03:26 |
And sometimes what you'll need to do is
you synchronize settings across multiple
| | 03:30 |
files is you may need to make some
customizations or further adjustments if
| | 03:33 |
you notice that one image has some
problems that the other doesn't.
| | 03:38 |
Let's turn off the visualize spots option.
You can turn this off by way of a shortcut.
| | 03:42 |
You'll notice it there, it's the Y key, so
remember that.
| | 03:45 |
So why am I doing this?
What am I looking for?
| | 03:48 |
Y allows us to toggle that view on and
off.
| | 03:51 |
Well, there you have it another reason why
this spot removal tool is really helpful.
| | 03:55 |
And here another situation where in a
sense it kind of saved the day.
| | 03:59 |
It helped us to deal with these small
blemishes that we had in two different images.
| | 04:03 |
And we've also explored how we can start
to remove spots that we have in images by
| | 04:07 |
simply synchronizing those settings across
multiple files.
| | 04:11 |
Well, let's continue to talk about the
spot removal tool, and let's do that in
| | 04:14 |
the next movie.
| | 04:16 |
| | Collapse this transcript |
| Retouching spots, lines, and other details| 00:00 |
In this movie, we'll continue to look at
how we can work with the Spot Removal tool.
| | 00:04 |
And what I want to do here is explore how
we can deepen our understanding of how we
| | 00:07 |
can use this tool in different ways.
In order to do that, we'll start off with
| | 00:12 |
a little bit of a review, then we'll dig a
bit deeper.
| | 00:15 |
Well, let's select the Spot Removal tool
by way of the shortcut.
| | 00:19 |
It's the V key or you can just click on
the tool icon here.
| | 00:22 |
Next I want to turn on the Visualize Spots
option.
| | 00:25 |
We can do that by tapping the Y key or by
clicking on the icon here.
| | 00:29 |
And we'll go ahead and click and drag to
the right.
| | 00:31 |
And when I click and drag to the right, I
realized that once again I have some spots
| | 00:35 |
here in the sky that I want to clean up or
remove.
| | 00:38 |
But I also have this particular line here.
It's an exhaust line from an airplane.
| | 00:43 |
It's a straight line.
We'll look at how we can remove straight
| | 00:45 |
lines as well.
While we're in this view, I'll just go
| | 00:48 |
ahead and click over a few of these little
blemishes to remove those.
| | 00:52 |
If your brush size isn't the correct brush
size, tap the Right Bracket key to make it
| | 00:55 |
bigger or the Left Bracket key to make it
smaller.
| | 00:58 |
In this way, we can quickly move through
our photograph in order to retouch these
| | 01:01 |
little blemishes.
Next, let's turn off the visualized spots,
| | 01:05 |
we'll, that's giving us some insight,
showing us those problem areas.
| | 01:09 |
We'll, here I have this straight line.
Now, we could, of course, just click and
| | 01:12 |
drag across the straight line or what you
can do is click once at the beginning of
| | 01:16 |
an area where you have a straight line
that you want to retouch or remove.
| | 01:20 |
Then, next, hold down the Shift key, and
then click at the end of that line.
| | 01:24 |
What Camera Raw will do is it will connect
the dots, so to speak, and it will retouch
| | 01:27 |
or remove that for us.
Let's look at another example of this.
| | 01:31 |
In order to do that I'll double-click the
Zoom tool that will allow us to zoom in to
| | 01:34 |
100% here, and press the Spacebar key and
click and drag to reposition this area of
| | 01:38 |
the photograph.
Well, here, you'll notice there's this
| | 01:42 |
straight line across the picture here.
I want to remove that.
| | 01:45 |
So with the Spot Removal tool, we'll go
ahead and click on one area of that,
| | 01:48 |
reposition the cursor to another area, and
then, click.
| | 01:52 |
Here, you can see, it's created a straight
line for us, although, it's selecting an
| | 01:56 |
area, which isn't the best to retouch out,
this little line that we have here in the water.
| | 02:02 |
Remember how you can change the area, that
Camera Raw selects?
| | 02:05 |
You can do that by pressing the Forward
Slash key.
| | 02:07 |
And here, we can do that to try to have it
select a better area.
| | 02:10 |
Obviously, the water in the foreground
here would work much better.
| | 02:14 |
Next, I'll go ahead and move over to this
area of the photograph, and I'll make my
| | 02:16 |
brush a little bit smaller.
You know, typically you want your brush
| | 02:19 |
size to be just a little bit bigger than
the area you're working on.
| | 02:23 |
Click once, hold down the Shift key, and
click again.
| | 02:25 |
Then, we can retouch that area out.
Now, what about areas like this?
| | 02:29 |
Let me zoom in a little bit closer where
we have this problem because there's a
| | 02:32 |
line cutting through that.
Well, all that you want to do is make your
| | 02:36 |
brush size a little bit bigger, so it
covers that line.
| | 02:39 |
And as long as this sample area follows
that same line, well, we can then line
| | 02:42 |
those up, so that we have a nice perfect
removal there.
| | 02:46 |
It looks like I need to remove this little
blemish here.
| | 02:49 |
I'm just going to click and paint over
that, and then perhaps this one over here
| | 02:51 |
as well.
And so, again, we're starting to see how
| | 02:54 |
we can retouch in straight lines by
clicking, holding down the Shift key, and
| | 02:57 |
clicking again, that will connect the
dots.
| | 03:01 |
And then, how we can press the Forward
Slash key in order to select a different
| | 03:04 |
area to retouch out those blemishes.
Alright.
| | 03:07 |
Well, let me zoom out a little bit more
here.
| | 03:08 |
What about situations where we want to
retouch away something that isn't quite a
| | 03:12 |
straight line, like this cloud right here?
Well you can always just click and paint
| | 03:16 |
over it.
Tap the Right Bracket key to make the
| | 03:18 |
brush a little bit bigger.
I'll just click and paint over this area.
| | 03:22 |
So we can click and drag in order to
retouch a larger area or an area which
| | 03:25 |
isn't straight line.
Or we can use the technique, which we saw
| | 03:28 |
earlier, where we click once, hold down
the Shift key, click again in order to
| | 03:31 |
retouch something out that's in a straight
line.
| | 03:34 |
Alright.
Well, next, what I want to do is just
| | 03:36 |
retouch out a few little blemishes here in
the water, then I want to talk about this
| | 03:39 |
cleat right here.
Let's say that we decided that we want to
| | 03:43 |
remove the cleat.
Well, let's zoom in by pressing
| | 03:46 |
Command+Plus on a Mac or Control+Plus on
Windows.
| | 03:49 |
In order to do that, we'll make our brush
a little bit bigger by tapping the Right
| | 03:52 |
Bracket key, then just click once in order
to try to do that.
| | 03:56 |
Again, if Photoshop doesn't do a great
job, press the Forward Slash key.
| | 03:59 |
And here, it looks like I need to move
this little selection around a little bit
| | 04:02 |
in order to get that just right.
And often, when we press that Forward
| | 04:06 |
Slash key, it will sample surrounding
areas, and we can wait until it samples an
| | 04:09 |
area, in this case, which does a pretty
good job there.
| | 04:12 |
We need to make this circle a little bit
bigger, so I'm going to click and drag
| | 04:15 |
over that edge.
And here you can see we've removed that
| | 04:18 |
without a lot of effort and again it's all
about using the shortcut key, which is the
| | 04:22 |
Forward Slash key that allows the Camera
Raw to select a better area to try to
| | 04:25 |
patch or heal over the problem.
All right.
| | 04:29 |
Well, let's zoom out a little bit.
Well, as you can see, the Spot Removal
| | 04:33 |
tool is an immensely helpful tool.
I hope that this movie has helped you to
| | 04:37 |
understand how you can use it even better.
We'll continue to talk about this tool,
| | 04:42 |
and we'll do so in the next movie.
| | 04:44 |
| | Collapse this transcript |
| Working on a large area of your photograph| 00:00 |
So far, as we've been working with the
spot removal tool, we've been working on
| | 00:03 |
little teeny blemishes.
But what about the situations where you
| | 00:07 |
have blemishes or problems which cover up
a larger area of your photograph?
| | 00:11 |
We'll take a look at how we can deal with
one of those situations here.
| | 00:14 |
Press the b key to select the spot removal
tool, or click on the icon right here.
| | 00:18 |
Next what we want to do is turn on
visualize spots by pressing the y key, or
| | 00:21 |
by clicking on this option right here.
Now as we drag this slider up, you'll
| | 00:26 |
notice that we do have a few little spots
in the background, but then we have all of
| | 00:29 |
these birds.
And let's say that the client has asked us
| | 00:32 |
to remove all of those.
Let's work with the smaller blemishes first.
| | 00:36 |
Here I'll tap the left bracket key to make
my brush smaller, and then just click over
| | 00:39 |
these issues.
Then, I want to work on the birds.
| | 00:43 |
To do that, I'll turn off visualize spot
so i can really focus in on this larger issue.
| | 00:47 |
What you can do is you can use a smaller
brush and you can simply paint over a
| | 00:51 |
bigger area of a blemish.
Here you can see that I'm just painting
| | 00:55 |
over all of this area using the smaller
brush and then let go and it will sample a
| | 00:58 |
nice clean area, in order to retouch or
remove that.
| | 01:02 |
Or, what you can do is crank up your brush
size so that you have a really big brush
| | 01:05 |
and go ahead and click and drag over a
larger area.
| | 01:09 |
And, again, by doing that, you can quickly
and easily work on larger areas as well.
| | 01:15 |
Well, that wraps up this brief movie which
simply highlights how we can work with
| | 01:18 |
different brush sizes, especially when
we're working on larger areas in order to
| | 01:22 |
retouch or clean up those areas really
quickly.
| | 01:26 |
| | Collapse this transcript |
| Using a lower opacity to reduce distractions| 00:00 |
So far in this chapter, we've been looking
at how we can use the Spot Removal tool at
| | 00:04 |
full intensity or at an Opacity of 100, in
order to completely remove a distraction
| | 00:07 |
or some sort of blemish in our photograph.
Well, here I want to highlight how we
| | 00:13 |
might want to reduce the Opacity in
certain situations.
| | 00:16 |
Let's go ahead and select the tool by
pressing the B key or by clicking the tool
| | 00:19 |
icon which is located right here.
Next, what I want to do is zoom in on the picture.
| | 00:24 |
One way to do that is to press
Command+Plus on the Mac or Control+Plus on Windows.
| | 00:28 |
Then, press the Spacebar key and click and
drag to reposition so we can focus in on
| | 00:32 |
the face.
I'm going to zoom in even closer so that
| | 00:35 |
we can focus on these shadows that we have
here underneath the eyes.
| | 00:39 |
What I want to do is simply reduce those
shadows rather than remove them altogether.
| | 00:43 |
So the first thing I need to do is
decrease our brush size.
| | 00:47 |
Tap the Left Bbracket key on your keyboard
that will reduce the size or just click
| | 00:50 |
and drag the slider to the left there
until you have a nice, small brush size.
| | 00:55 |
Let's see how small it should be.
Probably around, let's try a brush size of
| | 01:00 |
about 8.
Now, currently, we have the ability to use
| | 01:03 |
spot removal on healing.
That will work really well because it will
| | 01:06 |
blend edges together.
Yet, if we click and drag in order to
| | 01:09 |
paint or select this area, this shadow,
what will happen is we'll be able to
| | 01:13 |
remove that, yet, it will look a little
strange.
| | 01:17 |
It sampled the forehead, which isn't that
bad, but let's go ahead and bring this
| | 01:20 |
down to this underlying area under here.
So at least the skin texture and whatnot
| | 01:25 |
is very similar.
Next, let's turn off the overlay by
| | 01:28 |
clicking on this icon here.
Now we click on the Preview checkbox.
| | 01:31 |
Here is our before, and then, now here's
our after.
| | 01:35 |
Obviously, we were able to remove that but
it changed the character or the
| | 01:38 |
personality, so that that retouching
doesn't look very good.
| | 01:42 |
It looks a little bit unnatural.
What we want to do, especially when
| | 01:45 |
working on this area of the face, you
simply reduce the Opacity.
| | 01:49 |
And here, in reducing the Opacity, we can
bring back some of those character lines
| | 01:52 |
but just diminish the shadows, so they
aren't so strong.
| | 01:56 |
Take a look at this.
Now on an Opacity setting of 45, the
| | 01:58 |
before and after shows us that we're able
to sort of just subtly remove that shadow.
| | 02:04 |
Reduce the Opacity even further, we'll see
more of the characteristics of the eyes there.
| | 02:08 |
Then, we can click on the Preview checkbox
to see the before and then, now, the after.
| | 02:12 |
Well, once you find the opacity setting
that you want to use, what you can then
| | 02:15 |
do, is decrease your brush size, and go
ahead and.
| | 02:18 |
Paint over other areas or other blemishes
which are similar.
| | 02:21 |
So like these little wrinkles that we have
here.
| | 02:23 |
And again, I'm able to sort of take those
back by simply using, the same Opacity setting.
| | 02:28 |
Now it isn't removing them altogether,
rather, it's just reducing the shadows or
| | 02:32 |
wrinkles that we have in that area.
Let's work on this side of the face.
| | 02:36 |
I'll go ahead and paint over this area
here, tap the Right Bracket key to make my
| | 02:40 |
brush a little bit bigger.
And then, work on this part of the face
| | 02:43 |
there as well.
And, again, this is pretty subtle adjustment.
| | 02:47 |
But sometimes, in certain photographs,
this type of adjustment can really make
| | 02:51 |
all the difference in the world.
Again, if we look at the Preview checkbox,
| | 02:55 |
you can see here's our before and then
here's the after.
| | 02:58 |
And what this really highlights is that
sometimes, what you'll want to do is use
| | 03:01 |
the Opacity setting all the way up to 100.
In other situations, you may want to knock
| | 03:07 |
this down when you simply want to reduce
the blemish, rather than remove it altogether.
| | 03:12 |
And so, again, as you start to work with
this technique, look for areas where this
| | 03:16 |
particular method can be helpful
especially in those situations where you
| | 03:20 |
just want to sort of reduce something
rather than remove it all together.
| | 03:26 |
| | Collapse this transcript |
| Removing distracting background elements| 00:00 |
So far, throughout this chapter, we've
been working with the Spot Removal tool to
| | 00:03 |
apply healing.
Here in this movie, I want to talk about
| | 00:07 |
the differences between healing and
cloning in order to retouch or remove a
| | 00:10 |
blemish that we have in this photograph.
This is a photograph that I captured in
| | 00:15 |
one of my other courses.
Here you can see there's a mic showing up
| | 00:18 |
in the top right hand corner of the frame.
Well, I want to get rid of that mic and
| | 00:21 |
that light in order to reduce and simplify
this picture.
| | 00:24 |
Now, before we get to that though, let's
zoom in on the photograph a little bit.
| | 00:28 |
To do that, press Command+Plus on a Mac or
Control+Plus on Windows.
| | 00:32 |
Then in order to illustrate how the Spot
Removal tool works with healing or cloning
| | 00:36 |
click on the tool or press the B key in
order to select it.
| | 00:40 |
Now what we want to do here is increase
the brush size, so tap the Right Bracket
| | 00:44 |
key in order to choose a much longer brush
size.
| | 00:47 |
We want to really huge brush size again
this is just for demo purposes, then what
| | 00:51 |
I want you to do is to click to the right
of the subject to this photograph.
| | 00:55 |
And then, click and drag the circle over
the subject.
| | 00:58 |
What this will do is it will bring another
version of this over here, and again we're
| | 01:02 |
doing this for demo purposes, to compare
the difference between healing, and cloning.
| | 01:07 |
Well to really see the difference, let's
turn off the Overlay circles there and
| | 01:11 |
then change between these two options.
Here you can see the healing option.
| | 01:14 |
It blends in the top pretty nicely, but
the underlined area isn't very god.
| | 01:19 |
Let's compare that say to cloning.
With cloning you can see there are some
| | 01:22 |
edges which are softer.
In most scenarios I found, that healing
| | 01:26 |
works better.
Yet, in certain situations you may want to
| | 01:29 |
clone the content over, which allows you
to have this nice sort of diffused or soft
| | 01:33 |
edge as you can see here in this area.
Well, obviously, we don't want another
| | 01:38 |
version of the bride over here.
Yet it's helpful to see how the
| | 01:41 |
differences between cloning and healing
allow us to bring content over.
| | 01:45 |
Notice that with healing we have a more
transparent look here.
| | 01:49 |
Cloning it's a little bit more of an exact
replica of the subject, but we have this
| | 01:53 |
soft edge.
Alright.
| | 01:55 |
Well, click clear all.
Let's go ahead and get rid of that and
| | 01:57 |
then I'll zoom out a little bit so we can
view our problem area.
| | 02:00 |
Well, the problem area is up here.
So, with this nice big brush let's click
| | 02:04 |
and then go ahead and sample a new area
over here.
| | 02:07 |
Well, I'll zoom in that a little bit so
that you can see how the results actually look.
| | 02:11 |
If we turn off the overlay by clicking on
this icon and compare the two.
| | 02:15 |
Well, here's healing what we typically
use.
| | 02:17 |
It does a decent job.
It recreates some texture.
| | 02:20 |
Here's cloning.
In this case it gives us really nice sort
| | 02:23 |
of soft transitions.
And here with this image, they both work
| | 02:26 |
and yet what I like a little bit better is
the cloning option, especially when I zoom out.
| | 02:31 |
When I look at the healing option, I don't
think the edges look quite as nice as that
| | 02:34 |
cloning does.
And sometimes what you'll see is that you
| | 02:38 |
'll want to use a little bit of both in
certain situations you may want to clone
| | 02:41 |
and heal.
Let's go ahead and continue to talk about
| | 02:45 |
this and look at another photograph in the
next movie.
| | 02:48 |
| | Collapse this transcript |
| Using cloning and healing together for the best results| 00:00 |
In this movie, I want to look at a small
project which will benefit from using the
| | 00:04 |
spot removal tool on healing and also on
cloning.
| | 00:07 |
This is a photograph that a buddy of mine
captured of me surfing.
| | 00:11 |
And here I have the small JPEG file, and
there's this guy in the foreground which I
| | 00:14 |
want to remove.
In order to remove that, let's press the B
| | 00:17 |
key in order to select the spot removal
tool.
| | 00:19 |
Next, what I want to do is start to remove
some of the elements that we have here.
| | 00:23 |
My brush is obviously too big, so I'll tap
the left bracket key in order to make it
| | 00:26 |
much smaller, or you can just click and
drag the slider to the left as well.
| | 00:32 |
Now, when you have an area which is
larger, where we need to remove the surfer
| | 00:35 |
and also his wake behind him, you want to
start off by making small adjustments.
| | 00:40 |
Through here we'll start off with healing.
We'll go ahead and click once.
| | 00:43 |
Hold down the Shift key, and then click
again in order to retouch or remove out
| | 00:46 |
this area.
Next I'll go ahead and reposition this so
| | 00:48 |
that this lines ups little bit better.
I'm going to turn on the Preview checkbox
| | 00:52 |
that was turned off from one of the
previous movies, so I want to make sure to
| | 00:55 |
turn that back on.
Alright, so that looks pretty good.
| | 00:59 |
Next we'll go ahead and remove a little
bit more of this, and I'm going to go
| | 01:01 |
ahead and paint over the subject and in
this case I'm using healing and we'll take
| | 01:04 |
a look at there exults.
I'm going to make sure to paint over all
| | 01:09 |
of the problem areas and get close to all
of those edges as well.
| | 01:13 |
Be able to remove all of that, so we don't
have any overlap or leftover issues we
| | 01:16 |
have to deal with, and then I'll move this
to up here to this area of the photograph
| | 01:20 |
in order to remove that.
Now when we turn off the overlay, what
| | 01:25 |
we'll discover here is that it did a
decent job, except the edges aren't quite perfect.
| | 01:30 |
So, here lets change this option to
cloning.
| | 01:32 |
In doing that you can see that we have
better color and tonality but then The
| | 01:36 |
edges are a bit too harsh, so in certain
situations what you might need to do is to
| | 01:40 |
use cloning and then afterwards, go ahead
and apply a second adjustment.
| | 01:46 |
Here I'm going to click and paint over
some of these edges which are a bit too noticeable.
| | 01:50 |
And then for the second one, I'm going to
change this to healing.
| | 01:53 |
In a sense I'm healing on top of the area
that I cloned, and I'll do the same thing
| | 01:56 |
in a few other areas as well.
And so here we're taking advantage of the
| | 02:01 |
best of both worlds, and we're cloning and
healing in order to come up with the best results.
| | 02:06 |
And so just make your way through your
photograph and retouch any little small
| | 02:09 |
areas or blemishes that you have.
With this picture in order to remove that
| | 02:14 |
surfer in the foreground, we really could
benefit from using cloning and healing together.
| | 02:19 |
Well if we turn on the overlay, you can
see we have a number of areas that we've
| | 02:22 |
worked on.
We'll hide those for a moment and look at
| | 02:25 |
the preview.
Here it is, our overall before and after.
| | 02:29 |
Now it's a much better photograph, and we
have reduced or removed a lot of the
| | 02:32 |
blemishes here.
Just a few more little areas to work on.
| | 02:36 |
We'll go ahead and click and drag over
those.
| | 02:38 |
Alright, I think that looks much better.
So as you start to work with this tool,
| | 02:41 |
keep in mind that in certain situations,
you will benefit from using a little bit
| | 02:45 |
of bowl.
And also, if ever you're cloning, know
| | 02:48 |
that you can always go back and heal on
top of the area that you've cloned in
| | 02:52 |
order to blend some of the texture
together.
| | 02:56 |
| | Collapse this transcript |
| Removing red-eye| 00:00 |
Red eye often results when we're using
smaller pocket cameras, where the flash is
| | 00:04 |
located close to the lens as you can see
has happened with this photograph here.
| | 00:09 |
This is a picture of myself and two of my
daughters, Annie and our youngest, the day
| | 00:12 |
that she was born.
And a friend snapped this photo and sent
| | 00:16 |
it to us, and what I want to do with this
picture is I want to remove the red eye.
| | 00:20 |
To do that we can select the Red Eye tool,
which is located right next to the Spot
| | 00:23 |
Removal tool.
You can click on the icon here or the
| | 00:26 |
press the E key in order to select it.
Now what you do in order to work with this
| | 00:31 |
tool is, you simply click and drag over
the eye.
| | 00:33 |
Now, you'll want to click and drag a large
area, this will then target that red and
| | 00:37 |
it will remove that.
Here if I turn off the overlay for a
| | 00:40 |
moment by clicking on this icon here.
You can see how it's corrected that, but
| | 00:44 |
not quite enough.
You can increase the pupil size, which
| | 00:47 |
will extend the reach of the red eye
reduction.
| | 00:50 |
Here I'll go ahead and click and drag over
this eye as well.
| | 00:52 |
And extend that as well so that it extends
out to the edge.
| | 00:55 |
Now we can control how dark we make that.
Here if we drag to the right its a little
| | 00:58 |
bit less dark.
Drag to the left it becomes a bit more dark.
| | 01:02 |
Again, we'll just click and drag over
these eyes as well.
| | 01:04 |
Sometimes it will work while the first
time, other situations you may need to
| | 01:07 |
click and drag these sliders.
Again the Pupil slider dragged to the
| | 01:11 |
right to increase the size of the pupil.
Drag to the left to decrease it.
| | 01:15 |
Darkening drag to the right for a lighter
pupil.
| | 01:18 |
Drag to the left for a darker pupil.
Alright well, there you have it.
| | 01:22 |
A quick and easy way, in order to correct
red eye in your photographs using Camera Raw.
| | 01:27 |
| | Collapse this transcript |
|
|
6. The Advantages of the Tone CurveLearning about the Parametric and Point Tone curves| 00:00 |
In this chapter, we're going to explore
how we can use the Tone Curve panel in
| | 00:03 |
order to improve the exposure, tone and
color in our photographs.
| | 00:08 |
You can select the tone curve by clicking
on this icon here, its the second icon.
| | 00:12 |
When you access the Tone Curve panel,
you'll notice that you have two different
| | 00:15 |
types of curves.
You have one which is called the
| | 00:18 |
Parametric Curve.
Another, which is called the Point Curve.
| | 00:21 |
In order to understand how these two
different types of curves actually work,
| | 00:24 |
what I find is helpful to do, is to work
on a gray scale image first, to really
| | 00:27 |
understand how all of the sliders work.
And then to apply what we've learned to a
| | 00:33 |
photograph like this one here.
So, before we start to work on this image,
| | 00:37 |
go ahead and open up the file which is
titled Demo.jpeg.
| | 00:40 |
And here let's explore how we can work
with Parametric and the Point Curve in
| | 00:44 |
order to modify this gray scale file.
You'll notice that the Parametric Curve is
| | 00:49 |
divided up into four quadrants.
Here we have the shadows, the darks, the
| | 00:53 |
lights, and the highlights.
And this represents the different tones or
| | 00:58 |
tonality that we have in our image.
Now, you can modify certain areas of the
| | 01:02 |
photographs, say the highlights by simply
working with the Highlight slider.
| | 01:05 |
Your eye can brighten or darken that part
of ht photograph.
| | 01:08 |
In dong this you can see that it creates
this little curve right here, yet the
| | 01:12 |
other areas are protected.
In other words, this particular slider
| | 01:16 |
doesn't modify my shadows or my darks
which are located over here.
| | 01:20 |
Now, we can further modify which are is
effected by clicking and dragging on these
| | 01:24 |
icons here.
If I drag these to the right you'll notice
| | 01:27 |
that this is now eliminating this
adjustment just to the very brightest
| | 01:30 |
tones int he photograph.
So, when I drag this you're going to see
| | 01:34 |
that it's just effecting this region right
here in the picture.
| | 01:37 |
To reset any of these sliders, just double
click them and it will take them back to
| | 01:41 |
its default settings.
The same thing goes for these sliders.
| | 01:44 |
Here I'll double click the icon for the
Highlight slider, and that will bring it
| | 01:47 |
back to its default setting.
And another really fascinating way to work
| | 01:51 |
with the Parametric Tone Curve, is to
click on this icon here and then to choose
| | 01:54 |
Parametric Curve.
In doing that, this allows you to position
| | 01:58 |
your cursor over the image and then to
click and drag.
| | 02:01 |
If I don't work on these tones here the
darks, I can click and drag down to darken
| | 02:04 |
those up or click and drag up in order to
brighten up that range of the photograph.
| | 02:10 |
Now, that you start to work with the
Parametric Curve, what you will discover
| | 02:13 |
is that in a sense this particular tool
has a build in safety net.
| | 02:17 |
You can't make adjustments which are that
extreme or which really sort of rack or
| | 02:21 |
reek havoc on your photograph.
And that's one of the advantages of using
| | 02:25 |
this particular tool, alright lets than
compare that say to the Point Curve.
| | 02:30 |
Here, let's go ahead and double click the
slider to reset the darks to their default
| | 02:34 |
0 setting.
When we go to the Point Curve, what we'll
| | 02:37 |
discover is that this particular curve
looks and functions almost exactly like
| | 02:41 |
curves in Photoshop.
Here we can work on specific channels by
| | 02:45 |
clicking on this pull-down menu.
We'll talk more about that later or we can
| | 02:49 |
work in the composite RGB channel.
Here what you can do, is say you work on
| | 02:53 |
the highlights and click and drag up in
order to brighten up those highlights, or
| | 02:56 |
you can drag down in order to darken them
as well.
| | 03:00 |
Yet in this case, you can see how as I
make this adjustment, it's also affecting
| | 03:04 |
all of these other tones.
In this case, all of the darker tones in
| | 03:08 |
the image.
Well, we can add a second, third or even
| | 03:11 |
more points to the curve, in order to
correct or modify those areas.
| | 03:15 |
If we click and drag down to set another
point, you can see that I've created an S curve.
| | 03:20 |
This S curve starts at the top, brightened
up those highlights.
| | 03:23 |
.
.
| | 03:23 |
The mid-tones stay the same and then the
darks become darker.
| | 03:26 |
This is a traditional S curve, which in
turn increases the contrast and also color
| | 03:30 |
saturation in the photograph.
So, here you can see the before and now
| | 03:34 |
the after.
So, both of these tools give us different
| | 03:37 |
ways to star to to focus in on and work on
the tonality in our photograph.
| | 03:41 |
And what's interesting about these tools,
is that they allow us to do similar things
| | 03:45 |
that we can do in the Basic panel.
In the Basic panel here, we can work on
| | 03:49 |
the highlights or the shadows or the
blacks or whatever it is.
| | 03:52 |
And in a sense, all that this panel's
doing, is giving us yet another way,
| | 03:56 |
another method to work on exposure, tone
and eventually color on our photographs.
| | 04:02 |
Alright well, now that we've been
introduced to these two tools, let's go
| | 04:05 |
ahead and take a look at how they actually
work.
| | 04:07 |
And in order to do that, we'll select our
photograph and we'll work on this
| | 04:10 |
photograph in the next movie.
| | 04:12 |
| | Collapse this transcript |
| Improving your photographs with curves| 00:00 |
In this movie, we'll take a look at how we
can use the Tone Curve panel in order to
| | 00:03 |
improve this photograph.
You can select the Tone Curve panel by
| | 00:07 |
clicking on this icon, here.
Let's begin with the Parametric curve, and
| | 00:11 |
in order to work with this particular
curve or this tool more effectively I find
| | 00:14 |
it helpful to click on this icon here and
then this select parametric curve this
| | 00:18 |
allows us to position our cursor over the
image and then just to click and drag and
| | 00:21 |
this way we can brighten up the image here
we're brightening up the darker tones.
| | 00:29 |
Then we can click on one of the darker
tones, say this one here, and click and
| | 00:31 |
drag down.
That will decrease the value on the
| | 00:34 |
shadows, so that we've created this little
bit of curve adjustment.
| | 00:38 |
Now if we click on the preview check box,
you can see here's the before, and now
| | 00:41 |
here's the after.
And in a sense what we've done is brighten
| | 00:44 |
up the mid tones and then darken the
shadows.
| | 00:46 |
And the parametric curve has allowed us to
make this adjustment.
| | 00:50 |
Now as your working with exposure in
Camera Raw, one of the things that you
| | 00:53 |
want to do is turn on your clipping
indicators.
| | 00:56 |
We can do so by clicking on these icons
here.
| | 00:58 |
Now currently, I have a highlight which is
over exposed.
| | 01:02 |
That's what the red area is showing me,
that I have an area where I have some
| | 01:05 |
clipping or loss of detail in the
brightest tones in the image.
| | 01:09 |
And this clipping indicator Is really
helpful to identify those problem areas.
| | 01:13 |
Now currently in the parametric curve, we
can't reach into those tones.
| | 01:17 |
If I work with the highlight slider you
can see I can brighten or darken those,
| | 01:20 |
but I can't reach in far enough in order
to deal with that issue.
| | 01:24 |
if you need to work on highlights or if
you want to make more specific
| | 01:27 |
adjustments,what you want to do is to
navigate to the point curve when you
| | 01:30 |
navigate ti that curve you notice that you
have a point on here which allows us to
| | 01:33 |
work on black or darkest tones and the one
appear, which allows us to work on white
| | 01:37 |
or brightest tones If you click on this
point an drag this down a little bit,
| | 01:40 |
notice how it corrected the overexposure
in those highlights.
| | 01:47 |
An the point curve, it allows you to do
this in really phenomenal ways, better
| | 01:50 |
than really any other tool that we have
here in Camera Raw.
| | 01:55 |
Now of course, we can use the highlight
slider, which is located in the basic
| | 01:58 |
panel, but sometimes that won't be enough.
In those situations, come over here to the
| | 02:03 |
point curve and we can click and drag this
down in order to recover the detail there.
| | 02:07 |
Next, we can go ahead and bring back the
brightness that we had in the photograph,
| | 02:10 |
so I'll click and drag this up.
And I'll also bring down a little more
| | 02:14 |
contrast as well.
So in this case we use both of these tools
| | 02:17 |
to improve the look in this photograph.
Here, let's look at our before and after.
| | 02:23 |
If we click on the Preview check box, you
can see here's the before, and then, now,
| | 02:26 |
here's the after.
We can also go back to the parametric curve.
| | 02:30 |
We can make further adjustments, say, we
can work on the highlights there.
| | 02:33 |
Notice how that will increase or decrease
the clipping area as we make those adjustments.
| | 02:38 |
What I've discovered is that often what
you'll want to do, is use one of these
| | 02:41 |
tone curves, an typically use it alone.
So here, I'll double-click these sliders,
| | 02:46 |
in order to reset these back to their
default settings.
| | 02:48 |
In this case we're removing all of our
parametric tone curve adjustment.
| | 02:53 |
Next we'll go back to the point curve.
And here we can make further adjustments.
| | 02:56 |
Perhaps brighten up the mid tones a little
bit more there.
| | 02:59 |
So that we have a little bit of a brighter
photograph.
| | 03:02 |
In this case we've lost some contrast so
we'll click on our darker tones down here.
| | 03:05 |
And we'll bring back some of that
contrast.
| | 03:07 |
And again, in this way we have a nice
curve which is allowing us to correct the image.
| | 03:11 |
I'll just modify these points here a
little bit, and make sure that I'm
| | 03:14 |
removing all of the clipping there.
And again, I just want a nice bright
| | 03:17 |
photograph with some good contrast in
order to create a different or a distinct
| | 03:20 |
look in this portrait of this family.
Here we have it, we'll click on the
| | 03:25 |
preview check box, there is our before,
and then now here's our after.
| | 03:29 |
Now you may be wondering, alright, well
the tone-curve panel provides us with two
| | 03:32 |
different methods for modifying exposure
and tone, and in certain ways we can make
| | 03:36 |
similar adjustments, which one of these 2
is better?
| | 03:41 |
Well, the parametric is better if you just
want to make subtle adjustments, and if
| | 03:44 |
you want to have that safety net of not
overdoing it.
| | 03:49 |
The point curve is definitely more
advanced, because here we can add multiple
| | 03:52 |
points and modify those in different ways.
We can also drill down to the channels.
| | 03:57 |
If we want to change the color of this
image, well we could go to the red channel.
| | 04:01 |
Here we can click on the point, say in the
middle, and just drag up slightly in order
| | 04:04 |
to add a little bit of red there.
We can then go into the blue channel by
| | 04:07 |
clicking and dragging down.
Go ahead and do that.
| | 04:10 |
Select the blue channel there.
And we'll just drag down a little bit here
| | 04:12 |
in order to add a little bit of yellow.
What this allows us to do is to change the
| | 04:16 |
color characteristics.
Let me exaggerate for a moment so you can
| | 04:20 |
see this.
If I drag out the image becomes cool or
| | 04:22 |
blue, here when we drag down it becomes
more yellow.
| | 04:25 |
That obviously is too far, but by subtly
modifying this we can not only modify the
| | 04:29 |
overall exposure and tone, but now we have
an adjustment that gives us more contrast
| | 04:34 |
and also a little bit of shift and color,
so typically the point curve gives you
| | 04:37 |
more advanced controls in order to be able
to make more advanced adjustments.
| | 04:45 |
Yet there is a quick word of caution with
this, you can go too far.
| | 04:49 |
Here if I drag this slider down, for
example, you can see that all of the
| | 04:52 |
sudden I have all this clipping in my
shadows.
| | 04:56 |
Well, with the parametric curve, you
wouldn't be able to really adjust the
| | 04:59 |
tonality so much that it would create a
problem, with the point curve, you can.
| | 05:03 |
That being said, I still think that this
particular tool is better, you just have
| | 05:07 |
to be careful when you use it.
Because it allows you more advanced control.
| | 05:12 |
Well there you have it, an introduction to
how we can start to work with the tone curve.
| | 05:16 |
Lets take a look at our preview.
Here's our before, look again, now here is
| | 05:20 |
the after.
| | 05:22 |
| | Collapse this transcript |
| Using the Parametric curve to create a unique look| 00:00 |
In the next few movies, I'm going to go
through a few workflow examples, where
| | 00:03 |
we'll work with the Basic panel and also
the Tone Curve panel together in order to
| | 00:06 |
create a distinct look in our photographs.
We'll start off with this picture here
| | 00:12 |
that I captured in Joshua Tree in
California, out in the desert.
| | 00:16 |
What I want to do with this image is I
want to create a kind of cinematic look
| | 00:19 |
where we have some muted tones and
interesting contrast.
| | 00:23 |
So here we'll start off by navigating to
the tone curve panel, and we'll begin by
| | 00:26 |
working with the parametric curve.
Here with the highlights, I'm going to go
| | 00:30 |
ahead and click and drag this to the right
to brighten up the highlights, and I'll
| | 00:33 |
also bring down the lights just a little
bit there, and I'll bring up some of the
| | 00:35 |
darks here and then decrease the shadows.
And all that I'm looking to do here is
| | 00:40 |
just modify the overall look of the image
that's kind of interesting to my eye.
| | 00:45 |
We click on the Preview check box, you can
see the before and then now the after.
| | 00:49 |
We have kind of some fascinating contrast
here which would be really dificult to
| | 00:52 |
create perhaps in a different way.
Well after having dialed that in using the
| | 00:57 |
parametric curve, again just dragging the
highlights up, the lights down, darks came
| | 01:01 |
up, shadows went down.
What you'll want to do as you work on your
| | 01:05 |
images is obviously just drag these
sliders until it looks good to your eye.
| | 01:09 |
Then next what I'm doing with this project
is I'm going back to the Basic panel.
| | 01:13 |
Because the Basic panel allows us to add
mid tone contrast with the clarity slider.
| | 01:18 |
You're going to click and drag that up.
That also mutes the colors a little bit.
| | 01:22 |
This gives you really interesting texture
and contrast in a little bit less color saturation.
| | 01:27 |
I want to take that even further.
So here I'm going to desaturate the color
| | 01:31 |
and also decrease the vibrance in order to
create this sort of distinct kind of
| | 01:35 |
ethereal, what I'm calling kind of a
cinematic look to the colors.
| | 01:40 |
The blue is now sort of a slate blue.
The rocks rather than yellow, they're sort
| | 01:44 |
of like this muted tone.
And again it's kind of an interesting or
| | 01:47 |
maybe even a fine art type of a look.
Now, we wouldn't have been able to
| | 01:51 |
accomplish this just here alone in the
basic panel, rather it was both of these together.
| | 01:56 |
Here you can see the before and after with
the adjustments in this panel.
| | 01:59 |
Click on the tone curve icon, you can see
the before and after and how that allowed
| | 02:02 |
us to dial in some interesting contrast.
Then, if we go to one of the last 2 tabs
| | 02:07 |
here, and then click on the Preview check
box, we can see the overall before and after.
| | 02:12 |
Whenever you visit one of these last two
panel groups, it allows you to see the
| | 02:15 |
preview of all of the adjustments that
you've made.
| | 02:18 |
Here in this photograph you can see the
before and then again now you can see the after.
| | 02:23 |
So, as you can discovere here with this
example, you can use parametric curve in
| | 02:26 |
order to make corrections or simply to
apply maybe some creative contrast or tone
| | 02:30 |
to your photograph.
And then, of course, as you work here in
| | 02:34 |
the tone curve panel, what you may want to
do is also integrate this into your
| | 02:38 |
overall workflow, and work in other panels
as we did here, as we worked in the basic
| | 02:42 |
panel, in order to modify the overall
mid-tone contrast and color saturation in
| | 02:46 |
order to create this unique and distinct
look.
| | 02:51 |
| | Collapse this transcript |
| Using the Point curve to correct exposure| 00:00 |
In this movie, we're going to go through a
few work flow scenarios, where we will use
| | 00:04 |
the Basic panel and also the Point Curve
panel in order to make adjustments and
| | 00:07 |
corrections to this photograph.
Well let's start off here in the Basic panel.
| | 00:13 |
What I want to do in the Basic panel is
increase the contrast a little bit, also
| | 00:16 |
want to increase the color temperature.
So I click and drag to that right, then I
| | 00:20 |
want to brighten this image up by
increasing the whites, here I'll go and
| | 00:23 |
click and drag that up.
That will brighten up those white tones
| | 00:26 |
that we have there.
As you start to make adjustments, what
| | 00:29 |
you'll want to do eventually is to turn on
your clipping indicators, here for the
| | 00:32 |
shadows, and then click here for the
highlights.
| | 00:36 |
And doing that you can definitely see that
we have some clipping here, loss of detail
| | 00:38 |
on this area.
Well, if we drive the highlight slider to
| | 00:41 |
the left we can remove almost all of that.
Yet there still remains a little bit of
| | 00:46 |
clipping here that we need to get rid of.
If ever that happens, we've discovered
| | 00:50 |
that what you can do is go over to the
Tone Curve.
| | 00:53 |
So here I'm actually going to bring up my
highlight slider just a little bit,
| | 00:55 |
because sometimes I find it's helpful to
have that a little bit higher.
| | 01:00 |
If it goes too low, it sort of smooths out
the tone in kind of an unnatural or weird way.
| | 01:05 |
So I'll leave that as is, then we'll
navigate over to the Tone Curve panel.
| | 01:09 |
Click on the icon there.
The curve I'll be working with is the is
| | 01:12 |
the point curve.
So click on the Tab for the point curve,
| | 01:14 |
and we've already talked about how we can
recover those highlights.
| | 01:18 |
And that is to work on this hointeve here,
which allows us to work on the whites or
| | 01:21 |
the brightest areas of our image.
Here you can just click and drag this down
| | 01:25 |
in order to remove all of those tones.
Now next we may want to work on some of
| | 01:29 |
the other tones in the image.
So here we'll drag up a little bit to
| | 01:32 |
brighten the image back up, and we'll drag
down, in this area, in order add a little
| | 01:36 |
bit more contrast.
In this way, we have an adjustment, which
| | 01:40 |
allowed us to, correct the area, or the
brightest tones in the image, and also, to
| | 01:43 |
add a little bit of contrast and color
saturation.
| | 01:47 |
Well there's, our, first work flow
scenario.
| | 01:50 |
Let's now take a look at another.
You will navigate back to the basic panel,
| | 01:53 |
and let's say that after having modified
this image in this way, we've decided we
| | 01:56 |
really want a black and white version of
this photograph instead.
| | 02:01 |
Here we'll desaturate the image by
clicking and dragging this saturation
| | 02:04 |
slider to the left.
Next I want something with a lot of
| | 02:07 |
contrast in it, so I'll increase the
contrast here and then I'll darken the
| | 02:10 |
blacks by clicking and dragging this to
the left.
| | 02:14 |
Now when you darken those all the way we
get some clipping here in our darkest tones.
| | 02:19 |
But let's say then, rather than simply
dragging this up to right here where we
| | 02:23 |
lose all of that clipping, and we lose a
lot of the density of all of those blacks.
| | 02:29 |
We want to bring this way down and then
correct this issue using the tone curve.
| | 02:33 |
To do that, click over to the tone curve
panel.
| | 02:35 |
Here in the point curve, we'll work on
this point, which allows us to work with
| | 02:39 |
the blacks.
If you click and drag that up just a
| | 02:42 |
little bit, notice how we still have this
really intense contrast.
| | 02:46 |
Now here it's obviously a bit over
exaggerated, but what I wanted to do was
| | 02:49 |
to illustrate how we can how still really
deep dark blacks.
| | 02:53 |
But we can protect or save where we have
the clipping areas simply by moving that
| | 02:57 |
little point.
Now again, here I think the contrast is a
| | 03:00 |
bit heavy handed so I might brighten up
this area just to bring up a little
| | 03:03 |
brightness in some of those shadows.
I also might bring down a little bit of
| | 03:07 |
the highlights.
You know when you're working with black
| | 03:10 |
and white images, you really change the
characteristics of the curves quite a bit.
| | 03:14 |
So that it looks good with what photograph
you're working on.
| | 03:16 |
All right.
Well, there's kind of a fun or interesting
| | 03:19 |
black-and-white conversion.
Next, we'll go back to the Basic panel.
| | 03:22 |
Here, I will increase the clarity to add
some mid-tone contrast, and also bring up
| | 03:26 |
the Shadow slider to bring a little more
light into the shadow's area.
| | 03:30 |
Bring down the Highlights slider, darken
up those highlights even more.
| | 03:34 |
Often in black and white photographs, I
find you can take the Highlights slider
| | 03:38 |
further to the left and still have a
natural look because it isn't affecting
| | 03:41 |
the color; rather, just focusing in on the
tonality and sort of the change in
| | 03:44 |
tonality from different areas.
Alright well there you have it.
| | 03:49 |
A few more of workflow examples, where we
can work in the Basic panel and in the
| | 03:53 |
Point Curve panel in order to modify and
adjust our photographs.
| | 03:57 |
| | Collapse this transcript |
| Creating a sepia-tone look and saving presets| 00:00 |
In the next few movies we're going to have
some fun working with the point curve and
| | 00:03 |
looking at how we can modify tone and
color.
| | 00:06 |
And just as we can modify tone and color
using curves in Photoshop, so we can also
| | 00:10 |
do very similar things right here in
Camera Raw.
| | 00:14 |
All right, with this first photograph,
it's a black and white image.
| | 00:17 |
What I want to do is create kind of a
sepia tone look to this photograph.
| | 00:20 |
To do that, we'll navigate over to the
Tone Curve panel.
| | 00:23 |
Click on the Tone Curve panel icon and
then navigate to the Point Curve.
| | 00:28 |
Here in the first option, or the first
channel we have, which is the composite
| | 00:31 |
RGB channel, we can modify the overall
tonality of this image.
| | 00:35 |
What I want to do is darken this file up,
so we can click to add a point in this
| | 00:38 |
darker region of the curve here, which
will add a bit more density to the photograph.
| | 00:43 |
Looking at another point here in this
area, in order to maintain some of the
| | 00:46 |
brightness of the face.
This is a pretty subtle adjustment.
| | 00:50 |
Here you can see the before, and then,
now, the after.
| | 00:53 |
Well, next, I want to add some color to
this.
| | 00:55 |
To do that, we'll navigate to the various
channels.
| | 00:58 |
And we'll actually be working in the red,
the green.
| | 01:00 |
And the blue channel.
Let's start off by going to the blue channel.
| | 01:03 |
Now whenever your working in curse, what
you can do is click and drag Up or Down.
| | 01:07 |
When you click and drag Up towards the
name of the channel, in this case blue,
| | 01:10 |
the image becomes more blue.
the image becomes more blue.
| | 01:14 |
Click and drag away.
And it will take on more of the
| | 01:16 |
characteristics of the complimentary color
of blue, and that is yellow.
| | 01:20 |
And if ever you add a point like this
here, and you want to remove it, we'll
| | 01:22 |
just click and drag it off and it will
disappear.
| | 01:26 |
Well in this image, what I want to do Is I
want to add a bit of yellow to the darker
| | 01:29 |
areas of the photograph.
To do that we'll create a curve point here
| | 01:33 |
in the lower region and we'll just click
and drag down a bit.
| | 01:37 |
Now if we want to maintain some of the
original color or, in this case lack of
| | 01:40 |
color, in the brighter area We can just
bring this back closer to the position
| | 01:43 |
where it was originally.
In this way this color effect, it's
| | 01:48 |
primarily affecting the darker tone.
Now the effect doesn't look very good here.
| | 01:52 |
And often when working with color, you
have to go to each and every channel.
| | 01:57 |
You have to sort of jump between these
channels.
| | 01:59 |
Here, let's go to another channel, let's
jump back to the red channel.
| | 02:02 |
In the red channel, if we click and drag
up, the image becomes more red.
| | 02:05 |
Remember, dragging towards the name of the
channel adds more of that color.
| | 02:09 |
Dragging away, the image becomes more
cyan.
| | 02:13 |
Well here with this image, again down in
the shadows, I just want to bring up a
| | 02:15 |
little bit of red there, and then protect
the brighter tones, so I'll bring the
| | 02:18 |
curve back to where it was.
And so here in this way, again we just
| | 02:22 |
have a subtle little adjustment, that
looks like I need to bring that up a
| | 02:24 |
little bit further there.
In order to add just a little bit of red
| | 02:29 |
tone into that part of the photograph now
lot of times when you're making color
| | 02:32 |
adjustments it is about those sudden
movements which help you to divalent
| | 02:36 |
specific color next lets go to the green
magenta channel drag up to make it more
| | 02:40 |
green, drag away to make it more magenta.
Here I'm just going to drag it up just
| | 02:47 |
lightly, just a little tiny bit here to
add little bit more sort of green color to
| | 02:50 |
it and actually as I do that, I realize
That's the opposite what I want.
| | 02:55 |
I actually want to drag it down a little
bit, by sort of flip flop my logic there
| | 02:58 |
for a moment.
And in dragging this down, it can add just
| | 03:01 |
a touch of that magenta color, which works
well with this kind of sepia tone look.
| | 03:06 |
Next, I'll go back to the blue, yellow
channel.
| | 03:08 |
And, again, a lot of sort of hopping
around here, right?
| | 03:11 |
And in this one, we may want to customize
the yellow a little bit further.
| | 03:14 |
Here, I'm going to bring a little bit more
yellow into the highlights.
| | 03:17 |
And I also want to reduce the intensity of
that, so I'm just bring those closer, back
| | 03:21 |
to that original line there.
I'll do the same thing with red.
| | 03:25 |
And the reason why we need to go back and
forth between all of these channels is
| | 03:28 |
because as we mix these colors togwther,
well it gives us different results.
| | 03:32 |
And the result i'm looking for is exactly
what we have here.
| | 03:36 |
It's a really beautiful brown, sepia tone
look.
| | 03:39 |
If you click on the preview check box, you
can see here is our before, and now here
| | 03:43 |
is our after.
Now in order to accomplish and create this
| | 03:46 |
look it took a lot of finessing, a lot of
jumping around between channels.
| | 03:51 |
And if it was difficult to follow as I
worked on those channels, let me go back
| | 03:54 |
and highlight what we did, just to review
what we covered so far in this movie.
| | 03:59 |
We started off in the composite RGB
channel and here we darkened up some of
| | 04:02 |
the tones and then added a point to
maintain the brightness in the highlights.
| | 04:07 |
Then we jumped between our Red, Green and
Blue channels.
| | 04:10 |
Here in the blue channel, we added a few
points in order to drag these down to add
| | 04:14 |
a little bit of a nice sort of yellow look
there.
| | 04:18 |
Then we also went to the red channel.
Here we are dragging points up to bring in
| | 04:21 |
a little bit more red Then of course we
jump to the green, or the green magenta
| | 04:24 |
channel, and here we wanted to drag down
to add a little bit of magenta.
| | 04:30 |
Well now that we've made all of these
different adjustments in order to create
| | 04:33 |
this sepia toned look, we've discovered
that it takes a lot of little details, a
| | 04:36 |
lot of.
Finessing, jumping around between channels
| | 04:40 |
in order to craft this.
Well what we might want to do is actually
| | 04:43 |
save this particular lookout as a preset.
Well we can do that by clicking on this
| | 04:48 |
icon right here and then by choosing save
settings.
| | 04:52 |
This will open up the save settings
dialogue.
| | 04:54 |
From the pull down menu at the top, what
you want to do is choose the option for
| | 04:57 |
point curve.
This will allow us to save the settings
| | 05:00 |
which we've crafted or created here, in
order to create this sepia tone look.
| | 05:04 |
So, go ahead and select that option that
will deselect all of these other sliders
| | 05:08 |
or controls.
And just save this out as some point curve
| | 05:11 |
settings, next click Save.
That gives us the ability to save this out.
| | 05:15 |
I'll go ahead and call this Sepia Tone.
And then click on the Save button in order
| | 05:19 |
to save those settings out.
Now what you can see here from this
| | 05:22 |
pull-down menu is that we can select those
here from this particular menu.
| | 05:26 |
For example, I'm going to go ahead and
reset this image.
| | 05:29 |
To do that, hold down the Opt key on a
Mac, or Alt on Windows.
| | 05:32 |
That changes Cancel to Reset.
Click on recent, that will recent all of
| | 05:36 |
the adjustments that we made.
Now if we want to apply a particular
| | 05:40 |
curve, we can click on the pull down menu
and here will be listed all of those
| | 05:43 |
setting which we've saved.
We did this just previously so this one is
| | 05:47 |
appearing here, now when we click on that
option it will then apply all of those
| | 05:50 |
curves adjustments, which we've dialed in
here, as you can see, as I navigate
| | 05:53 |
through the different options, or
channels, that we have here and the point curve.
| | 05:59 |
And the great thing about this is that we
can then reuse these settings and apply
| | 06:03 |
them to other photographs.
So here in this movie, I wanted to
| | 06:06 |
highlight a few things.
The point of the movie was to talk about
| | 06:09 |
how we can start working on the different
channels, and how we can modify the color
| | 06:13 |
by clicking dragging up or down.
And also, how we can create an overall
| | 06:17 |
color effect by navigating to the
different channels And modifying each of
| | 06:20 |
these various curves.
I also wanted to highlight how we can save
| | 06:25 |
our settings out.
We did so by clicking on this icon and
| | 06:28 |
then by choosing Save Settings.
And last but not least, I wanted to show
| | 06:31 |
you how you could access the settings
which you saved by clicking on this
| | 06:34 |
pull-down menu and selecting them here
from that pull-down menu, so that you can
| | 06:38 |
then apply those settings to other
photographs that you're working on as well.
| | 06:43 |
| | Collapse this transcript |
| Making color come alive with the Point curve| 00:00 |
One of my favorite places to be in the
entire world is in the ocean.
| | 00:04 |
And I love being under the water, whether
I'm scuba diving or snorkeling or just swimming.
| | 00:09 |
And here we have an under water
photograph, which is captured of a surfer,
| | 00:12 |
surfing through a wave.
What I want to do in this photograph, is
| | 00:15 |
look at how we can use the tone curve in
the basic panel in order to make these
| | 00:18 |
colors really come to life.
I want to change the colors so they are a
| | 00:23 |
little bit less cyan and much more blue.
I want a really rich deep blue.
| | 00:28 |
Well to do that let's start off by
clicking on the tab for the tone curve
| | 00:31 |
panel then click on the tab here for point
curve.
| | 00:35 |
In the point curve what I want to do first
is add a bit of contrast.
| | 00:38 |
So, here, we'll click and drag down to
darken up the darker tones, and then we'll
| | 00:42 |
click and drag up to create a really
subtle S curve.
| | 00:45 |
Another way that you can add contrast to
your photographs is by clicking on the
| | 00:48 |
Curve pull-down menu.
Notice that we have a linear curve, which
| | 00:52 |
is a straight line, or we can choose an
option like medium contrast.
| | 00:56 |
Essentially, what this did for us is
create a really subtle s-curve.
| | 00:59 |
We obviously can customize any of these
points further if we want to deepen or
| | 01:02 |
darken up those tones.
All right.
| | 01:05 |
Now, that we have a little contrast we can
see the before and now the after.
| | 01:09 |
Next I want to start targeting a few
particular colors.
| | 01:12 |
We're going to begin by actually starting
off in the green channel.
| | 01:16 |
Now the green channel allows us to either
drag up and add green, or to drag down and
| | 01:19 |
add a bit of magenta.
Now, when we add magenta to this image, it
| | 01:24 |
mixes in with the cyan and it creates
almost a nice sort of purple or bluish
| | 01:28 |
look which I like a lot better.
Next, we'll go down to the blue or
| | 01:33 |
blue-yellow channel.
Drag down to make this more yellow.
| | 01:36 |
Drag up to add a bit more blue.
Now I like the rich blues that we have here.
| | 01:42 |
I think these are fascinating.
After having dialed in the color using a
| | 01:45 |
few different Channels, we started off in
RGB, added some contrast.
| | 01:50 |
Then, we went to the Green Channel, added
a bit of magenta, and finally, we went to
| | 01:53 |
the Blue Channel and brought up the blues.
A few really simple adjustments the
| | 01:57 |
photograph is already looking a ton
better.
| | 02:00 |
Here's the before.
Now it's just too cyan right, it's kind of
| | 02:03 |
dull as well, then here's after.
In order to finish this project off let's
| | 02:07 |
go to the basic panel.
In the basic panel we'll crank up some
| | 02:10 |
contrast, we'll also deepen some of those
blacks, bring up a little detail there in
| | 02:14 |
the shadows, bring up clarity to add some
nice texture there and a little bit of
| | 02:17 |
vibrance and a touch of saturation...
Perhaps we need to bring down the
| | 02:23 |
highlights, as well, as I'm looking at it.
And what I was going to say is, we
| | 02:27 |
modified the image to really sort of bring
out these deep, rich colors, to make these
| | 02:30 |
colors truly come alive.
Take a look at the before and after.
| | 02:34 |
Here's before, without the basic panel,
then here's after.
| | 02:38 |
Then, if we go to one of the last two
panel groups here, either this one,
| | 02:41 |
presets, or snapshots, when you click on
the preview check box, it will show you
| | 02:44 |
the overall before.
Here is the original image.
| | 02:48 |
Which when you first open it up or first
saw it probably thought.
| | 02:51 |
Well, yeah, this is pretty interesting.
But now when we compare the two, the
| | 02:54 |
before and then now the after.
We realize that the after is so much more inviting.
| | 03:00 |
It kind of draws us in and these deep
blues at least For me, are really
| | 03:03 |
appealing and interesting.
Alright, well here you have it.
| | 03:07 |
Another example of how we can integrate
the point curve into our workflow in order
| | 03:11 |
to modify the overall tone and also the
colors in our photograph.
| | 03:16 |
And as we're starting to discover This is
quite a powerful tool.
| | 03:19 |
I wonder why we use this tool where some
of our other techniques or tools that we
| | 03:22 |
hardly know how to use, like those that
are found in the basic panel.
| | 03:26 |
Sometimes, it can help us to accomplish
really stunning results like we have here,
| | 03:29 |
in this photograph.
So, once again let's see our overall
| | 03:33 |
before, there it is, and then now the
after.
| | 03:36 |
| | Collapse this transcript |
| Crafting a vintage film look| 00:00 |
In this movie we are sgoing to stray off
the well worn path, and what i want to do
| | 00:03 |
is kind of create a look which kind of
feels a little bit like film.
| | 00:07 |
In order to buil or craft this look, we'll
be working with a tone curve panel, the
| | 00:10 |
basic panel, and the effects panel as
well.
| | 00:14 |
In this case, we're going to put together
a lot of what we've already talked about,
| | 00:16 |
so if you haven't watched any of the
previous movies, you want to go back and
| | 00:19 |
watch those before you get to this one
here.
| | 00:22 |
We'll, let's jump straight to the tone
curve panel by clicking on the tone curve icon.
| | 00:26 |
Let's begin in the parametric curve.
In the parametric curve, what I want to do
| | 00:30 |
is bring up some of the darks there, just
bring some light into this area of the image.
| | 00:35 |
Also going to bring up the lights, and
then just bring up the highlights a little bit.
| | 00:39 |
Again, a subtle adjustment but a nice
starting point.
| | 00:41 |
Here's the before, then here's now the
after.
| | 00:43 |
And I want to do this because eventually I
want this faded, vintage kind of film aesthetic.
| | 00:49 |
After having made those changes, let's
jump straight to the point curve.
| | 00:53 |
In the point curve, as we've started to
see, we can work in the composite RGB
| | 00:56 |
channel or we can also go to the various
color channels.
| | 01:01 |
Let's begin by going to the blue channel.
One of the things that you can do is click
| | 01:05 |
to add a point and drag up or drag down in
order to modify the color.
| | 01:08 |
Yet you can also work on the end points
and often in different types of
| | 01:12 |
photography modifying the end points can
give you a really core interesting color look.
| | 01:18 |
Here in this image.
Let's drag this black or the dark end
| | 01:21 |
point up with that.
What we'll do is bring in some blue into
| | 01:24 |
the darker areas of the photograph.
Then if we drag the white pointer, the
| | 01:27 |
brightest point down, what this will allow
us to do is to bring in some yellows into
| | 01:30 |
the brightest area of the photograph.
Well here you can see we're starting to
| | 01:35 |
craft a unique color.
Then let's go to a few other channels.
| | 01:39 |
We'll go to the green channel, we'll drag
down, that will add a little bit of magenta.
| | 01:42 |
Let's go the the red, or the red cyan
channel, drag down, that will add a little
| | 01:46 |
bit of cyan.
And again here we're just trying to create
| | 01:50 |
something which is different or unique.
Then I'll go back to the RGB Composite
| | 01:54 |
Channel and here I'm going to bring up
some of the detail that I have here in the
| | 01:57 |
darker tones.
I'm just going to modify this curve here,
| | 02:00 |
modifying the overall look in this image.
Well after having done that, after having
| | 02:05 |
made these color adjustments, I want to
finish this off by going to the basic panel.
| | 02:10 |
And you may be thinking, Chris, this
doesn't really look that interesting.
| | 02:13 |
Well stick with me.
We haven't finished this project yet.
| | 02:16 |
We're just starting off, setting the stage
using the parametric curve Next we'll go
| | 02:19 |
to the basic panel.
In the basic panel I'll change the overall
| | 02:23 |
color temperature.
Now this color temperature shift is
| | 02:26 |
going to add yellow on top of all of those
underlying colors.
| | 02:29 |
Now had we not started it in the tone
curve it wouldn't look as interesting.
| | 02:34 |
Next we'll add some contrast back.
We'll do so by using clarity.
| | 02:37 |
That will bring in some nice texture and
also a little bit of contrast as well.
| | 02:41 |
Let's brighten up some of those shadows.
And then let's darken some of the deepest blacks.
| | 02:46 |
Again here as you make your way to the
basic panel, hopefully, You know how to
| | 02:49 |
navigate around these different adjustment
sliders.
| | 02:53 |
But to review, temperature goes up,
contrast goes up, shadows goes up, blacks
| | 02:57 |
goes down and clarity that goes up.
Let's add a little of vibrance and color
| | 03:01 |
saturation here as well.
All right well not that we've made all of
| | 03:04 |
these adjustments.
We'll click on the preview check box.
| | 03:07 |
Here's the before and then here's the
after.
| | 03:09 |
So really it isn't about a kind of an
either or question.
| | 03:13 |
Should we use the basic?
Or should we use the tone curve?
| | 03:15 |
In this situation really it's about both
of these adjustments together.
| | 03:19 |
Which help us to create this unique look.
Well after having made those adjustments.
| | 03:23 |
Here what I'm want to do is skip ahead or
fast forward.
| | 03:26 |
In one of our subsequent chapters we'll
talk about the affects panel.
| | 03:30 |
I don't want to get into all the details
here, but I do want to highlight how we
| | 03:33 |
can use these various sliders.
>> To add film grain and also to add a bit
| | 03:37 |
of vignetting.
Lets start off with the vignetting.
| | 03:40 |
If you drag this slider to the left you
can see that you can darken the outer
| | 03:43 |
edges of the photograph.
You can then further customize the
| | 03:46 |
characteristics of those edges by using
these other sliders.
| | 03:50 |
Again we'll talk more about how this works
later yet for now I simply want to
| | 03:53 |
highlight how we can use these sliders in
order to create a subtle sort of vignette
| | 03:56 |
type of a look.
Then if we zoom in on the photograph, and
| | 04:00 |
here I'll click a few times with the zoom
tool, we can work with the film grain.
| | 04:04 |
As we drag this to the right, you can see
where adding some texture or film grain
| | 04:07 |
which really fits with this color
aesthetic and with the vision for this
| | 04:09 |
project and that is to create this kind of
vintage type of look with this photograph.
| | 04:15 |
You know?
So often, we make adjustments like this to
| | 04:18 |
our pictures using Photoshop.
Yet, we can also do similar things as you
| | 04:21 |
can see here, right inside of Camera Raw.
Well, let's evaluate the overall before
| | 04:26 |
and after.
To do so, click on one of the last two tabs.
| | 04:30 |
Then next, click on the preview check box.
Here, you can see the original image as it
| | 04:34 |
was captured.
Click again.
| | 04:35 |
You can see, after, we've applied and
created this unique effect.
| | 04:38 |
Let me zoom out a little bit, so we can
see the whole image.
| | 04:41 |
There it is.
Here is our overall before and then now
| | 04:44 |
our after.
| | 04:46 |
| | Collapse this transcript |
|
|
7. Using the HSL ControlsIntroducing HSL| 00:00 |
In this chapter, we're going to focus in
on how we can work with the HSL Grey Scale
| | 00:04 |
panel, and in particular we'll begin by
talking about how we can use the HSL
| | 00:07 |
controls in order to modify color in a
really fascinating way.
| | 00:13 |
Here I'll go ahead and click on the tab
for the HSL greyscale panel.
| | 00:17 |
Once you do that you'll notice that we
have 3 subtabs: hue, saturation, and luminace.
| | 00:22 |
We also have a number of different
sliders.
| | 00:25 |
What you can do is you can use these
sliders to change the color or the color
| | 00:28 |
saturation or the color brightness.
For example, let's go back to hue.
| | 00:33 |
With this photograph, rather than a blue
background, let's say that we want it to
| | 00:36 |
be a bit more purple.
Well, here we can navigate to the blue
| | 00:40 |
slider and then just click and drag.
In doing that you can see how it's
| | 00:43 |
changing the characteristics or the color
of all of the blues that we have in this photograph.
| | 00:48 |
Now in order to understand how these
sliders really work, what I want to do
| | 00:51 |
first though is jump to this demo file,.In
this demo file you can see that we have
| | 00:54 |
various colors.
Let's start off by taking a look at how we
| | 00:58 |
can work with hue.
Now hue allows us to change color, but
| | 01:01 |
only to a certain extent.
Here, focus in on the reds.
| | 01:05 |
Notice how I can make those reds a little
more magenta, or I can make them a little
| | 01:08 |
bit more orange.
In other words, they're only going to
| | 01:11 |
change to the direction of the color
surrounding it.
| | 01:15 |
For example, let's say yellows and greens
here, with the green slider I can make
| | 01:19 |
those more yellow, or I can make those a
little more aqua.
| | 01:23 |
And in this way you can see how we're
starting to sort of change color, but
| | 01:26 |
we're able to change color in a way that
isn't as dramatic as it might first look.
| | 01:31 |
It allows us to sort of shift the color
one way or another.
| | 01:34 |
Now we can shift the color here in the hue
slider.
| | 01:37 |
We can also modify the saturation.
Here let's click the default button to
| | 01:40 |
bring these back to their default
settings.
| | 01:43 |
Let's go to saturation, when we remove
saturation, we simply drag to the left.
| | 01:48 |
To increase saturation, we drag to the
right.
| | 01:50 |
That brightens or increases the
saturation.
| | 01:53 |
Now here you'll notice that as I increase
the saturation in the oranges, it also
| | 01:56 |
affects the reds.
That's because red is made up of some orange.
| | 02:01 |
So as we make these ajustments what you'll
start to see, is you can remove color.
| | 02:05 |
But in removing color we will affect the
surrounding areas.
| | 02:08 |
We can also remove almost all of the
colors so that just one remains, so we can
| | 02:11 |
really have that color snap or be in
focus.
| | 02:15 |
Well next, let's click on the default
button to bring that back to the default settings.
| | 02:19 |
Then we'll go to luminence.
>> What is luminescence all about.
| | 02:22 |
Well this allows to control the brightness
or darkness of a color area.
| | 02:26 |
Notice how that also changes the overall
color characteristics.
| | 02:29 |
Here we'll darken up the reds and the
oranges and yellows.
| | 02:32 |
You'll notice that certain colors will
darken or brighten differently than others.
| | 02:36 |
That's because by their very nature
certain colors are brighter or darker in
| | 02:39 |
different ways, and so here we can change
those overall characteristics by dragging
| | 02:43 |
these sliders around.
Let's click on the default button to bring
| | 02:47 |
this back to the default settings.
Well now we actually have a pretty good
| | 02:50 |
working understanding of the difference
between hue, which is about switching
| | 02:54 |
color, saturation, which is about
increasing or decreasing color saturation...
| | 02:59 |
An luminance, which is about brightening
or darkening.
| | 03:01 |
Now we can also access, all of these
different areas, by clicking on this
| | 03:05 |
little icon right here.
When you click on this, notice that you
| | 03:08 |
can access the hue, or the saturation, or
the luminance.
| | 03:12 |
For example, let's say that we want to
change the saturation of a color.
| | 03:15 |
Go ahead an click on that option.
It will take you to the saturation tab.
| | 03:18 |
We can then click on the blues, an click
an drag down to desaturate, or click an
| | 03:22 |
drag up in order to increase the
saturation.
| | 03:25 |
Now once you have this tool selected ,you
can navigate to an other tab ,say like the
| | 03:29 |
Hue tab and then now here as we click and
drag we are going to modify hue or color
| | 03:33 |
shift of that area of the image.
Same thing goes for luminants.
| | 03:38 |
Again when we click on that tab and you
have this tool selected you can click and
| | 03:41 |
drag in order to brighten or darken that
area of the photograph.
| | 03:46 |
Really you only need to select this tool
once or you can also just make the
| | 03:49 |
selection here from this pull down menu.
In doing that you can see how it will jump
| | 03:54 |
to the various tabs.
Alright well, now we have a pretty good
| | 03:57 |
and solid working understanding of how the
HSL/Greyscale Color panels work or we can
| | 04:01 |
work with Hue, Saturation or Luminance.
Let's go ahead and continue to build on
| | 04:05 |
this in the next movie.
| | 04:07 |
| | Collapse this transcript |
| Enhancing color and tone| 00:00 |
Now that we know a little bit about how
the HSL controls work, what I want to do
| | 00:03 |
next is have some fun with color so that
we can really understand the relationship
| | 00:07 |
between the different sliders.
Here, we'll look at how we can modify the
| | 00:12 |
color in the background.
We'll also explore how we can remove color.
| | 00:16 |
And then just work on one color in the
image.
| | 00:18 |
Again we'll explore how we can work with
multiple, different adjustments in order
| | 00:21 |
to change the color characteristics.
Let's go ahead and begin on this project.
| | 00:26 |
To do so click on the tab for our HSL
controls.
| | 00:30 |
Here let's start off with hue.
Now, we know that one of the ways that we
| | 00:33 |
can change hue is by simply clicking and
dragging on a slider.
| | 00:36 |
You want to change the blue background?
Well, we can drag this to the left to make
| | 00:40 |
that a little bit more aqua, or we can
also use this tool right here.
| | 00:45 |
We'll select the hue option, and then
click and drag up or down in order to
| | 00:48 |
change the characteristics of the
background.
| | 00:51 |
Now currently, we have a certain shade of
purple.
| | 00:54 |
We can change that purple by navigating to
the saturation or the Luminance tab.
| | 00:59 |
Let's go to saturation first.
Here in saturation, click with this tool
| | 01:02 |
which we just selected, an drag up an we
can increase the color saturation.
| | 01:07 |
Or drag down, an we can decrease it.
Let's say that we decrease the color so
| | 01:11 |
it's not quite so saturated, but their
brightness value, isn't quite right.
| | 01:15 |
We can further change that by going to the
Luminance tab.
| | 01:18 |
And then here we can click and drag down
to darken that up, or brighten it up.
| | 01:22 |
And what's interesting about this is that
as we make adjustments in each of the
| | 01:26 |
different tabs, they all sort of effect
the other areas.
| | 01:30 |
In order to really se how this works what
I want to do is zoom out on the image.
| | 01:33 |
To do that, I'll select the zoom tool and
then I'll just click a few times to zoom
| | 01:36 |
in here so we can focus in on the dress.
Let's say in this image we want to
| | 01:41 |
desaturate everything except for the
dress.
| | 01:44 |
Let's go to the Saturation tab.
And let's remove all the color here.
| | 01:47 |
We're just going to click and drag and
bring all these values down, so that we
| | 01:50 |
can remove all the color we have in this
photograph except for the green in the dress.
| | 01:55 |
And then we can change the characteristic
of that green.
| | 01:58 |
And here you can see we can saturate it or
desaturated it.
| | 02:01 |
We can go to the Hue slider or Hue tab,
and here I can modify the overall color
| | 02:04 |
that we have.In this case we can shift the
color.
| | 02:08 |
Well, in shifting the color, I decided I
want it to be more yellow.
| | 02:11 |
So I drag to the left.
The only problem here is that it really
| | 02:15 |
isn't that yellow.
I don't know what you would call that
| | 02:18 |
color, but it definitely isn't yellow.
What we might need to do is use a few
| | 02:21 |
other sliders as well.
I'll drag the aqua sliders to the left.
| | 02:26 |
That will help to deal with the areas of
the dress that are a little bit more
| | 02:29 |
transparent or faint, yet still it isn't
bright yellow and that's what I want or we
| | 02:33 |
might try and go to the Saturation tab.
In the Saturation tab, what if we Increase
| | 02:38 |
the color saturation?
Well, that's actually starting to help.
| | 02:41 |
It's getting closer to yellow, but it
isn't there yet.
| | 02:44 |
To finish this color change off, really
what we need to do is to go to the
| | 02:47 |
Luminance tab.
Remember, the Luminance tab is all about brightness.
| | 02:52 |
And what's interesting is that as you
shift Color, the brightness of that color
| | 02:56 |
will affect the color saturation, as well.
Let me show you what I mean.
| | 03:00 |
If we drag this to the left, notice that
it becomes an even more kind of muted off-color.
| | 03:06 |
Drag this to the right, all of a sudden we
now have this bright yellow.
| | 03:10 |
You can do the same this with the aquas
here too because there's a little bit of
| | 03:13 |
aqua in the green of that dress.
Well now we have this bright yellow dress
| | 03:17 |
and we are only able to achieve this color
by working with all 3 colors.
| | 03:23 |
Again, we started off in hue.
We bought the hue value down to the left
| | 03:27 |
for greens and aqua.
Then in saturation we cranked the
| | 03:31 |
saturation value up a little bit.
Then in luminance we brought up the
| | 03:35 |
overall brightness of greens and aquas.
And that allowed us or Enabled us to
| | 03:39 |
achieve this color.
And so here I wanted to work on this image
| | 03:42 |
one just to have some fun with the color,
because it's interesting and fun to do.
| | 03:47 |
But also I wanted to illustrate the
important point of how these three sliders
| | 03:50 |
work together.
Well now that we're developing a better
| | 03:54 |
working understanding of how to work with
the HSL panel.
| | 03:57 |
Let's go ahead and continue to talk about
how we can use these controls in order to
| | 04:00 |
modify color in our images.
So let's take a look at how we can do that
| | 04:04 |
in the next movie.
| | 04:05 |
| | Collapse this transcript |
| Using the Basic and HSL panels together| 00:00 |
Now that we have a good knowledge how to
work with HSL controls ,lets explore how
| | 00:04 |
can we use these controls, in order to
make some vivid colors in this photograph.
| | 00:09 |
This is a photograph that I captured on a
snow camping trip, and while I like the
| | 00:12 |
colors, the yellow of the tent is a little
bit too orange, I also want to change the
| | 00:16 |
characteristics of the sky color.
And I want to deepen that and make it a
| | 00:21 |
bit more blue.
To do that, we'll reach for this tool here
| | 00:24 |
and we'll start off by navigating to the
option which allows us to work on hue or color.
| | 00:29 |
Go ahead an select that, then position the
cursor over the yellow of the tent.
| | 00:33 |
Rather than having a yellow which is a
little bit too red or orange, If you drag
| | 00:36 |
down you can see how I'm exaggerating
that.
| | 00:40 |
I'm going to drag this up a little bit.
What that will do, is allow us to create a
| | 00:43 |
color which is a little bit more of a sort
of, pure yellow.
| | 00:46 |
Here it's a little bit of a yellow which
has just a touch more green in it.
| | 00:50 |
You can see the before, then now the
after.
| | 00:52 |
Alright, well let's work on the sky as
well, If we click on the sky an drag down
| | 00:55 |
it becomes a bit more teal or aqua.
Drag up just a little bit, we have a bit
| | 01:00 |
of a, deeper or darker blue up there.
Next let's navigate to our luminance tab,
| | 01:05 |
we'll do so by clicking on the tab icon
here.
| | 01:08 |
Again, let's work on the sky, click an
drag down to darken up that area.
| | 01:12 |
Let's also darken up the yellows as well,
we'll click an drag that down here to.
| | 01:16 |
Now, if ever you want to work on another
area of the picture for example, let's say
| | 01:19 |
you want to change the green color here of
the tent.
| | 01:23 |
You can also just click on the tab, and
then work on that color by using the
| | 01:25 |
slider here.
I'll bring up the greens, I'll go to the
| | 01:28 |
hue slider.
And in my greens, what I'll look to do is
| | 01:31 |
to try to bring out a little more green.
We can make that more of a leaf green or,
| | 01:35 |
we could make it more of sort of a
camouflage green.
| | 01:38 |
In this case, I want it to be a brighter,
green there so, I'll click and drag that
| | 01:41 |
slider to the right.
Whenever you work with your HSL controls,
| | 01:46 |
you also want to integrate all of these
adjustments into your overall workflow and
| | 01:50 |
typically our workflow will include the
Basic panel.
| | 01:54 |
So, here in the Basic panel, we'll
increase the contrast or recover some of
| | 01:57 |
the highlights, so that the snow isn't to
bright or too white.
| | 02:02 |
We can also add a little bit of clarity to
add some texture, touch of vibrance and
| | 02:04 |
just a little bit of saturation there.
And I think that does it for this image,
| | 02:09 |
here we have these bright, vivid colors.
In order to view the overall before and
| | 02:13 |
after, click on one of the last two tabs
either snap shots or presets, then click
| | 02:17 |
on the Preview check box.
Here's a before, and then now here's the after.
| | 02:22 |
And again we've seen how we can use these
HSL controls and also our basic adjustment
| | 02:27 |
controls, in order to enhance and create
vivid and interesting colors.
| | 02:32 |
| | Collapse this transcript |
| Making color changes| 00:00 |
This is a photograph of my daughter Sophie
holding a carton of strawberries that she
| | 00:03 |
had just picked in upstate New York when
we were on a trip.
| | 00:07 |
And what I want to do in this image, is I
want to go through a workflow which starts
| | 00:10 |
off in the basic panel, and then finishes
using the HSL panel.
| | 00:15 |
In order to make the colors for this
photograph really come to life, well, here
| | 00:17 |
this is a photograph as the way it
appeared straight out of the camera.
| | 00:21 |
What I want to do is warm the image up so
we'll start at the top, we'll click and
| | 00:24 |
drag the Temperature slider a little bit
to the right.
| | 00:27 |
All ready that makes the image a bit more
inviting.
| | 00:30 |
Yet, as we warm the image up, what we've
also done is made the strawberries a
| | 00:33 |
little bit more orange.
Well, we'll fix that, we'll make them more
| | 00:37 |
red a little bit later.
Next we'll increase the contrast It will
| | 00:40 |
increase some color saturation and kind of
visual interest.
| | 00:44 |
Let's bring up the shadows.
Actually I should go back to the Highlight
| | 00:47 |
slider, and click and drag this down to
try to darken up some of those highlights
| | 00:50 |
that we have here in the photograph.
Then we can bring up the whites to
| | 00:54 |
brighten up the overall image here.
And also bring down the blacks a bit.
| | 00:58 |
Again we're sort of just walking through
these different sliders, making
| | 01:01 |
adjustments, so that the photograph looks
better.
| | 01:04 |
I also want to bring up a little bit the
clarity, some vibrance, and just a touch
| | 01:07 |
of saturation.
Actually, as I brought up the saturation,
| | 01:10 |
I didn't like that, so I'm going to bring
that back to the default setting of zero.
| | 01:14 |
Okay, well next I want to work on the
color of the strawberries and also of this
| | 01:17 |
little crate that she's holding here.
To do that we'll navigate over to the HSL
| | 01:22 |
panel, click on the icon here.
Let's start off by working with our tool.
| | 01:27 |
We click on this tool which is a Targeted
Adjustment tool and select Hue.
| | 01:31 |
We can position this over the strawberries
and then click and drag.
| | 01:35 |
If we drag up we can shift these so that
there are little bit more orange, drag
| | 01:39 |
down and then we become more of red.
Now how far we drag this is really up to us.
| | 01:44 |
Yeah, here in this image I think just
dragging it down a little bit in order to
| | 01:47 |
create little bit of a closer or richer
red, closer to the original color I should say.
| | 01:52 |
Next let's work on the color of this item
here click and drag up to make this a
| | 01:56 |
little bit of a navy blue or purple drag
down in order to really accent that aqua
| | 02:00 |
tint to it.
In this case, again, I'm just going to
| | 02:04 |
drag it down a little bit.
Sometimes having contrasting colors next
| | 02:07 |
to each other really helps to bring out
that color variety.
| | 02:11 |
And to make those colors come to life.
Next, we have the saturation amount.
| | 02:15 |
We'll click on the Saturation tab.
Here, I'm going to click and drag up to
| | 02:18 |
increase the color saturation that we have
there in the reds.
| | 02:22 |
Next we'll go to the Luminance tab.
And in the Luminance tab, I want to
| | 02:25 |
brighten up the carton.
So if we click on that and drag up, you
| | 02:28 |
can see how we can brighten or darken
that.
| | 02:30 |
I think it's kind of fun to have a nice,
bright color there.
| | 02:33 |
I also want to brighten up the reds as
well.
| | 02:35 |
Well here you can see, we now have very
different color characteristics.
| | 02:38 |
If we click on the preview check box,
here's the before, and now here's the after.
| | 02:43 |
You can see how we sort of made those
colors snap to life.
| | 02:46 |
In this case the overall goal was to
create color which was a bit more natural
| | 02:50 |
and realistic.
We weren't interested in over saturating
| | 02:53 |
the color, yet really it was a combination
of the basic adjustments and the HSL
| | 02:57 |
adjustments which allowed us to achieve
this look.
| | 03:01 |
Next let's go back to the basic panel and
here make any unneeded changes.
| | 03:05 |
I'm just going to brighten up the whites,
also bring up the exposure a little bit as well.
| | 03:09 |
I want a little bit more brightness
there...
| | 03:11 |
After having made that adjustment, I now
need to go back to the HSL panel.
| | 03:15 |
And herein lies a little bit of the
workflow which is starting in spot, going
| | 03:18 |
to another, making your way back.
It's kind of a ping pong game, right?
| | 03:23 |
Back and forth working on these various
sliders.
| | 03:25 |
Here we can modify the density or the
brightness of those reds.
| | 03:28 |
We might darken them up just a little bit.
We can also go into their saturation,
| | 03:31 |
brighten up the saturation of the reds and
bring down the oranges a little bit.
| | 03:36 |
Then with the hue.
We'll shift the oranges closer to red.
| | 03:40 |
The red a little bit more red.
Now we're talking.
| | 03:42 |
These look like delicious strawberries.
And the reason why I want to show you a
| | 03:46 |
bit of this back and forth was to really
illustrate the importance of not just
| | 03:49 |
staying in one place.
But going to another.
| | 03:52 |
And then also revisiting your tracks and
sort of going back to where you've gone
| | 03:56 |
before in order to finish off your image
and finish off the project you're working on.
| | 04:00 |
Let's look at the overall results.
Here we'll click on one of the last two
| | 04:04 |
tabs, then click on the Preview checkbox.
here is the before the original image,
| | 04:08 |
which we initialy thought, "wow, its
beautiful.
| | 04:10 |
Nice vivid colors." But not when we see
the after, we realize that this image had
| | 04:14 |
quite a distance to travel in order for it
to really come to life.
| | 04:18 |
And we were able to make those colors come
to life by working with the basic panel
| | 04:22 |
and the HSL pannel, and by going back and
forth between these two panel groups.
| | 04:27 |
| | Collapse this transcript |
| Removing colors with HSL| 00:00 |
Before we wrap up our conversation about
working with the HSL/Grayscale panel, I
| | 00:04 |
wanted to revisit the topic which I've
mentioned in one of my previous movies
| | 00:07 |
about using the Grayscale panel and the
targeted adjustment tool in order to
| | 00:11 |
convert our images to black and white.
Here we'll start off by navigating to the
| | 00:18 |
Grayscale panel, then we'll finish this
project off by working in the Basic panel.
| | 00:23 |
Well you can go ahead and click on the Tab
for HSL Grayscale, and click on Convert to
| | 00:26 |
Grayscale in order to access the Grayscale
controls.
| | 00:30 |
Or you can also begin in the basic panel
or in any other panel for that matter and
| | 00:34 |
navigate to the tool which allows you to
work with the grayscale mix.
| | 00:39 |
When you sect this tool it will convert
the image to black and white and it will
| | 00:42 |
open up the grayscale panel and here we
have all of our grayscale controls.
| | 00:47 |
Well, obviously what we'll want to do here
when we convert an image to black and
| | 00:50 |
white is make it more visually
interesting.
| | 00:53 |
Because the color's been removed, what we
want to do is darken or brighten different
| | 00:56 |
areas of the photograph.
In order to do that, we can use this tool here.
| | 01:01 |
Position the cursor over an area of the
image, say that green grass there in the
| | 01:03 |
background and then put click and drag
down.
| | 01:06 |
Next, what I want to highlight is how we
can work on skin tone.
| | 01:10 |
Here I'll select the zoom tool, and then
just click a few times to in order to zoom
| | 01:13 |
in on this photograph.
One of the ways that you can work on skin
| | 01:16 |
tone is obviously with the reds and the
oranges, but you also might need to use
| | 01:19 |
other channels as well.
Now here for example if we drag the
| | 01:23 |
oranges slider to the left, you can see
it's adding more skin variation.
| | 01:27 |
It doesn't look very good or flattering.
And as we drag this to the right
| | 01:30 |
especially in portrait, that's going to
brighten up those tones there, yet skin
| | 01:34 |
tones is very rarely made up of one color,
this case I need ti bring up my reds as
| | 01:37 |
well, and my purples and magenta.
Now this may sound a little bit
| | 01:42 |
surprising, but notice how I can add or
remove variation of the skin by dragging
| | 01:45 |
these sliders to the right to brighten
those up.
| | 01:49 |
And now, the skin tone looks great, and
that kind of compliments or adds to this
| | 01:52 |
overall portrait, here.
Alright, well next, let's finish this
| | 01:55 |
project off by navigating back to the
basic panel.
| | 01:58 |
In the basic panel, what we can do is
brighten up the shadows.
| | 02:01 |
It will also help out a little bit with
the skin tones.
| | 02:03 |
You can add a little more contrast, darken
those blacks a little bit more, and add
| | 02:07 |
just a touch of texture or midtone
contrast using the clarity slider.
| | 02:12 |
Alright, well there you have it, a quick
and easy and effective way to convert your
| | 02:16 |
images to black and white, starting off in
the Grayscale panel, and then finishing up
| | 02:20 |
here in the Basic panel.
| | 02:23 |
| | Collapse this transcript |
|
|
8. Creating a Split-Toned EffectTraditional black-and-white toning| 00:00 |
In this movie, we'll look at how we can
take advantage of the Split Toning
| | 00:03 |
controls that we'll find in Adobe Camera
Raw.
| | 00:06 |
And these controls allow us to add a color
in the Highlights and then a different
| | 00:10 |
color in the Shadows.
So, let's explore how we can Split Tone
| | 00:14 |
this black and white photograph.
To do that, we'll click on the tab which
| | 00:17 |
gives us access to the Split Toning
controls.
| | 00:20 |
It's this icon right here.
You'll discover we have controls which
| | 00:23 |
allow us to work on highlights.
And then, another set of control which
| | 00:27 |
allow us to work on the shadows.
The Balance slider in the middle allows us
| | 00:31 |
to balance the difference between the
highlights and shadows.
| | 00:34 |
We'll talk about that in just a minute.
As you start to work on a certain area,
| | 00:37 |
say the highlights, what you want to do
first is crank up the Saturation.
| | 00:41 |
We'll go ahead and bring up the Saturation
pretty high, so we can start to identify
| | 00:44 |
the color or the hue that we can bring in
to the brighter areas of the picture.
| | 00:49 |
In this case, the brighter areas are the
clouds and the road.
| | 00:52 |
We can see that now there is a red tint to
that area.
| | 00:55 |
We can click and drag this along this
color strip here in order to change the
| | 00:58 |
color of the highlights.
Let's say, for example, what we want to do
| | 01:02 |
is apply little bit of sepia tone look.
In this case, we might chose an orange or
| | 01:06 |
a red or may be even a yellow.
Next, we'll desaturate this color, so it
| | 01:11 |
isn't so pronounced or strong.
Now, when you bring it back after you had
| | 01:15 |
it saturated so high you almost need to
close your eyes or look away for a moment
| | 01:18 |
or click on the Preview checkbox to make
sure that that color is going in a good direction.
| | 01:24 |
Because sometimes it can feel too weak,
yet, in most situations it won't be.
| | 01:28 |
It's just that relative to the saturation
amount that you had previously, it will
| | 01:32 |
feel like it's not strong enough.
But often with split toning, it's the
| | 01:36 |
subtle color adjustments, that look really
good.
| | 01:39 |
Next, we can work on the shadows.
Again, here we'll crank up the Saturation slider.
| | 01:43 |
And here you can see that we can, change
the color of the darker areas.
| | 01:47 |
Notice how this is primarily affecting the
darker tones.
| | 01:50 |
In this case, we have kind of an
interesting or fantastic look.
| | 01:53 |
We have the highlights yellow, the shadows
blue, and this creates sort of a surreal
| | 01:57 |
or interesting color palette.
Well, that actually isn't what I'm
| | 02:01 |
interested in here with this photograph.
Rather, what I want to do is bring in some
| | 02:04 |
color into the shadows, perhaps a red, or
an orange, or a yellow.
| | 02:08 |
So again, make the selection of that color
and then click and drag down the
| | 02:11 |
Saturation slider.
In doing this, we can control the overall
| | 02:15 |
color intensity.
We also may want to modify the hue and
| | 02:17 |
shift this around a little bit, so that we
can dial this in exactly where we want it.
| | 02:22 |
Perhaps I want a little bit more yellow in
the highlights there.
| | 02:24 |
And then, perhaps a little bit more of a
dark brown in the background.
| | 02:29 |
Well, now we have a really beautiful sepia
tone look.
| | 02:32 |
If we want to scale it back, just decrease
the saturation.
| | 02:35 |
Keep in mind that sometimes it's the
subtle adjustment which looks best.
| | 02:39 |
If we press the P button or click on the
Preview checkbox, we can see here's our
| | 02:42 |
before, and then, now here's the after.
In order for you to really be able to see
| | 02:46 |
the difference, I'm going to crank up the
Saturation, so you can see the difference.
| | 02:51 |
Here it is, before, and then now after.
Of course, as you seek to create your own
| | 02:55 |
aesthetic and work with the split toning
controls, dial in the saturation amount
| | 02:59 |
exactly how it looks good to you.
You now know how you can work with the
| | 03:03 |
Split Toning controls.
In order to split-tone a black and white
| | 03:06 |
photograph, and to bring color into the
highlights, and then to bring a different
| | 03:09 |
color into the shadows.
| | 03:12 |
| | Collapse this transcript |
| Split toning a color photograph| 00:00 |
In this movie, we're going to look at how
you can use the split toning controls in
| | 00:03 |
order to dial in an interesting color
effect on two different photographs.
| | 00:08 |
Now we'll be applying the same effect two
times so that you can really see how this works.
| | 00:12 |
Also along the way, I'm going to talk
about how we can work with the balance slider.
| | 00:16 |
And I want to share with you a shortcut
that you can use which will help you to
| | 00:19 |
select the best color when working with
split toning.
| | 00:22 |
Well first let's talk about the balance
slider.
| | 00:24 |
In order to illustrate how this slider
works what I'm going to do is select the Hue.
| | 00:28 |
Here, I'll choose a Hue for the
highlights.
| | 00:30 |
How about green.
And then I'll crank up the Saturation.
| | 00:33 |
Now I know that the photograph doesn't
look good yet stick with me for a second.
| | 00:37 |
Next, we'll choose color for the shadows.
I will choose, how about nice navy blue
| | 00:40 |
over there and I will drag this over to
the right.
| | 00:43 |
And here you can see the highlights are
green, the shadows are blue and, of course
| | 00:46 |
the photograph doesn't look good, but
again just stick with me.
| | 00:50 |
Now we have the balance slider.
You'll notice that the balance slider has
| | 00:53 |
darker tones here and then brighter tones
over here.
| | 00:56 |
Well, if we click and drag say, towards
the brighter tones, what that's going to
| | 00:59 |
do is balance this image out so that the
dominant color is being taken over by the highlights.
| | 01:05 |
On the other side of the equation, we can
click and drag here.
| | 01:07 |
And here, you can see that it's more
focused in on the shadows, so that the
| | 01:09 |
highlight color really isn't effecting the
image at all.
| | 01:13 |
To reset the balance slider, just double
click this icon here.
| | 01:16 |
And you can do the same thing with the
other icons, that will take those back to
| | 01:18 |
their default settings.
Let's go ahead and do that.
| | 01:22 |
Alright, well on to our color effect.
What I want to do is create a color
| | 01:25 |
aesthetic, which has yellow in the
highlights and blue in the shadows.
| | 01:29 |
To do that I'm going to use the hue
slider.
| | 01:31 |
Yet if I drag the hue slider now, I don't
see any color change because my saturation
| | 01:36 |
is at zero.
Well if you hold down the Option key on a
| | 01:39 |
Mac, Alt on Windows, and then click on the
hue slider.
| | 01:42 |
That will show you that hue at 100%
saturation.
| | 01:46 |
And again, this is just a nice little
trick which helps you to select the right
| | 01:49 |
color, because perhaps you don't want a
yellow which is, orange or red, or one
| | 01:52 |
which is very green.
You want just the right yellow right there
| | 01:56 |
in the middle.
Next we'll go and drage the saturation
| | 01:59 |
slider up to the right.
This will bring in some yellow into the highlights.
| | 02:03 |
Now what about the shadows?
The shadows are going to go blue.
| | 02:06 |
So hold down the Option key on a Mac, Alt
on Windows.
| | 02:09 |
Drag over to the area where you have the
blues over here, look for a nice blue
| | 02:12 |
there then let go then click and drag this
slider off to the right in this way we are
| | 02:16 |
creating sort of a unique color look in
this photograph.
| | 02:21 |
We click on the preview checkbox you can
see here's the before, look again here's
| | 02:25 |
the after.
We might want to take this even further
| | 02:28 |
here I'll decrease the saturation of the
yellows.
| | 02:31 |
I will go to the Basic panel, in the Basic
panel you may increase the overall clarity
| | 02:34 |
there just to add a little bit of texture
and mid-tone contrast.
| | 02:38 |
I'll decrease vibrance and saturation I'll
bring up just a touch.
| | 02:42 |
I'll bring up some contrast there, bring
up my highlights and shadows, and then
| | 02:45 |
deepen down the blacks or darken the
blacks.
| | 02:48 |
And again in this way we just have some
final adjustments here which are effecting
| | 02:52 |
the overall look in this image, and we're
able to dial in this look really because
| | 02:55 |
of these split tone adjustments which
allowed us to control the overall color.
| | 03:00 |
I actually want this to have a little bit
more blue than yellow in it.
| | 03:04 |
So just drag the balance slider to the
left.
| | 03:07 |
In doing that that blue tone starts to
take over more than the yellow.
| | 03:10 |
Here we can find just the right spot for
this.
| | 03:13 |
So we have this subtle color look or color
aesthetic that we've created.
| | 03:18 |
Let's do that one more time.
Here I'll click on this photograph of a
| | 03:21 |
friend of mines.
Jeff Lipsky whose a phenomenal photographer.
| | 03:24 |
Rather than starting in split toning with
this image.
| | 03:27 |
I start in the basic panel.
In the Basic panel, I'm going to remove
| | 03:30 |
some color by dragging the vibrant slider
to the left.
| | 03:33 |
Next, we'll increase the clarity.
Add a little bit of texture.
| | 03:36 |
I also want to add some contrast there.
Bring up the shadows, and bring down the blacks.
| | 03:41 |
Very similar adjustments to what we made
before.
| | 03:43 |
You can see here we're sort of
neutralizing the color.
| | 03:46 |
We're removing that warm color cast.
We're also removing a lot of the overall
| | 03:50 |
saturated colors.
Next we'll navigate over to split toning.
| | 03:55 |
Here, hold down the Option key on a Mac,
Alt on windows, click and drag until you
| | 03:58 |
find a nice yellow, and then let go.
Bring up the saturation, it will keep it a
| | 04:03 |
little more subtle, and then also let's
work on the shadows.
| | 04:06 |
Pull down option or alt and click and drag
over here to the blue tones and then bring
| | 04:10 |
up the saturation of the blues.
In this image, I think the overall look
| | 04:14 |
looks much better because we applied it in
a little bit more of a subtle way.
| | 04:19 |
And I thought it would be helpful to see
two images so that you can really see how
| | 04:22 |
you can start to dial in or create a
unique color aesthetic or color look in
| | 04:25 |
your photographs.
Now also keep in mind that while I decided
| | 04:30 |
to work with my highlights and make those
highlights yellow, an then the shadows blue.
| | 04:35 |
You could choose any color that you want.
Really, the sky is the limit here.
| | 04:38 |
Yet I simply wanted to show you one way
that you might process an image.
| | 04:42 |
An with this particular photograph, I
think it looks pretty cool.
| | 04:45 |
Alright, let's click on the tab which
allows us to view the overall before an after.
| | 04:49 |
That's snapshots or presets.
Click on one of those.
| | 04:52 |
Then click on the preview check-box.
Here you can see the before.
| | 04:56 |
Click again.
Now you can see the after.
| | 04:58 |
| | Collapse this transcript |
| Creative toning of a color photo| 00:00 |
Now, that we've talked about how we can
work with the split toning controls in
| | 00:03 |
order to modify the color in our
photographs.
| | 00:06 |
In some typical or maybe even traditional
ways, all you're going to do is simply
| | 00:09 |
talk about how we can have some fun with
these sliders.
| | 00:12 |
And how we can come up with some creative,
and maybe even interesting ways to change
| | 00:15 |
or shape the color that we have in our
photographs.
| | 00:19 |
We'll be working on two different
examples.
| | 00:21 |
In the first example, what I want to do is
create a really strong red-yellow look.
| | 00:25 |
In the other one, I'm going to create a
bit of a blue-green kind of cross-process
| | 00:28 |
type of aesthetic.
Alright well, let's begin with this
| | 00:30 |
photograph here.
I'm going to begin by navigating to the
| | 00:33 |
Split Toning panel, you can do so by
clicking on this icon here.
| | 00:37 |
And we've talked about how you can hold
down the Option key on a MAC, or Alt on
| | 00:40 |
Windows and then click and drag this
around until you find just the right color.
| | 00:45 |
Again, with this photograph, I'm going to
start off with yellow, and then just bring
| | 00:48 |
up my saturation here a little bit.
Now, let's take a look at how this image
| | 00:52 |
would look with some highlights, which are
yellow and shadows, which are blue.
| | 00:55 |
We already know how to work with this
process, so here, hold down the Option key
| | 00:59 |
on Mac Alt on Windows.
And I'll bring this over to the blue and
| | 01:02 |
then bring up the saturation.
This could be an interesting way to
| | 01:06 |
process this photograph.
Here we have nice blue in the shadows and
| | 01:08 |
then we have some yellows there in the
highlights.
| | 01:11 |
Yet I'm not interested in this effect.
What I want to do is create something,
| | 01:15 |
which is a bit more loud.
So, here I'll go ahead and choose a red.
| | 01:19 |
In choosing a red, all of a sudden I have
sort of this burnt orange type of a look
| | 01:22 |
in the picture.
Here, we could control the intensity of
| | 01:26 |
the red and also the yellows.
By working with these sliders.
| | 01:29 |
And sometimes you'll need to experiment a
little bit with these in order to get just
| | 01:32 |
the right look.
Next, let's go back to the Basic panel.
| | 01:36 |
Here in the basic panel, we'll bring up a
little bit of clarity.
| | 01:39 |
I'm also going to bring down the
highlights to even out the tone there.
| | 01:43 |
Bring up the shadows to brighten those up.
Brighten up the overall image to kind of
| | 01:47 |
fit with this look that we have there.
And I want to decrease the contrast a
| | 01:51 |
little bit more as well.
Alright.
| | 01:53 |
Well, there you have it.
Kind of an interesting way to process this picture.
| | 01:56 |
And create a completely different color
pallet.
| | 01:59 |
Now typically in order to create colors
like this ,you would go to plugin in
| | 02:03 |
Photoshop and we would use plugin to help
us to create or apply this color.
| | 02:08 |
We can also crate like this really easily
as you can here simply by using the basic
| | 02:11 |
in the Split Toning panels.
Well, next apply a cross process loop.
| | 02:16 |
To do that, we navigate to this photograph
here.
| | 02:18 |
This is a picture of one of my good friend
who is an artist, here they are in their
| | 02:22 |
living room.
And it's kind of a quirky, sort of fun
| | 02:25 |
family portrait.
What I want to do first in the Basic panel
| | 02:28 |
is brighten up the shadows.
Brighten up the overall exposure here as well.
| | 02:32 |
And again reduce a little bit of that
contrast.
| | 02:34 |
Reduce some of the highlights.
Now, just change a few characteristics
| | 02:37 |
here by dragging these sliders around.
It isn't that important why you do
| | 02:41 |
initially because you almost always have
to come back to the Basic panel but it is
| | 02:44 |
a good idea sort of have nice start here.
We've noticed that there is some natural
| | 02:50 |
vinyarding from using a wider angled lens
around the edges of the photograph.
| | 02:54 |
I'm going to leave those in and sort of
play half of those and try to create a
| | 02:57 |
cross process look.
Now, often cross processing has
| | 03:01 |
interesting vinyetting in it.
So, that'll work well here.
| | 03:04 |
Next, we need to choose some colors to
work with.
| | 03:07 |
So, hold down the Option key on a Mac, Alt
on Windows, an click an drag this around.
| | 03:11 |
How about if we bring in some green?
We'll select the green, then we'll go
| | 03:15 |
ahead and drag up the Saturation slider.
Next, we'll bring in some color into the shadows.
| | 03:19 |
Hold down the Option key on a Mac, Alt on
Windows.
| | 03:21 |
Red could be interesting.
We also might find some other colors as well.
| | 03:25 |
I think blue might be kind of fun to work
with.
| | 03:27 |
So, here I'll go ahead an select a blue.
And then I'll click and drag to bring up
| | 03:30 |
the saturation, and bring a little bit
more of the greens as well.
| | 03:33 |
As we work to modify this, you can see how
we can shift these colors around and just
| | 03:36 |
come up with some really fund ways to
modify the overall color, create a bit of
| | 03:40 |
this sort of cross process type of a look.
Alright.
| | 03:44 |
Well, now that we have these greens and
also these blues in this, I'm going to do
| | 03:47 |
is just customize this here a little bit.
Just trying to get the color exactly where
| | 03:52 |
I want it.
Next step, go back to the Basic panel.
| | 03:55 |
The Basic panel, I'm going to deepen up
the blacks, that will darken up the areas
| | 03:59 |
around the edges and also some of the
shadow areas.
| | 04:03 |
And I'm going to bring back a little more
contrast, brighten it up a touch more, and
| | 04:06 |
there you have it.
Kind of an interesting cross process type
| | 04:10 |
of aesthetic.
Now the point here isn't necessarily that
| | 04:12 |
you are going to apply these two color
effects to all your photographs.
| | 04:16 |
Rather its just to help you to begin to
thing about how you can use all of these
| | 04:19 |
sliders and controls that we now know how
to use in order to come up with some
| | 04:22 |
creative and interesting color results.
| | 04:26 |
| | Collapse this transcript |
|
|
9. Making Lens CorrectionsRemoving extreme distortion with the lens profile| 00:00 |
In this chapter we're going to focus in on
how we can take advantage of some powerful
| | 00:04 |
and helpful tools which allow us to
correct common distortion and perspective
| | 00:08 |
issues which often happen in photography.
We'll begin by working with this
| | 00:13 |
photograph here.
This is a picture that I captured of a
| | 00:15 |
fascinating concert hall and I was using a
wide angle lens.
| | 00:19 |
As a result, you can see there's some
distortion.
| | 00:21 |
These columns, they aren't standing up
straight.
| | 00:24 |
Let's take a look at how we can correct
some of the distortion and issues that we
| | 00:27 |
have with this photograph, and let's do so
by navigating to the Lens Correction panel.
| | 00:32 |
You go ahead and click on the lens
correction icon right here and start off
| | 00:35 |
with the Profile tab.
Now if you're working with a RAW file,
| | 00:38 |
you're able to click on this button which
enables a lens profile correction.
| | 00:43 |
And if ever you have this option you
definitely want to do so because built
| | 00:46 |
into camera raw Is all of this information
about different camera and lens
| | 00:50 |
combinations and when you turn that
checkbox on, you can see that it's
| | 00:53 |
selecting or determining the type of
camera that I use, the lens that I use and
| | 00:56 |
then therefore, it's applying a profile
which corrects some common issues Which
| | 01:00 |
happened with that camera and lens
combination.
| | 01:06 |
Now if this option isn't turned on,
perhaps if you're working on a JPEG or if
| | 01:10 |
you're camera isn't supported.
That's okay, you can always skip over to
| | 01:14 |
the Manual Tab.
Yet that being said, if this option ever
| | 01:17 |
is available, you definitely want to
choose this option here by turning on that checkbox.
| | 01:22 |
Also, if it selects the wrong camera or
the wrong lens you can always click on
| | 01:25 |
this pull down menu and select the correct
option here as well.
| | 01:30 |
Next, down below we have a few options for
the correction amount.
| | 01:34 |
Here we can remove some of the correction,
some of the barrel distortion, as we drag
| | 01:37 |
this to the left you can see how it will
bring back some or that, so we can
| | 01:39 |
increase this even further if we'd like.
You can also do the same thing with the
| | 01:44 |
venuetting or the darkening effect which
happen with this wider angle lens, which
| | 01:48 |
is common for that lens, if we drag this
to the left notice how those edges are now darker.
| | 01:53 |
Drag this to the right and we can brighten
those up.
| | 01:56 |
And this way we can further customize that
overall correction amount.
| | 02:00 |
Now after having started off with the
Profile tab, next you want to navigate
| | 02:04 |
over to Manual.
Here in Manual we have a number of
| | 02:07 |
different controls.
We can work with Upright, we can manually
| | 02:10 |
transform different areas of the
photograph.
| | 02:13 |
We can work with vignetting, and also down
below we can turn on and off a grid which
| | 02:16 |
sometimes can help us to identify issues.
Now, when I turn on the grid and I
| | 02:21 |
increase the size of the grid, we can
clearly see that these columns right here
| | 02:24 |
are not standing upright.
Well, in order to fix that distortion
| | 02:29 |
issue, let's begin by talking about
upright.
| | 02:32 |
Here I'll turn off the grid just so we can
focus in on these controls right here.
| | 02:36 |
Now while these controls don't look very
powerful, they are incredibly powerful.
| | 02:41 |
And sometimes these upright controls can
just come in and save the day.
| | 02:46 |
Well we have four different options.
The first option is a button which has the
| | 02:50 |
letter A on it.
When you click on that it will apply an
| | 02:53 |
automatic correction.
What this will do is automatically level
| | 02:56 |
out the photograph and apply a balanced
perspective to your overall image.
| | 03:00 |
You can turn this off by clicking on this
icon here.
| | 03:03 |
Well what about these other three?
Well these other three allow us to do
| | 03:06 |
different things.
Click on this one an it will level out the photograph.
| | 03:10 |
Click on this icon an it will apply,
vertical corrections.
| | 03:14 |
Notice how the vertical lines are now,
much better.
| | 03:17 |
The last option allows us to crack
horizontal, vertical, and perspective issues.
| | 03:21 |
Here we'll click on that icon and you can
see how it can correct the image.
| | 03:25 |
Now you may be wondering well what's the
difference between the automatic here and
| | 03:28 |
this one which applies a full correction
here?
| | 03:32 |
Well, as you'll discover in this chapter,
certain images will work better with
| | 03:35 |
automatic while others will work better
with this option.
| | 03:38 |
So what you'll want to do is just
experiment with both.
| | 03:40 |
Well, now that we've been introduced to
how we can select a profile.
| | 03:44 |
And how we can start to work with these
upright controls.
| | 03:47 |
Next, what I want to talk about is how we
can customize this further using some of
| | 03:51 |
these transform controls in the next
movie.
| | 03:54 |
| | Collapse this transcript |
| Working with the manual lens correction controls| 00:00 |
In the previous movie, we began our work
on this photograph.
| | 00:03 |
And here in this movie, we're going to
finish it off.
| | 00:06 |
In the previous movie, we went to the
profile tab and enabled the lens profile correction.
| | 00:11 |
Then we came over to the Manual tab and
here we chose the option for the upright
| | 00:14 |
automatic correction by clicking on this
button here.
| | 00:17 |
Now you can further customize the
correction, by using these transform
| | 00:21 |
sliders that we have below.
Notice that the first slider allows us to
| | 00:25 |
work with distortion.
If we drag this to the right we can bring
| | 00:28 |
in more barrel distortion.
Drag this to the left and we can remove some.
| | 00:32 |
As we drag this around, let's say we make
just a subtle adjustment in order to
| | 00:36 |
remove a little bit distortion there, the
Reanalyze button up here in upright comes on.
| | 00:41 |
Well, why is that?
Well, upright is analyzing the position of
| | 00:44 |
the image and the lines that you have
there in the photograph.
| | 00:48 |
Well, when this comes on you definitely
want to push it.
| | 00:50 |
Notice the difference, here's the
photograph before, then I'll click on
| | 00:53 |
re-analyze, and what it will do is it will
apply a better correction to the photograph.
| | 00:58 |
As you continually modify this, here
you're going to see it come on again, go
| | 01:00 |
ahead and click that, and again that will
just make the needed corrections.
| | 01:05 |
Based on the way that you modified you
picture, next we have a slider which
| | 01:08 |
allows use to correct for vertical
distortion.
| | 01:12 |
I like to think of this as forward or
backward lean as we click and drag this to
| | 01:15 |
the left you can see how the image is
leaning forward.
| | 01:19 |
Click and drag this to the right, and it's
leaning back.
| | 01:22 |
Double click this slider here and this
will bring us back to the default setting.
| | 01:25 |
We can rotate the image, if we know that
we need to rotate it to straighten it out
| | 01:28 |
by dragging to the left or the right.
Again here I'll Double Click that to bring
| | 01:33 |
that back to the default setting.
Then we have the option to scale.
| | 01:36 |
If you notice that when you work with the
Distortion slider it shows you some
| | 01:39 |
transparent area of your image, what you
might want to do is the scale the photograph.
| | 01:44 |
Here in doing that, it's going to scale
the image so that we're no longer seeing
| | 01:47 |
any of those transparent areas.
So that we're only seeing pixels.
| | 01:51 |
The last slider we have is fascinating,
it's called aspect.
| | 01:56 |
This slider allows us to stretch the image
in interesting ways.
| | 01:59 |
Drag to the left and it's kind of like
we're squashing the image or stretching it horizontally.
| | 02:05 |
Here the image becomes shorter and wider.
Or drag to the right, then the image
| | 02:09 |
becomes taller and thinner.
It's like we're stretching it out vertically.
| | 02:12 |
and this particular slider can be helpful
in a lot of different situations, even in
| | 02:16 |
portraits, as you can imagine.
Sometimes just dragging it a little bit
| | 02:20 |
can create a taller look in photogrph,
which can sometimes be just a touch more flattering.
| | 02:27 |
Either way we start to see how we can
customize these sliders, and as we make
| | 02:30 |
these customizations we need to then
reanalyze the upright controls or the
| | 02:33 |
upright adjustment so could then apply the
best correction all right.
| | 02:38 |
We will next let's scroll down to the Lens
Vignette.
| | 02:41 |
Here we can darken those edges or we can
brighten them up by clicking and dragging
| | 02:44 |
this to the right.
The mid point controls how far in this
| | 02:48 |
origin of the photograph.
Here if we want to limit it to the outer
| | 02:51 |
edges, drag it to the right.
You want it to extend into the imagine,
| | 02:55 |
drag it to the left.
Last, but not least, what I want to do
| | 02:58 |
with this picture is I want to crop it.
Because one of the things you might notice
| | 03:02 |
is that isn't exactly in the center.
You can see a little bit of this column
| | 03:05 |
over here, and not any of it on this side.
Yet before I crop the image, I'm going to
| | 03:10 |
remove a little bit of that distortion.
I think I went a little bit too far with
| | 03:13 |
that slider, so that those columns didn't
really look like they were upright or straight.
| | 03:18 |
Next, I'll go ahead and click on reanalyze
so that (UNKNOWN) can make a better
| | 03:21 |
correction with these settings.
Alright, last but not least and we'll
| | 03:25 |
select the Crop tool, here we'll go ahead
and click and drag a crop over this area
| | 03:28 |
of the photograph.
In doing that I"m going to really look to
| | 03:32 |
see if I can't make this crop so that this
is going to be right there in the middle
| | 03:35 |
of the picture.
I'll go ahead and click and drag this
| | 03:38 |
around just to reposition it a little
bit...
| | 03:41 |
And then press enter or return in order to
apply that crop.
| | 03:44 |
Alright, well let's take a look at the
overall before and after.
| | 03:46 |
If we click on the preview check box.
Here you can see the before, click and again.
| | 03:50 |
Now you can see the after.
After we have corrected some distortion
| | 03:54 |
issues Using the lens corrections panel.
Because the lens correction panel is so
| | 03:58 |
helpful, what I want to do is continue to
talk about how we can use these controls
| | 04:02 |
in a number of different images, in the
next few movies.
| | 04:06 |
| | Collapse this transcript |
| Improving a portrait with lens corrections| 00:00 |
In this movie, I want to highlight how we
can work with the lens correction panel in
| | 00:03 |
order to correct or level our photographs,
and also, to correct some perspective issues.
| | 00:09 |
You know, one of the things that unites
all of us photographers together is that
| | 00:12 |
we all make mistakes.
And I made this mistake with this portrait here.
| | 00:16 |
This is a portrait of Jack O'Neill.
There he is standing on his patio which,
| | 00:19 |
literally, overhangs the Pacific ocean.
And Jack is the inventor of the wet suit.
| | 00:24 |
As a surfer myself, wet suits are really
important to what I do, so I have a lot of
| | 00:27 |
respect for this guy.
And here I was so excited about this
| | 00:31 |
portrait Portrait, that I neglected to
notice that the horizon line wasn't level,
| | 00:34 |
and this happens to us all the time.
It happens in doors and out and what I
| | 00:39 |
want to do is look at how we can use lens
corrections in order to correct, or level
| | 00:42 |
out, the horizon line.
So here let's navigate over to the Lens
| | 00:47 |
Corrections tab, by simply clicking on the
button here so we can access this panel.
| | 00:52 |
Now the first an most important step is to
turn on this check-box to enable the lens
| | 00:56 |
profile corrections.
If you neglect to do that and if you
| | 00:59 |
navigate to the Manual tab, and then,
click on the option to level it out, well
| | 01:03 |
it just won't work.
No upright correction was found.
| | 01:07 |
Yet, we go back to the profile, if we
enable the lens profile corrections, then
| | 01:10 |
go back to manual and click on this again,
you'll turn it off And then turn it back on.
| | 01:16 |
What we'll discover is it will help us out
to level and straighten those horizons.
| | 01:21 |
And again, this happens often in landscape
photography or outdoor photography.
| | 01:25 |
It also happens indoors, let's take a look
at an indoor example.
| | 01:29 |
Here I'll click on this photograph.
This is a picture of one of my good
| | 01:32 |
friends who's a phenomenal artist.
Here I was capturing a portrait of him in
| | 01:36 |
his workspace.
And obviously, thing aren't very level.
| | 01:39 |
You'll notice that the whole image is sort
of tilting or leaning over to the left a
| | 01:43 |
little bit.
Well again, we want to go to the Lens
| | 01:46 |
Corrections tab.
Here this will take us to lens corrections panel.
| | 01:50 |
Before we start to work with Upright, you
have to go back to that Profile tab.
| | 01:54 |
That's a really important step when it
comes to correcting distortion or
| | 01:57 |
prospective issues.
When you take this step to enable the lens
| | 02:01 |
profile corrections, the upright controls
work that much better and they allow you
| | 02:05 |
to correct the image in better ways.
Next, we'll go ahead and click on Manual
| | 02:10 |
then we'll click the option which allows
us to automatically adjust everything.
| | 02:14 |
Rather than just leveling this out I'll go
ahead sand click on the A option.
| | 02:18 |
It will level and straighten out all of
the different lines I have here in this photograph.
| | 02:23 |
Here, if we click on the Preview checkbox
you can see as the before and then, now,
| | 02:26 |
the after.
So with certain images, you may just
| | 02:29 |
want to choose the Option, which allows
you to level or straighten the horizon...
| | 02:33 |
In other situations, like with this image,
we have a lot of complex lines and angles,
| | 02:37 |
you'll notice that a lot of these still
aren't straight.
| | 02:41 |
Well, here you'll want to chose this
option in order to straighten those out,
| | 02:44 |
in order to create a better look in your
photographs.
| | 02:47 |
| | Collapse this transcript |
| Adding a darkening vignette effect| 00:00 |
So far, we've been looking at how we can
work with the lens correction panel in
| | 00:03 |
order to make relatively easy corrections.
You're going to take a look at an example
| | 00:08 |
which is pretty difficult.
This is the photograph I captured of a
| | 00:11 |
critique rack that I'd set up in a
classroom, and I had set a number of
| | 00:14 |
different books as inspiration for the
students.
| | 00:18 |
And I captured this image at a really off
angle, so that there's a lot of distortion.
| | 00:23 |
Well, let's say that what we want to do is
straighten out all of these lines and
| | 00:26 |
correct the distortion.
Well, we can do that using the Lens
| | 00:29 |
Correction panel.
Here, let's go ahead and navigate over to
| | 00:32 |
that panel.
You want to start off with the Profile tab
| | 00:35 |
and enable the lens profile corrections.
Now, all that this does is remove just a
| | 00:39 |
slight bit of the overall distortion, yet
we need to dig a bit deeper.
| | 00:44 |
To do that, we're going to go to the
Manual tab.
| | 00:46 |
Now, here in the Manual tab, typically
what you'll do is you'll reach for this
| | 00:49 |
button, you'll press Automatic, you'll
cross your fingers, and hope for the best,
| | 00:53 |
and in this case, nothing really happens.
Why is that?
| | 00:57 |
Well, here, Camera Raw was a bit confused
about the lines and the angles, and it
| | 01:00 |
didn't really know how to make this
correction.
| | 01:03 |
To correct more difficult situations,
often what you'll need to do is to reach
| | 01:06 |
for this option, which applies a full
correction to all of the different lines
| | 01:10 |
and angles that we have here.
You can see that now it's straightened out
| | 01:15 |
all of these shelves.
And it's made some pretty dramatic changes
| | 01:18 |
to the overall perspective that we have
here in this photograph.
| | 01:21 |
And in a sense, it's this option, or this
tool, which allowed me to correct the perspective.
| | 01:26 |
Here you can see the before, and now the
after.
| | 01:28 |
When next I want to do is scale this image
in, so that we'll remove those transparent edges.
| | 01:33 |
And next I'm going to remove a little bit
more of the distortion.
| | 01:36 |
We can also show the grid; soemtimes when
you show the grid it can help you idetify
| | 01:40 |
if you're creating straight lines.
In other words, if you go to far, you can
| | 01:44 |
really see that quite easily, when you
have that overlay of those lines there on
| | 01:47 |
top of the photograph.
These lines can also identify how you
| | 01:51 |
might want to rotate this.
Here by rotating it a little bit to the
| | 01:55 |
right, I can see that that's lining up a
little bit better.
| | 01:58 |
In regards to the grid overlay that we
have turned on.
| | 02:01 |
You can turn this on and off by clicking
on this icon here.
| | 02:04 |
All right.
Well, after having made just a few simple
| | 02:06 |
adjustments, we have corrected the
proportion and distortion issues in this
| | 02:11 |
image in huge ways.
Let's take a look at the before and after.
| | 02:15 |
When you click on the preview check box,
here you can see the before.
| | 02:18 |
Click again, now here you can see the
after.
| | 02:20 |
Now whenever you use another slider, as we
have done here.
| | 02:23 |
It will turn on the re-analyze button.
Actually didn't notice that.
| | 02:26 |
So I'm going to go ahead and click on that
here, which will then correct this image
| | 02:29 |
even better.
And actually made a slight little shift
| | 02:32 |
there to the overall photograph, so that
now the rotation, it looks like I need to
| | 02:35 |
bring this back just a bit, so that looks
a little bit better there.
| | 02:39 |
Well that wraps up our work on a really
difficult correction, or I should say, a
| | 02:43 |
difficult correction made easy by lens
corrections in Camera Raw.
| | 02:47 |
Let's take a look at it one more time.
Here it is, our before and then, now, the after.
| | 02:54 |
| | Collapse this transcript |
| Combining lens corrections with creative cropping| 00:00 |
Here I want to continue our conversation
about working with the Lens Correction
| | 00:03 |
panel, and in this case I want to work on
a really extreme photograph.
| | 00:07 |
This is an image that was captured of one
of my neighbors' houses.
| | 00:11 |
And, here, you can see I was capturing the
image with a fish eye lens so there is a
| | 00:14 |
lot of distortion.
And sometimes working with images with a
| | 00:18 |
lot of distortion can help you really
understand how all of these controls work.
| | 00:22 |
Let's see how we can try to correct this
photograph using The lens correction panel.
| | 00:27 |
First click on the icon to access lens
corrections.
| | 00:30 |
Then start off by navigating to the
Profile tab.
| | 00:33 |
We click on the Enable Lens Profile
Corrections, we get some pretty decent corrections.
| | 00:37 |
You can see the before, with all of that
fisheye distortion, then here the after.
| | 00:41 |
Yet to take this further, we need to work
with our Distortion slider.
| | 00:45 |
This allows us to remove or to add even
more removal of that distortion.
| | 00:50 |
So in this case, go ahead and click and
drag this to the right, all the way over,
| | 00:53 |
so that we can remove A ton of the
distortion.
| | 00:57 |
Take a look at the image.
Here's the before now here's the after.
| | 01:00 |
Yet obviously we want to take this image a
little bit further because if we turn on
| | 01:03 |
the grid here what you may discover is
that the house is leaning back a little bit.
| | 01:08 |
Well, let's turn off the grid, and go to
the Manual tab.
| | 01:11 |
In the Manual tab we know how to control
the vertical lean.
| | 01:14 |
We can click and drag to the left.
Notice how that will help the house to
| | 01:17 |
stand upright a little bit more.
In doing that we have a better perspective
| | 01:21 |
We can also remove a little bit more of
the distortion, so I'll do that as well.
| | 01:26 |
And here we can rotate this, in order to
create a little bit more of a level photograph.
| | 01:30 |
Now obviously in order to make corrections
like this, we need to fill in this area,
| | 01:34 |
we can do that in Photoshop, or we can
also just scale this.
| | 01:38 |
Here I'll scale this up so we don't have
any transparency in our photograph.
| | 01:42 |
After having made these adjustments we may
need to fine tune them just a little bit more.
| | 01:47 |
So here I'll just click and drag in order
to modify these sliders.
| | 01:50 |
Alright well I think that's pretty good.
Let's take a look at the before and after.
| | 01:53 |
Here's the before with the fish eye lens.
Here's the after after we've used lens
| | 01:58 |
corrections on a really difficult image
yet we're able to remove all of that
| | 02:02 |
distortion without any effort.
And it was all about starting with a
| | 02:07 |
Profile tab and using this Distortion
slider to take advantage of this lens
| | 02:10 |
profile to really remove a lot of that
barrel or fish eye distortion.
| | 02:15 |
Then, we finish the project off by going
to the Manual tab.
| | 02:19 |
Here, we worked with the distortion, the
Vertical slider, also the Scale slider in
| | 02:23 |
order to scale that up and to finish off
this particular correction.
| | 02:28 |
| | Collapse this transcript |
| Adding distortion for a creative effect| 00:00 |
In the previous 2 movies, we used the lens
correction panel in order to make some
| | 00:03 |
distortion and perspective corrections,
which were pretty dramatic.
| | 00:08 |
As a result, you may be inclined to think
that lens corrections, while that panel is
| | 00:11 |
great when you have really difficult
situations.
| | 00:15 |
Well that isn't necessarily true,
sometimes you can use that panel in order
| | 00:18 |
to make really subtle adjustments as well.
Here I want to highlight a couple of
| | 00:22 |
subtle adjustments we can make using this
panel.
| | 00:25 |
We'll start off with this photograph here
of this couple who just got married.
| | 00:29 |
They're out in a field as the sun is
setting.
| | 00:31 |
And here we'll click on the icon, which
allows us to access lens corrections.
| | 00:35 |
Now you always want to start off with the
Profile tab.
| | 00:37 |
Enable the lens profile corrections and
you can see the before.
| | 00:40 |
And now the after.
>> Notice how it removes a little bit of distortion.
| | 00:44 |
It also corrects the vignetting around the
edges.
| | 00:47 |
Now we haven't talked much about
vingnetting.
| | 00:49 |
And if you'll navigate to the Manual tab.
You can control the vignetting here.
| | 00:53 |
If you click and drag this to the right,
and then drag the midpoint slider to the
| | 00:56 |
right You can see how this vignetting gets
closer to the center of the file.
| | 01:00 |
You can also drag this out so you just
have the vignetting on the outer corners.
| | 01:04 |
You can't really see it in this image in
the upper area because that's too bright.
| | 01:08 |
Well often what you might want to do is
even add a little bit of a vignetting
| | 01:11 |
effect, you can do so by dragging this to
the left.
| | 01:14 |
By dragging that to the left it darkens up
the foreground in just a sutle way.
| | 01:19 |
WE go back to the profile tab, you can do
the same thing by clicking and dragging
| | 01:22 |
this to the left to bring back some of the
original vignetting in this file.
| | 01:26 |
I think that's kind of nice, because it
darkens up this, and really brings the
| | 01:29 |
focus up to the brighter area of the
photgraph, in this case the bridge and groom.
| | 01:33 |
WEll, let's go the manual tab.
The manual tab we might also remove just a
| | 01:36 |
little bit more ditortion.
To do that I'll click and drag this to the right.
| | 01:41 |
We also might shift or change the aspect.
Remember how this slider allows us to
| | 01:45 |
stretch things out?
If we drag this to the right, it'll
| | 01:47 |
stretch this image out, so that it's a
little bit taller and thinner.
| | 01:51 |
Again, it's a very subtle adjustment but,
nonetheless, helps this photograph.
| | 01:55 |
After having done that, I'm just going to
Scale this out to make sure there isn't
| | 01:58 |
any transparency on any of the edges.
Now we'll click the Preview checkbox.
| | 02:02 |
Here's before and then now here's after.
The adjustments aren't that significant,
| | 02:06 |
yet, nonetheless, they're subtle and
sometimes You can use the lens correction
| | 02:09 |
panel in order to make subtle, yet
important, adjustments to your photographs.
| | 02:13 |
Let's look at another example.
Here, I'll click on this portrait which
| | 02:16 |
was captured with a wider-angle lens.
Again, we'll go to the Profile tab.
| | 02:20 |
Here, turn on Enable Lens Profile
Corrections, and let's get rid of the
| | 02:23 |
vignetting effect, and also a little bit
of the distortion.
| | 02:27 |
So here we'll go ahead and click and drag
these sliders to the right.
| | 02:30 |
Then we'll go to the Manual tab.
In the Manual tab, what we can do is we
| | 02:33 |
can remove a little bit more distortion
here.
| | 02:36 |
We can also change the lean of the
picture.
| | 02:39 |
Drag to the left.
The forehead becomes bigger, the chin narrower.
| | 02:42 |
Drag to the right, and the opposite
happens.
| | 02:44 |
Here, let's drag to the right just a
couple of points in order to bring that
| | 02:47 |
chin a little bit more forward.
Next we can shift the angle of this.
| | 02:52 |
We drag to the left, we can bring the left
side of the image forward.
| | 02:56 |
And then we can push the right side a
little bit backwards as you can see here.
| | 02:59 |
Again, I'm exaggerating at this point.
But you can start to see how you can
| | 03:03 |
rotate or shift the overall image.
In doing that you may also need to remove
| | 03:07 |
a little bit more distortion, and just
customize the other amounts of the sliders
| | 03:10 |
which you have here.
All right, well, after having done that,
| | 03:14 |
we need to scale this.
We'll scale this in, and here I'm going to
| | 03:17 |
scale this in quite significantly, so that
the portrait Is much closer.
| | 03:21 |
That changes the overall composition as
well.
| | 03:24 |
You can have fun when you change the
composition to rotate this.
| | 03:27 |
Sometimes you can rotate it a little bit,
just to create a little bit of a subtle or
| | 03:30 |
different look.
Let's do that here.
| | 03:33 |
Now with the aspect, I can click and drag
this to the right just to stretch this
| | 03:36 |
image out just a bit.
Again, a lot of little subtle adjustments,
| | 03:40 |
we click on the preview check box.
Here's our before, click again.
| | 03:44 |
Then here's the after.
And so as you start to understand how all
| | 03:47 |
of these sliders work.
What you may want to do is make big, bold,
| | 03:51 |
dramatic corrections when you need to.
In other situations, perhaps all that
| | 03:55 |
you'll need to do is to navigate to the
Profile tab, and just turn on the profile
| | 03:59 |
for that lens.
With these last two photographs, that
| | 04:02 |
would probably be all that we really
needed to do.
| | 04:05 |
Yet of course, if you want to finesse
things further, go to the manual tab and
| | 04:08 |
here you can have some fun using these
different sliders in order to make subtle,
| | 04:11 |
yet sometimes significant corrections or
changes to your photographs.
| | 04:16 |
| | Collapse this transcript |
| Correcting chromatic aberration and defringing| 00:00 |
This movie, we'll look at how we can
correct a color issue, which often happens
| | 00:03 |
in digital capture.
And this is an issue which is called
| | 00:07 |
chromatic aberration.
Now I know that's kind of a funny word,
| | 00:10 |
but essentially what it refers to is when
you have color fringing.
| | 00:14 |
We have a color around the edges of
different parts of your photograph, often
| | 00:17 |
this happens when you are sheeting with
the wider angle lens and may be you have a
| | 00:21 |
shallow depth of field, in other
situations as well.
| | 00:25 |
So let's explore how we can correct this
issue.
| | 00:28 |
In order to do that we work on two
different photographs.
| | 00:31 |
We will start off with an easy one which
is this picture here, this is the
| | 00:34 |
photograph of an oak tree which is located
in the backyard of a home where I grew up
| | 00:37 |
and this is a beautiful tree.
I used to climb this as a kid, and so here
| | 00:42 |
what we can do is we can zoom in on this
image by selecting the zoom tool.
| | 00:46 |
Go ahead and click on that and then just
click and drag over an area or a cluster
| | 00:50 |
of branches so you can get in really
closer.
| | 00:53 |
I'm going to zoom in even farther by
clicking on this even more to kind of
| | 00:56 |
exaggerate this so that we can start to
identify and see the color fringing.
| | 01:01 |
Do you see that little color edge that we
have on this side, it's kind of a purplish tint.
| | 01:06 |
The other one is a bit of a cyan or green
tint.
| | 01:08 |
Well we can remove that by navigating to
the lens corrections panel.
| | 01:12 |
Simply click on this icon here and then
click on the option to go to the Color tab.
| | 01:17 |
And choose, remove chromatic aberration.
Here this will remove this color fringing
| | 01:22 |
and in this case the deault settings do an
excellent job.
| | 01:26 |
Take a look at the before and after, here
it is before, now again, here's the after,
| | 01:29 |
wkithout even modifying any of these
sliders further.
| | 01:33 |
This took care of the issue, right.
Well, let's look at another example which
| | 01:36 |
won't be quite as easy to remove.
Here we'll click on this image.
| | 01:40 |
This is a portrait that I captured using a
shallow depth of field.
| | 01:44 |
And here if we zoom in on this image,
let's zoom in on this area over here.
| | 01:48 |
What we'll discover is that there's some
fringing.
| | 01:51 |
If we zoom into this area, perhaps even
further, I'll go ahead and click on this,
| | 01:55 |
you can see this green fringe right here.
You'll also notice that there's some red
| | 01:59 |
discoloration in-between the areas of the
hat.
| | 02:03 |
You press the Spacebar key, and then click
and pan around.
| | 02:06 |
What we'll discover is that we'll
encounter this in other areas as well.
| | 02:09 |
Here we can see some on this part of the
jacket.
| | 02:11 |
A lot of green fringing in that area.
We can also pan around the photograph.
| | 02:15 |
Here on the hair there's a little bit of
reddish fringing.
| | 02:19 |
Then over here, on this side of the
jacket, as well, we have this green and
| | 02:22 |
red, sort of color fringing, which is
called chromatic aberration.
| | 02:26 |
Well now that we've identified the issue,
let's go ahead and move back to an area
| | 02:29 |
where we can start to work on this.
Here I'm going to stay ,zoomed in really
| | 02:33 |
close in order how to illustrate how we
can remove these issues.
| | 02:37 |
When you work on your own images you wont
necessarily need to zoom in past 100%, or
| | 02:41 |
this close as I'm doing here.
Yet for demo purposes I think it's helpful
| | 02:45 |
to be able see how we can remove the green
and also the red.
| | 02:49 |
Well let's go ahead and turn on the option
to remove the chromatic aberration.
| | 02:52 |
When we do that practically nothing
happens at all and it's a bit let down, right.
| | 02:57 |
It isn't working.
Well, It's not that it isn't working, it's
| | 03:00 |
just that we need to target a specific
color range.
| | 03:04 |
Lets begin by working on the green.
Here we have the green slider.
| | 03:07 |
When we drag this green slider what it
allows us to do is remove more or less of
| | 03:10 |
that green color.
When I drag this slider around it really
| | 03:14 |
isn't making much of a difference at all.
What we need to do is to extend the color reach.
| | 03:21 |
You notice how there are these two icons
here which are targeting a specific green hue.
| | 03:25 |
Well I can click and drag these icons to
expand or collapse the distance between
| | 03:29 |
these two and to choose a larger color
area, or a smaller color area.
| | 03:34 |
In this case, what I need to do, is I need
to click an drag this to include more of
| | 03:37 |
the green which is closer to the yellow.
as we do that notice how it takes care
| | 03:42 |
about the issue over here, we can also
extend this the other way as well ,there a
| | 03:46 |
little bit more blue in it.
You can drag this sliders around so that
| | 03:50 |
you can really focus on the area which is
the problem area ,in this case that color
| | 03:54 |
there which is located on this color strip
right in this region.
| | 03:59 |
Next we can control this or we can control
how we remove this by using the Green
| | 04:02 |
amount slider.
Alright but what about all of the little
| | 04:05 |
red discoloration that we've seen
throughout the photograph.
| | 04:09 |
We can see that here on the hat, also in
the hair down below.
| | 04:12 |
Well again we'll increase this purple
slider...
| | 04:14 |
And then this particular color has more
red in it, so I'm going to click and drag
| | 04:17 |
this to the right, bring this slider over,
and go even further.
| | 04:21 |
In doing that you can see how the colors
in the hat, and also on the hair, are
| | 04:25 |
completely taken care of.
Here we'll click on the preview check box.
| | 04:29 |
There you can see the before.
Click again, now you can see the after.
| | 04:32 |
Alright, well let's zoom out a little bit
so we can see a touch more of the
| | 04:35 |
photograph and take a look at how this
looks as we zoom out a bit.
| | 04:39 |
Again we can see that before I don't know
if you can see it anymore, but there is a
| | 04:42 |
green tinge there, red fringing in other
areas, the hair, the hat and here is the after.
| | 04:48 |
And then again, you'll need to zoom in
that part in your own screen, yet here I
| | 04:51 |
think it's helpful to start to see how the
fits into the overall image.
| | 04:55 |
Also it's important highlight, when you
make adjustment like this, that you zoom
| | 04:59 |
out and turn on your check box before and
after, just make sure it's taking care of
| | 05:02 |
the issues in all of the areas where you
noticed it.
| | 05:06 |
In this case, I'm noticing the hat looks
better, the hair looks better, the jacket,
| | 05:09 |
the shirt.
The background, where the edge of the
| | 05:12 |
jacket over here, it all looks much
better.
| | 05:15 |
Therefore, we can determine we did a
pretty good job selecting the color range
| | 05:18 |
and also dialing in these sliders in order
to be able to remove or correct the color
| | 05:22 |
fringing we have in this photograph.
| | 05:26 |
| | Collapse this transcript |
|
|
10. Adding Film Grain and Vignette EffectsIntroducing the Grain effects controls| 00:00 |
Here on this chapter we'll focus in on
working with the Effects panel.
| | 00:03 |
You can access the Effects panel by
clicking the little FX icon, which is
| | 00:07 |
located right here.
In the Effects panel you'll encounter some
| | 00:10 |
controls, which will allow you to add film
grain.
| | 00:13 |
There are also some controls which allow
us to create what's called a post-crop vignette.
| | 00:18 |
Here in this movie, I want to introduce
you to working with the grain controls.
| | 00:21 |
And in order to understand how these
sliders actually work, we'll first work
| | 00:24 |
with a demo file, then we'll apply what we
learned to this photograph here.
| | 00:29 |
Well let's go and click on the demo file
it's titled grain-demo.jpg.
| | 00:34 |
Sometimes by working with the simple grey
file and adding film grain to it you can
| | 00:37 |
really see how the sliders actually work.
Well here as I click and drag in the
| | 00:42 |
amount slider to the right you'll know
that this increases the over all grain intensity.
| | 00:47 |
As we drag to this to the left it
decreases the look without effect.
| | 00:51 |
I'll go ahead and crank this up and see
how the other two sliders work.
| | 00:55 |
Here we have size and roughness, currently
the grain is really really small.
| | 01:00 |
As we drag this to the right, we'll notice
the grain becomes bigger it also becomes a
| | 01:03 |
little bit softer.
Next, we have roughness.
| | 01:07 |
You'll notice that the grain is pretty
evenly distributed across the photograph
| | 01:11 |
as we increase the roughness value.
Well it creates a little bit more of a
| | 01:15 |
random distribution of the grain.
Here, you'll really notice the difference
| | 01:18 |
as I drag this to the extreme left and to
the extreme right, you can see how tat
| | 01:21 |
changes the overall characteristic of the
grain.
| | 01:24 |
You'll also notice a difference in size as
we drag this slider here as well, and the
| | 01:28 |
size and the roughness and the amount.
Well, they all work together to allow you
| | 01:32 |
to create an interesting grain effect on
your photographs.
| | 01:36 |
Well, let's apply what we learned about
these sliders to a picture.
| | 01:39 |
So here, I'll go back to the photograph,
which is titled bride.jpg.
| | 01:43 |
When adding film grain, you typically
begin with the amount.
| | 01:46 |
I'll go ahead and click and drag the
Amount slider up.
| | 01:49 |
Next what I want to do is find just the
right spot for the grain.
| | 01:52 |
Now, you may be wondering, why would you
even want to add film grain to a picture?
| | 01:56 |
Well, you may want to do it to create a
unique aesthetic or look, or maybe you
| | 01:59 |
want to create a photograph that looks
like it was captured on film.
| | 02:03 |
Or perhaps you just want to add a little
bit of grain in order to even out the
| | 02:06 |
tonality in the image.
Now, when it comes to the actual amount of
| | 02:10 |
the film grain, this will really depend on
the photograph.
| | 02:14 |
With this image, which is really clean and
beautiful, what I want to do is have a
| | 02:18 |
really small amount of grain, which is
evenly distributed across the image.
| | 02:23 |
Here I'm going to increase the Size value
here, as we drag that up you can see the
| | 02:26 |
grain almost becomes a little bit softer
as well.
| | 02:29 |
I'm going to choose a size value which is
relatively small.
| | 02:32 |
I don't want zero because I think that's
just a bit to harsh.
| | 02:35 |
I also want to increase the roughness.
This will help the grain to sort of blend
| | 02:39 |
into the overall image.
Now I'm aware that these little changes
| | 02:43 |
that I'm making with these sliders may be
really difficult to see, that's why we
| | 02:46 |
started off with the exaggerated demo file
where we worked on that gray document.
| | 02:51 |
Here let me crank up my Amount and my Size
a little bit more just so you can see that
| | 02:54 |
perhaps a bit better for demo purposes.
Here when I click on the Preview checkbox
| | 02:59 |
you can see the before and then now you
can see the after.
| | 03:01 |
Yet on my monitor these amounts are too
high so I'm going to go ahead and take my
| | 03:04 |
Amount slider down.
And then also, dial down the size there a
| | 03:08 |
little bit as well.
And again, you often want to apply this
| | 03:11 |
grain effect in a way that it adds to the
picture, rather than, over powers your photograph.
| | 03:17 |
Well now that we've been introduced to how
we can add film gain, next lets talk about
| | 03:20 |
how we can work with post crop vignetting,
in the next movie.
| | 03:24 |
| | Collapse this transcript |
| Introducing post-crop vignetting| 00:00 |
In this movie, I want to introduce you to
how you can work with the post crop
| | 00:03 |
vignetting sliders and controls.
Yet before we start to work here inside of
| | 00:07 |
the effects panel with these controls,
what we need to do is to navigate back to
| | 00:11 |
one of the previous panels.
>> In particular lens corrections.
| | 00:15 |
Here in lens corrections you'll notice
that there are some lens vignetting controls.
| | 00:19 |
We can dial in the lens vignette effect
here by dragging the slider to the left.
| | 00:23 |
You can see that that's darkening the
outer edge of this photograph.
| | 00:27 |
Drag this to the right and we can brighten
those edges.
| | 00:29 |
Well in this case, the overall vignette
effect Is pretty subtle, and what can
| | 00:32 |
happen is, is that when you add this
effect, you can then decide to crop the photograph.
| | 00:37 |
Here I'll select the crop tool.
And I'll go ahead and create a crop that
| | 00:40 |
crops into the picture say right here.
Well if we do that we're going to complete
| | 00:44 |
crop out any of that vignette.
Notice how I drag the slider, it isn't
| | 00:48 |
able to really reach in all the way to
these corners here, because it's primarily
| | 00:51 |
effecting the original photograph.
In order to effect the crop area, what we
| | 00:56 |
need to do is to go to the effects panel
and work with a post-crop vignetting.
| | 01:01 |
Lemme make this crop area much smaller so
we can really see how this works.
| | 01:05 |
As I drag this to the left, notice how
this vignette follows the size of the crop.
| | 01:09 |
If we change the size of the crop, well,
that vignette effect travels with this crop.
| | 01:14 |
Or if we move this around.
You can see again how that travels with
| | 01:17 |
the crop area.
In this way we can start to add or create
| | 01:20 |
a vignette effect to an area that's
cropped.
| | 01:23 |
Here I'll press the Esc key momentarily,
in order to move the crop.
| | 01:27 |
In doing that you can see this is now
effecting the entire image.
| | 01:30 |
And I wanted to point out that you can
work with these post crop vignetting
| | 01:34 |
sliders in controls, even if you aren't
cropping your photograph.
| | 01:38 |
Alright, well let's go ahead and crop this
image, just to see how these sliders
| | 01:40 |
actually work.
I'll go ahead and click and drag this
| | 01:43 |
across the photograph, say right around
there, and then press Enter on Windows or
| | 01:47 |
Return on Mac in order to crop the image.
Well let's take a look at what we have
| | 01:52 |
here in regards to our controls Well, the
first one is the Amount.
| | 01:56 |
The amount dials in the overall intensity.
Drag it to the left and the vignette
| | 01:59 |
effect becomes darker.
Drag this to the right and the effect
| | 02:03 |
becomes brighter.
Here we can see the outer edges now are
| | 02:06 |
completely white.
Now we can also control the Midpoint.
| | 02:10 |
The Midpoint's interesting.
If we drag this to the left you can see
| | 02:13 |
that this is reaching in further to the
photograph.
| | 02:16 |
In doing that it's now darkened the
subject's face.
| | 02:19 |
So what you might need to do is select the
Crop tool and then recrop the photograph.
| | 02:23 |
So that the subject's face isn't in that
dark area.
| | 02:26 |
Or, of course, you can always just change
the overall midpoint here and you can dial
| | 02:29 |
this back so that the effect is primarily
affecting the outer edge of this area.
| | 02:35 |
Next I'll press Enter or return to reapply
the crop.
| | 02:38 |
Then we have the ability to control the
characteristic of the shape of this vignette.
| | 02:43 |
One of the sliders, which is called
roundness, allows us to control that shape
| | 02:46 |
in some fascinating ways.
Notice how I can have just a darkening
| | 02:50 |
effect around the very outer edge, or, as
we drag this to the right, we can have an
| | 02:53 |
effect which is in the shape of a circle.
The Feather amount allows us to add or
| | 02:58 |
remove the feather.
Here, if we drag to the left, we can
| | 03:02 |
remove that feather look.
So we have a very hard or defined edge.
| | 03:06 |
Now when I dragged around the slider you
really see how this changes the shape of
| | 03:09 |
that area of the image which is being
effected.
| | 03:13 |
And sometimes what can be interesting is
to change these values and then change the
| | 03:16 |
characteristic of the amount.
So that we now have this white little edge
| | 03:20 |
there where its just effecting that part
of the photograph.
| | 03:23 |
Now the mid point also effects this slider
as well.
| | 03:26 |
As you can see here, we can really control
that to create a border or an edge effect
| | 03:29 |
around the photograph.
Right we'll next lets go ahead and
| | 03:33 |
increase the feather amount here, now
bring this back to a little bit more of a
| | 03:35 |
typical vignette effect, I'll make this a
dark effect, and then I'll bring back the
| | 03:38 |
mid point and change your raw roundness of
this as well.
| | 03:43 |
So that we have this exaggerated vignette
In order to illustrate an important point.
| | 03:48 |
And that is, the point of how we can
change the overall style of this vignette.
| | 03:52 |
Currently the default style is highlight
priority.
| | 03:55 |
What that will try to do, is it will try
to affect the highlights a little bit less.
| | 04:00 |
Notice how the vignette is very strong is
this area up here and around these edges.
| | 04:04 |
But then when it hits the highlights of
the dress it's not quite as strong.
| | 04:08 |
This is trying to create a vignette which
is a bit more natural because it wouldn't
| | 04:11 |
be as dark in this area as it would be in
the other areas.
| | 04:16 |
It also allows us to work with the
highlight slider.
| | 04:18 |
If we choose a different option, say like
paint overlay you'll notice that the
| | 04:22 |
highlight slider is grayed out.
Well let's go back to the highlight
| | 04:25 |
priority and talk about this slider.
What this allows us to do is to bring back
| | 04:29 |
some of the brightness of the
highlights...
| | 04:32 |
Notice the dress down below.
Here you can see how I can brighten or
| | 04:34 |
darken that area.
An what this can do is allow us to create
| | 04:38 |
a more natural look.
Now obviously this vignette, is overdone.
| | 04:42 |
It's over the top.
Yet it's helpful to have an exaggerated
| | 04:45 |
amount to really understand how this
slider works.
| | 04:47 |
So that you can dramatically see the
difference when you work with the
| | 04:50 |
highlight slider.
I should also point out that you have
| | 04:52 |
access to the highlight slider when you
work with color priority as well.
| | 04:57 |
What color priority tries to do is to
maintain the color fidelity of color
| | 05:00 |
integrity of the image so that the
darkening or the brightening effect
| | 05:04 |
doesn't modify or change the color as
dramatically...
| | 05:09 |
I've talked to a number of photographers
that use this option most frequently That
| | 05:13 |
being said the default option is highlight
priority.
| | 05:16 |
And what I've discovered as I've worked
with this and I've worked with this tool a lot.
| | 05:20 |
Is that there isn't really a huge
difference between color priority and
| | 05:23 |
highlight priority.
Even with this photograph, you're
| | 05:25 |
hard-pressed to be able to point out a
difference between these two options.
| | 05:29 |
That being said, when you do want to
maintain color fidelity and when color's
| | 05:32 |
really important, you may want to try this
option because in certain situations it
| | 05:36 |
does work better.
Last but not least, we have an option
| | 05:40 |
which is called paint overlay.
Paint overlay is kind of interesting.
| | 05:44 |
It disables that highlights option there,
and it simply adds a tone over the image.
| | 05:49 |
If we go back and forth between paint
overlay and also highlight priority.
| | 05:53 |
What we'll discover here is that these two
have different characteristics.
| | 05:57 |
Highlight overlay is a little bit more
blended into the background.
| | 06:00 |
Paint overlay, well it's almost like
you're in Photoshop and you're just
| | 06:03 |
painting something at a certain intensity
over the image.
| | 06:06 |
You can especially see the difference down
here, in this part of the photograph.
| | 06:10 |
Now, all of these characteristics will be
a bit more different or subtle.
| | 06:13 |
Say paint overlay with a lower amount
there.
| | 06:17 |
Compare that to the highlight priority.
Again you can see it just blending into
| | 06:20 |
that background a little bit differently.
This one is a little bit more even and gray.
| | 06:24 |
This one well it sort of blends in and
also allows us to maintain some of the
| | 06:27 |
brightness value that we have here.
In this part of the dress.
| | 06:31 |
Well now that we've been introduced to the
grain and post crop vignette controls,
| | 06:34 |
let's go ahead and take a look at a few
examples where we can use these effects
| | 06:38 |
and apply these to different photographs.
And we'll do that in the next few movies.
| | 06:43 |
| | Collapse this transcript |
| Adding grain to a color photograph| 00:00 |
Now that we know a thing or two about
working with the Effects panel, let's take
| | 00:03 |
a look at how we can use the Effects panel
in order to modify this photograph.
| | 00:07 |
This is the photograph as it appeared
straight out of the camera, and what I
| | 00:10 |
want to do is add a bit of a vignette
effect, I also want to add some film grain
| | 00:13 |
to it.
So let's navigate over to the effects
| | 00:16 |
panel by clicking on the effects icon.
Well, first let's begin by working with
| | 00:20 |
our post crop vignetting controls.
Now we can work with these controls even
| | 00:24 |
if we haven't cropped the photograph and
that's what I'm going to do here.
| | 00:28 |
Now if you're new to working with these
controls, what I recommend you do is take
| | 00:31 |
your amount slider to one of the extremes,
either drag this to the far right in order
| | 00:35 |
to brighten up the edges or drag this to
the far left in order to darken those.
| | 00:40 |
Next, I recommend you take the Feather
slider all the way down to 0.
| | 00:44 |
In doing that you can see a really defined
shape, so that you can then start to
| | 00:47 |
customize your mid-point and roundness
sliders.
| | 00:50 |
So, now here I can really see what will
happen when I drag the mid-point slider to
| | 00:53 |
the left, well now I can see this is
affecting more of the image.
| | 00:58 |
I can also start to identify how the
Roundness slider works.
| | 01:02 |
If I drag to the right, it becomes more of
a circle.
| | 01:05 |
If I drag to the left, it becomes more of
a rectangle.
| | 01:07 |
Well, as I drag this to the left I
realize, yes, this is closer to what I
| | 01:10 |
want to achieve here with my vignette.
Now, obviously next we need to change the
| | 01:15 |
amount and the Feather sliders and maybe
even the mid point as well.
| | 01:19 |
Here as I drag the feather slider up, we
can see that we have this diffused effect
| | 01:22 |
so that this is just affecting the outer
edge of the image.
| | 01:26 |
Well here, perhaps, I want to bring in my
mid point a little bit.
| | 01:29 |
By doing that, we're going to see that
this is going to affect more of the outer edge.
| | 01:32 |
Next I'll decrease the amount.
So it's a little bit more subtle here as well.
| | 01:36 |
As you make changes to one slider, you may
need to make changes to another.
| | 01:40 |
In this case, we now have a very subtle
vignetting effect.
| | 01:43 |
Look on the preview check box, here you
can see the before, and now you can see
| | 01:46 |
the after.
If you want to maintain the highlights, go
| | 01:49 |
ahead and click on the Highlight slider to
the right.
| | 01:51 |
This image doesn't really have many
highlights on the edges.
| | 01:54 |
So this isn't very important with this
photograph, yet with certain images it is.
| | 01:59 |
Also if you have the vignette covering a
color area, you may want to experiment
| | 02:02 |
with color priority, that will maintain
the color integrity of those areas.
| | 02:07 |
Next, let me darken this up a little more
for demo purposes.
| | 02:10 |
And again, here we have the before, and
now the after.
| | 02:13 |
In this particular case I'm going to
change the roundness there a little bit,
| | 02:16 |
and also the midpoint.
Just to make that reach in just a touch
| | 02:19 |
more, and then decrease the overall
amount.
| | 02:22 |
Again you want to finess each of these
controls so that the overall image looks
| | 02:26 |
good and so that this effect isn't
overpowering here I'm going to decrease my
| | 02:29 |
amount even more because I think it looks
a little bit better with the more subtle effect.
| | 02:35 |
Next, let's work with film grain.
Here, I need to zoom in on the image, so
| | 02:39 |
I'll double-click the Zoom tool.
That will take us into a zoom rate of 100%.
| | 02:44 |
You know, it's important to get up close
to your photograph so you can actually
| | 02:47 |
evaluate the amount and the size and the
roughness of the grain appropriately.
| | 02:52 |
Well here I'll start off with the amount
slider.
| | 02:54 |
Click and drag this to the right, this
will allow us to increase the overall
| | 02:57 |
intensity of the effect.
And one of the things that we'll notice
| | 03:00 |
right away.
Is that it does a great job at reducing or
| | 03:03 |
removing small skin variations that makes
the skin look really nice.
| | 03:08 |
yet on areas like the background where we
have a solid color we will notice that the
| | 03:11 |
grain will show up may be even a bit more.
So you want to have a zoom or you can
| | 03:16 |
evaluate important areas of the image, in
this case the face of course and also the background.
| | 03:21 |
Next we have Size slider, as we drag this
to left we have a smaller size.
| | 03:25 |
What i have discovered is I worked with
these controls is that when you have a
| | 03:28 |
small size and lower amount of roughness,
it typically doesn't look very well.
| | 03:33 |
Yet if you increase the roughness to have
a little more variety, often that will
| | 03:37 |
help this grain to blend in.
Now with a higher amount of roughness you
| | 03:40 |
can also change the size up a bit more as
well.
| | 03:43 |
Here you can see a larger size.
As we have a larger size grain with this photograph.
| | 03:47 |
It looks kind of a little bit too model,
they are a little bit too big there, so
| | 03:51 |
here I'm going to decrease this because I
want a really fine amount of green.
| | 03:55 |
So here I'll decrease this amount as well.
To create a bit of more subtle look, now
| | 03:59 |
in doing that, that can create a really
nice sort of soft look in a photograph
| | 04:02 |
like this.
Let's click on the Preview checkbox, here
| | 04:06 |
you can see the before and then I'll click
again, you can see the after, you can see
| | 04:09 |
how the green is applied to the background
and also to the rest of the photograph.
| | 04:14 |
Let me decrease the roughness just a
little bit more here.
| | 04:16 |
I'm going to just dial this in sense that
it looks its best.
| | 04:20 |
I'm going for a pretty subtle effect with
this particular image, because I want it
| | 04:24 |
to enhance the image yet not overpower it.
Well I think that looks pretty good.
| | 04:29 |
Here we'll click on the Preview checkbox.
There's our before.
| | 04:31 |
Then I'll click again.
There's the after.
| | 04:34 |
| | Collapse this transcript |
| Using the Effect controls on a black-and-white photo| 00:00 |
In the next few movies, I want to talk
about how we can work with the Effects
| | 00:03 |
panel when working with black and white
photographs.
| | 00:07 |
We will start off with simple example, and
then in the next movie we'll dig a bit deeper.
| | 00:11 |
Well let's begin by navigating to the
Effects panel by clicking on the Effects
| | 00:14 |
button, which is located right here.
Well the first thing that I want to do is
| | 00:18 |
crop this photograph so lets go ahead and
select the crop tool by clicking on it
| | 00:22 |
right here or by pressing c key Next I'll
click an drag across the photograph.
| | 00:27 |
I'm just going to create a free-form crop.
An sometimes you'll crop your image in
| | 00:30 |
order to reduce an simplify, or, in order
to get closer to the subject, as I want to
| | 00:34 |
do here.
Next press Enter or Return to apply that crop.
| | 00:39 |
Well now that I've cropped the photograph,
what I want to do next is I want to have a
| | 00:43 |
uniform darken edge around the entire
picture.
| | 00:46 |
To do that we'll work with our post-crop
vignetting, tools here, or sliders.
| | 00:51 |
Drag the Amount slider all the way to the
left, also drop down midpoint in roundness.
| | 00:56 |
In doing that, we now have this
darkened-edge effect.
| | 00:59 |
Here we might increase the feather, a
little bit, or change the amount to
| | 01:02 |
customize it.
Again, it's entirely up to you.
| | 01:06 |
Next I want to work on grain.
To do that let's double click the zoom tool.
| | 01:10 |
That will change our zoom rate to 100%.
Here we're going to make sure we can
| | 01:15 |
evaluate an important area of the
photograph.
| | 01:17 |
The face of course of one of my friends
here, Jeff, and also the background.
| | 01:21 |
And in this case, I'll crank up the
amount, and what I'm doing here is trying
| | 01:24 |
to create an amount or look which really
fits this black and white type of conversion.
| | 01:29 |
Well after having brought up my amount I'm
going to dial in, the size here, bring
| | 01:33 |
that up a little bit more.
What I've discoverer that in almost all of
| | 01:37 |
my photos, I like a certain amount of
roughness.
| | 01:40 |
I find that it sort of blends in that
grain nicely.
| | 01:42 |
The next step of course is after you have
worked in the FX panel, what you'll
| | 01:46 |
want to do is evaluate the whole image.
Let's go on and look at the preview here
| | 01:50 |
real quick.
Here is the before and then here is after.
| | 01:53 |
And one of the ways you can evaluate the
image is by clicking the hand tool.
| | 01:57 |
Double click on that so you can see the
whole photograph.
| | 02:00 |
And here what the effects have done is
they've changed the characteristic of the image.
| | 02:04 |
And what we might need to do is to make
some further adjustments.
| | 02:08 |
Sometimes you'll need to travel back to
the basic panel.
| | 02:10 |
Here perhaps you want to change the
overall exposure.
| | 02:13 |
Or dialing a different amount of contrast,
or lower the highlights, or whatever it is.
| | 02:18 |
And what I'm trying to illustrate here is
just the imprtance of making sure you're
| | 02:21 |
integrating the effects into your overall
workflow.
| | 02:24 |
Like with this image, let's say that you
want to add a little bit of toning to it.
| | 02:27 |
Here we can click on this icon which gives
us access to our split toning.
| | 02:31 |
Drag the Hue slider over to the yellows
there and bring up the yellows there a bit.
| | 02:35 |
We can also drag our Shadows slider or
maybe do the reds or the oranges, and
| | 02:38 |
bring it a little bit of a Hue so we have
a bit of a split tone type of aesthetic.
| | 02:43 |
In this way we're just changing the
overall characteristics, but again, here
| | 02:46 |
I'm highlighting how we can start to
integrate the effects panel adjustments
| | 02:50 |
into our overall workflow.
All right?
| | 02:53 |
Well in order to see the overall before
and after of the basic panel, the split
| | 02:56 |
toning panel, and the effects panel We
need to navigate to one of the last 2 tabs
| | 03:00 |
or panels here.
So click on one of those.
| | 03:04 |
Then you can click on the Preview check
box to see the overall before, click again
| | 03:08 |
to see the after.
| | 03:10 |
| | Collapse this transcript |
| Advanced effects blending with Photoshop| 00:00 |
In this movie I want to take a look at how
we can use our effects panel in order to
| | 00:03 |
work on this project.
An here we're going to access Camera Raw
| | 00:07 |
from Photoshop.
You know, sometimes it's advantageous to
| | 00:09 |
work with Photoshop, especially if you
want to apply some blending modes.
| | 00:13 |
And here let's explore how we can do that
working on this project.
| | 00:17 |
In this case you can see I have the
background or the original file.
| | 00:20 |
Then I have the image after I've applied a
few adjustments.
| | 00:22 |
Her I've converted to black and white,
added a sepia tone look, and also changed
| | 00:26 |
the overall tone a bit.
Well next what I want to do is add some
| | 00:29 |
film grain.
And I want create a bit more of a vignette affect.
| | 00:33 |
To do that, I'm going to run Camera Raw as
a smart filter.
| | 00:36 |
Here just simply click on the layer, then
right-click or Ctrl click.
| | 00:40 |
Then choose convert to smart object.
When you convert a layer to a smart object
| | 00:44 |
layer that allows you to run a filter as a
smart filter, which gives you even more flexibility.
| | 00:50 |
Next we'll navigate to the filter
pull-down menu.
| | 00:53 |
Then choose Camera Raw, as a filter.
This will then launch the image inside the
| | 00:57 |
camera, right inside of Photoshop.
What's great about this is we can then
| | 01:02 |
apply these effects.
Let's go to the fx panel and here I'll
| | 01:05 |
crank up the grain to an exaggerated
amount.
| | 01:08 |
We can have a lot of flexibility.
Let me show you what I mean.
| | 01:11 |
Here if we click OK it will then apply
that affect to this layer.
| | 01:14 |
But because this is a smart object layer,
you can see it's a smart object layer with
| | 01:18 |
this filter being applied right here.
Here's the before then here's the after.
| | 01:22 |
We can double-click the icon for that
Camera Raw filter.
| | 01:26 |
Which will bring us back to camera raw,
and here we can further modify or
| | 01:29 |
customize the effect.
Well obviously this effect is too strong,
| | 01:32 |
so let's zoom in on the image so we can
evaluate it better.
| | 01:35 |
What I want to do is lower the overall
grain amount.
| | 01:38 |
So here I'll decrease the amount of the
grain And also change the size there and
| | 01:42 |
the roughness.
Now often when you're working in photoshop
| | 01:45 |
you may want to overdue the amounts here
because you know that you can always blend
| | 01:49 |
those in or lower the opacity later.
Next let's zoom out by double clicking the
| | 01:54 |
hand tool.
Here, I'll click and drag the amount
| | 01:56 |
slider to the left, change the overall
midpoints so that I have a darkening
| | 01:59 |
effect around the outer edge of the
picture.
| | 02:03 |
Next we'll click OK.
In doing that, this will then apply these
| | 02:06 |
effects as a smart filter.
Here if we zoom in on the photograph we
| | 02:09 |
can see this is the before, now here is
the after.
| | 02:12 |
And this kind of works with this black and
white sepia tone image.
| | 02:16 |
Yet let's say that we want to take this
even further.
| | 02:18 |
Well with smart filters or with layers for
that matter we can change the blending mode.
| | 02:23 |
If you have a smart filter layer just
click on this icon here and it will open
| | 02:26 |
up our blending options.
In this case, we can choose a blending
| | 02:30 |
mode from the pull down menu, say like
soft light.
| | 02:33 |
What that will do is blend in the grain
into the image using contrast.
| | 02:39 |
This then allows us to also control the
overall intensity of this by decreasing or
| | 02:43 |
increasing the opacity.
Let's go ahead and click okay and then
| | 02:47 |
let's zoom in on the image by double
clicking the zoom tool.
| | 02:50 |
That will take us to 100% and we can now
evaluate the results up close.
| | 02:55 |
Take a look at how this camera filter is
applying the grain and also the venetting effect.
| | 03:00 |
Here's the before, and then now here's the
after.
| | 03:03 |
It's applying this in a really nice and
interesting and kind of a subtle way.
| | 03:07 |
And by using camera as a smart filter,
what I can do is have the grain sort of on
| | 03:11 |
top of the image.
And then I can have it blended in using
| | 03:15 |
the soft light blending mode.
Now I'm aware that I'm digging into some
| | 03:19 |
more advanced topics with Photoshop here
and this is a Camera Raw course, yet I
| | 03:23 |
simply wanted to highlight this so you can
start to think about how you can begin to
| | 03:26 |
work with camera raw and in particular the
effects panel in Photoshop, and often by
| | 03:30 |
working with the camera raw filter here in
Photoshop it can give us this extra bit of flexibility.
| | 03:39 |
Now, when we changed the blending mode to
soft light, we lost some of the film grain.
| | 03:43 |
Well, we can always bring some more back
by double-clicking this icon here, go back
| | 03:47 |
to the FX panel, or the effects panel, by
click on the FX button, and then crank up
| | 03:50 |
the grain amount even more.
With a higher grain amount and also with a
| | 03:56 |
more intense vignette, when we click OK
we'll then see the results here.
| | 04:01 |
Again, because of the soft light blending,
it isn't overpowering.
| | 04:05 |
Now if ever it is too strong, you have two
options.
| | 04:08 |
Double click the Camera Raw filter and go
back and change the settings.
| | 04:11 |
Or double click the blending options icon
and then you can decrease the opacity here
| | 04:15 |
in order to decrease the overall
intensity.
| | 04:19 |
And then click OK.
Well one of the things that this did for
| | 04:22 |
us is it helped us to see how we can start
to blend in camera raw effects here in Photoshop.
| | 04:27 |
Another thing that we explored with this
is how to start to work with smart filters.
| | 04:32 |
Now if all of these topics are completely
new and completely confusing to you, I
| | 04:35 |
have other courses on Photoshop where I
dig into these topics.
| | 04:40 |
I recommend you jump over to those and
check out the chapters on working with
| | 04:43 |
smart filters.
And also blend the modes, and by learning
| | 04:46 |
how to do this, it can really help us to
work with camera in even more effective
| | 04:49 |
ways so that we can create really unique
and distinct effects like this, and with
| | 04:53 |
this photograph I think it's the stubs
that we took here, in Photoshop, which
| | 04:56 |
really allows to create something which is
unique and special, all right.
| | 05:03 |
Let's click on this i icon, here you can
see that's our before.
| | 05:07 |
Click again, now you can see the after.
| | 05:09 |
| | Collapse this transcript |
|
|
11. Saving and Applying PresetsCreating and applying presets| 00:00 |
Camera Raw presets can help you to be more
creative, and they can speed up your
| | 00:03 |
workflow by leaps an bounds.
In this movie, I want to talk about how we
| | 00:08 |
can create an apply a preset in Camera
Raw.
| | 00:10 |
Then, in the next movie, we'll look at how
we can apply presets right inside of Adobe
| | 00:14 |
Bridge, so that we can process multiple
files at once.
| | 00:18 |
Well, first what we need to do in order to
create a preset is to modify our photograph.
| | 00:23 |
Here in order to modify this image in a
way that's really noticeable, what I'm
| | 00:26 |
going to do is desaturate the photograph,
and then modify its overall exposure and tone.
| | 00:31 |
Here in the basic panel, then we'll also
navigate to a few other panels as well.
| | 00:35 |
Next, I am going to bring down the
highlights.
| | 00:37 |
Also want to increase my shadows.
And just looking to try to improve the
| | 00:40 |
overall picture.
I'll increase the exposure there a little bit.
| | 00:43 |
Add some contrast, and just a touch of
clarity.
| | 00:46 |
All right.
Well, next, let's navigate to this panel
| | 00:48 |
right here, which allows us to add split
toning.
| | 00:51 |
Click on this icon.
Here, let's add a little bit of toning.
| | 00:54 |
We'll bring in some color into the
highlights, perhaps some yellows there.
| | 00:58 |
I'll bring into a new little bit of colors
in the shadows as well just to create a
| | 01:00 |
little bit of a sepia tone look here.
It's pretty subtle, but nonetheless it
| | 01:04 |
changes the look of the photograph in a
way that's pretty significant compared to
| | 01:08 |
the original color file.
Next let's navigate to the effects panel
| | 01:12 |
by clicking on the FX button.
In doing that we can add a little bit of
| | 01:15 |
film grain here as well.
Again, just to customize the look of the
| | 01:18 |
picture and then to darken up that edges
there...
| | 01:22 |
Alright, well here we've customized the
look of this photograph.
| | 01:25 |
And let's say that we want to save this
look out .
| | 01:27 |
Well we can do that by navigating to the
presets panel.
| | 01:30 |
You can access a presets panel by clicking
on this icon right here.
| | 01:34 |
Go ahead and click on that.
You'll notice that I don't have any
| | 01:37 |
presets loaded.
Yet we can save all of the settings out
| | 01:40 |
which we just used by clicking on this new
icon.
| | 01:43 |
I'll go ahead and click on the new icon
and use all of the settings because I've
| | 01:46 |
navigated to multiple panels.
And here I'm just going to go ahead and
| | 01:50 |
call this one sepia.
Next, click OK in order to create that preset.
| | 01:55 |
Now, the great thing about presets is that
they'll always be saved here in this
| | 01:59 |
panel, so that if ever you open up another
photograph, say, like this one here, in
| | 02:02 |
order to apply the preset, all you need to
do is to simply click on that and it will
| | 02:06 |
apply all of those settings which you save
there in that preset.
| | 02:12 |
The other great thing about this is if you
want to further customize a photograph,
| | 02:15 |
you can.
Here we go to the basic panel and
| | 02:17 |
encounter all of the settings which we
save in the preset.
| | 02:21 |
If this image needs to be a little
brighter, well we can just increase the
| | 02:24 |
exposure and perhaps increase the Overall
contrast as well.
| | 02:28 |
So you can use presets in order to finish
off images or you can also use them as a
| | 02:31 |
starting point for processing your
photographs, and then, you can further
| | 02:34 |
customize the adjustments by navigating to
the different panels.
| | 02:40 |
Well as you're staring to see, presets can
really help you out especially when it
| | 02:43 |
comes to processing multiple files.
Let's continue to talk about presets and
| | 02:47 |
let's explore how we can take advantage of
the preset that we've created here in the
| | 02:51 |
next movie.
| | 02:53 |
| | Collapse this transcript |
| Applying Camera Raw presets in Bridge| 00:00 |
In a previous movie we looked at how we
could create and save a preset in Camera Raw.
| | 00:04 |
Here I want to explore how we can take
advantage of that preset and apply it to
| | 00:08 |
one or more photographs.
Once you've created a preset, what you can
| | 00:12 |
do is navigate to Bridge and then select a
photograph.
| | 00:16 |
If you right click or Ctrl+Click on that
photograph, you can then scroll down to
| | 00:19 |
Develop settings.
Here we have a few options.
| | 00:22 |
You will notice that the presets which you
save were installed in Camera Raw are
| | 00:26 |
located right here.
If I want to apply the preset which we
| | 00:29 |
created in the previous movie, the sepia
tone look, all that we have to do is to
| | 00:32 |
simply click on this option here.
That preset will then be applied to the
| | 00:36 |
photograph without ever even launching
Camera Raw.
| | 00:40 |
And the advantage of this, of course, is
that you can start to apply looks to your
| | 00:43 |
photographs before you even begin to work
in Camera Raw.
| | 00:46 |
The other advantage is that in situations
like this you can see that I have these photogrpahs.
| | 00:51 |
These photographs were all captured at the
same time, it was an engagement shoot, and
| | 00:54 |
what I want to do is process these images
in the same way.
| | 00:58 |
To dot that, all that we need to do is to
select all of the photographs.
| | 01:01 |
Click on one image, hold down the Shift
key, then click on the last image in the set.
| | 01:06 |
Then, right click or Ctrl + Click and do
the same thing that we did before, but
| | 01:10 |
this time we're going to process all of
these pictures.
| | 01:13 |
So here we'll navigate down to develop
settings, an then we'll choose the sepia
| | 01:16 |
setting, or the preset which we just
created in the previous movie.
| | 01:21 |
An then when we select that, now all of
these images will have those Camera Raw
| | 01:24 |
settings applied.
An the great thing about this, is that we
| | 01:28 |
can then process, groups of images at the
same time.
| | 01:31 |
As you can imagine, this can really speed
up your overall workflow.
| | 01:34 |
Alright, well that wraps up our
conversation, about how we can access and
| | 01:38 |
work with presets, inside of Adobe Bridge.
| | 01:42 |
| | Collapse this transcript |
| Camera Raw presets and resources| 00:00 |
In this movie, I want to highlight a few
Camera Raw preset resource sites that you
| | 00:04 |
might find to be helpful.
The first one is located at ononesoftware.com.
| | 00:10 |
If you do a Google search for onOne
Software Camera Raw presets, and then
| | 00:13 |
click on the link, it will take you to
this page here, and here you'll discover
| | 00:17 |
that you can download for free.
Yeah, that's right, for free, over 140 presets.
| | 00:23 |
And these presets can allow you to correct
your image or to apply creative effects.
| | 00:28 |
If you scroll down a bit here, you can
read a little bit more about the presets,
| | 00:31 |
or click on the download button.
If you go down even further, they have an
| | 00:35 |
example here that shows a before and after
view of the preset.
| | 00:39 |
You can click and drag the slider.
Here's the image as it was captured from
| | 00:42 |
the camera.
Then drag this over to the left.
| | 00:44 |
And here's the photograph after the preset
was applied.
| | 00:47 |
And I recommend that you download these
and just start to experiment with working
| | 00:50 |
with other presets and explore how this
can speed up your workflow and also help
| | 00:54 |
you to be a bit more creative.
They're free so it doesn't cost you
| | 00:58 |
anything and it will help you really learn
how you can work with presets in an interesting.
| | 01:03 |
Another site that you may be interested in
is vs co dot co.
| | 01:08 |
This site provides some presets which you
have to purchase.
| | 01:12 |
If you click on the film link here and
then scroll down, you can view that there
| | 01:15 |
are some presets which allow you to
simulate different types of film.
| | 01:19 |
They also have some really unique
aesthetics, which you can apply to your photographs.
| | 01:24 |
Here, I'll click on another tab where I
have a few examples of these VSCO presets
| | 01:27 |
shown here.
Here you can see some of the examples and
| | 01:30 |
how they were applied to these
photographs.
| | 01:32 |
As you can see from these examples, they
allow you to create a really unique color
| | 01:36 |
palette or color-look in your photographs,
and by working with these you can develop
| | 01:40 |
a really distinct style.
Now these presets aren't cheap, yet these
| | 01:46 |
are my all time favorite.
Another thing that you might want to do is
| | 01:50 |
simply do a Google search for Adobe Camera
Presets.
| | 01:53 |
In doing that you'll discover that there
are so many presets out there.
| | 01:57 |
If you add the word free to your search,
you'll also find, a wide range of
| | 02:00 |
different types of free presets.
Now what you'll encounter here is that
| | 02:04 |
certain people will make presets an then
sell them, from anywhere from $5 all the
| | 02:08 |
way up to $200.
Well either way, what I hope that you
| | 02:12 |
start to do, is to explore how you can
find different types of presets.
| | 02:16 |
And who knows, maybe you'll create a set
of your own an then sell those.
| | 02:19 |
It may be a good way to gain some side
income.
| | 02:22 |
Alright, well there you have it, a few
different resource sites that you can go
| | 02:25 |
to to learn more about other presets that
are out there that you can use.
| | 02:29 |
| | Collapse this transcript |
|
|
12. Speeding Up Your WorkflowQuick raw processing of multiple files| 00:00 |
This chapter is all about speeding up your
workflow using Camera Raw.
| | 00:04 |
Let's take a look at how we can process
multiple images at once in order to speed
| | 00:08 |
up our workflow.
What you want to do is navigate to adobe
| | 00:11 |
bridge, click on one image and then hold
down the shift key and click on the last
| | 00:15 |
image in the set.
Other photographs that you want to work on.
| | 00:18 |
I want to work on these images that I
captured with my iPhone.
| | 00:22 |
Next let's open those in Camera Raw by
pressing Command+R on a Mac or Control+R
| | 00:26 |
on Windows.
Here you can see we have these pictures
| | 00:29 |
which lack a little bit of contrast and
color saturation.
| | 00:33 |
I want to bring some of that out.
So here let's simply click on select all.
| | 00:37 |
When you select all and then make
adjustments, here we'll make adjustments
| | 00:40 |
by increasing the contrast, We'll increase
the exposure to brighten that up, but also
| | 00:44 |
bring down the blacks.
What we'll discover is that, that's being
| | 00:48 |
applied to all of these photographs at
once.
| | 00:51 |
In this way, we can quickly and easily
process all of these pictures at one time,
| | 00:54 |
and again, here, I'll just modify these
sliders.
| | 00:58 |
so that we now have this look across all
of these photographs and here this allows
| | 01:02 |
us to work quickly and also to work
consistently.
| | 01:05 |
Well let's say that we've decided that we
want to make a change here.
| | 01:09 |
For example, rather than a yellow
background what about a green background.
| | 01:13 |
Well, to change a color, we know that we
can navigate to the HSL panel.
| | 01:20 |
We can access that panel by clicking on
this icon right here.
| | 01:24 |
In the HSL panel, if you navigate to the
hue tab, you can shift the hue, or the
| | 01:26 |
color, that you have in your photograph.
If we drag the green slider to the right,
| | 01:30 |
what that will allow us to do is to add a
little bit of green to that area.
| | 01:34 |
We'll also drag the yellow slider to the
right here in order to add some color
| | 01:37 |
there and as well, we'll take the oranges
over.
| | 01:40 |
Next, I'll bring the aquas over to the
green in this area here.
| | 01:44 |
And I'm using multiple sliders because
yellow is made up of multiple colors.
| | 01:48 |
Well now if I want to apply these new
adjustments to the other images all that
| | 01:52 |
we need to do is click select all and then
synchronize.
| | 01:57 |
What synchronize allows us to do is to
synchronize settings across multiple images.
| | 02:02 |
It will always pay attention to the first
photograph you selected and apply those
| | 02:05 |
settings to the other pictures.
In this case I want to synchronize everything.
| | 02:11 |
So you can click on this pull-down menu,
and here you can select everything from
| | 02:14 |
the pull down option at the top.
You can also select something specific for
| | 02:18 |
example, if you just want to apply or
synchronize the wipe out settings or you
| | 02:21 |
can choose that option here, or you can
always just simply click on and off these
| | 02:25 |
various check boxes.
In this case, I want to synchronize everything.
| | 02:30 |
So go ahead and click OK.
And as you'll see here, it will then apply
| | 02:33 |
those settings to the other photographs as
well.
| | 02:37 |
Now, if ever you want to undo something
that you've done in Camera Raw.
| | 02:40 |
You can press the Command+Z key on a Mac
or Control+Z key on Windows.
| | 02:44 |
When you do that, notice how it undid all
of the synchronization.
| | 02:48 |
If I want to undo these adjustments.
That is, the color change in the background.
| | 02:52 |
Press Command+Option+Z on a Mac or
Control+Alt+Z on Windows.
| | 02:57 |
That will allow you to step back through
you history, so that you can undo all of
| | 03:00 |
those adjustments.
And sometimes those Undo shortcuts can
| | 03:04 |
also speed up your workflow.
Here you can see we can process multiple
| | 03:08 |
images at once in Camera Raw.
Yet what about those situations where you
| | 03:12 |
have 100 or 200 photographs that you need
to process at one time?
| | 03:17 |
Well, in order to process higher volumes
of photographs, you'll want to do that in
| | 03:21 |
Adobe Bridge.
So let's take a look at how we can process
| | 03:24 |
multiple files in Adobe Bridge in the next
movie.
| | 03:28 |
| | Collapse this transcript |
| Applying raw processing in Bridge| 00:00 |
The more you start to work with camera raw
the more you'll discover that there will
| | 00:03 |
be times where you'll want to process a
group of images in the same way.
| | 00:08 |
In other words you'll have images which
you captured in one photoshoot, let's say
| | 00:11 |
you have 100 or 200 photographs.
And with all of those images, you want to
| | 00:15 |
process them entirely the same way.
Well, what you want to do is apply the
| | 00:19 |
settings to one photograph and then copy
or apply all of the settings to the other
| | 00:23 |
photographs in Adobe Bridge.
Well let's take a look at how we can do this.
| | 00:28 |
We'll start off with this photograph here,
Tahoe_1.dng.
| | 00:30 |
Select that image, the press Cmd+R on a
Mac, or Ctrl+R in Windows in order to open
| | 00:35 |
this file up in Adobe Camera.
Next, let's modify this image by going
| | 00:40 |
through the basic panel.
Here I'll change the color temperature by
| | 00:44 |
dragging the temperature slider to the
right.
| | 00:46 |
Next one of the things that I notice is
that there isn't really good detail here
| | 00:49 |
in the snow.
In order to bring out some more detail
| | 00:52 |
we'll drag the highlight slider to the
left and now you can see that we have more
| | 00:55 |
texture in this part of the photograph.
Next I'm going to increase the contrast
| | 00:59 |
here a little bit as well, then I'll drag
up my shadows and then bring down the
| | 01:03 |
blacks a little bit.
All right, well if we click on the preview
| | 01:07 |
check box, you can see here is the before,
and here is the after.
| | 01:10 |
Even with simple adjustments like this,
what we can do is apply these adjustments
| | 01:14 |
to one photograph, and then apply them to
the other photographs in Adobe Bridge.
| | 01:19 |
Well let's go ahead and click done in
order to exit and apply these settings to
| | 01:22 |
that image.
Well this image is currently updated with
| | 01:26 |
the new settings.
If we want to apply those to other
| | 01:29 |
photographs, what you can do is
right-click or Ctrl click, then you can
| | 01:32 |
navigate to develop settings.
Here you can choose to copy the settings
| | 01:36 |
from this file.
Go ahead and select that menu item, then
| | 01:39 |
navigate to another photograph.
You can paste these settings to one or
| | 01:44 |
more pictures.
If you have a folder of 200 images, select
| | 01:47 |
all 200 files, then right click or Ctrl
click.
| | 01:51 |
Navigate to the Develop Settings menu
item, and here we'll choose Paste
| | 01:54 |
Settings, and what we'll discover is that
this will open up our Paste Settings dialogue.
| | 02:00 |
In this dialogue, we can choose to paste
just certain settings.
| | 02:02 |
For example, if we want to, just white
balance the image, we can select that
| | 02:05 |
option, and it will only, turn on this
option here and apply those settings to
| | 02:08 |
the other photographs.
Or on the other hand, if we want to apply
| | 02:12 |
everything, as I do here, we'll go ahead
and choose everything, and then click Okay.
| | 02:18 |
In doing that it will then copy and paste
the settings from the first image to our
| | 02:21 |
other photographs alright well let's take
a look at one more way that we can do this.
| | 02:26 |
I'm going to go back to the original image
and then press Cmd+R on the Mac or Ctrl+R
| | 02:30 |
on Windows in order to open up this file.
Well, after having processed this image, I
| | 02:35 |
also realized that I want to sharpen it,
so here we'll navigate to the detail
| | 02:38 |
panel, we'll increase the sharpening
slider amount there, lower the detail, and
| | 02:41 |
reduce a little bit of noise here as well.
Well after having sharpened this image, I
| | 02:47 |
also now am going to need to sharpen my
other photographs as well.
| | 02:51 |
Well let's click Done in order to exit and
apply these settings.
| | 02:55 |
If ever you've modified a photograph and
want to copy and paste the settings to
| | 02:58 |
another file We've already seen how we can
Right Click or Ctrl+Click and go to this menu.
| | 03:03 |
If you want to work even more quickly,
what you can do is use a shortcut.
| | 03:07 |
Here I have a slide that I want to open up
in order to illustrate or highlight the shortcut.
| | 03:11 |
I'll press the Spacebar key to take this
slide to full screen.
| | 03:15 |
If you press Opt+Cmd on a Mac, or Alt+Ctrl
on Windows, and then the C key, you can
| | 03:19 |
copy the camera settings from one file,
then press Opt+Cmd or Alt + Ctrl + V in
| | 03:23 |
order to paste those to another image.
Well, let's look at how we can do that.
| | 03:29 |
Here I'll tap the Spacebar key to go back
to Bridge, and I'll navigate back to the
| | 03:32 |
images that I'm working on.
Here we'll select the first file which has
| | 03:36 |
a little bit extra work on it.
We sharpen the file and reduce the noise
| | 03:40 |
in this image as well, so here I'll press
Opt+Cmd+C on the Mac, or Alt+Ctrl+C on
| | 03:43 |
Windows, then navigate to the other
photograph, or photographs that you
| | 03:47 |
want to work on.
Again, if you have 200 images, select all
| | 03:52 |
200 of those pictures.
Then press Opt+Cmd+V on a Mac or
| | 03:56 |
Alt+Ctrl+V on Windows.
This once again will open up our pace
| | 04:00 |
camera raw settings here we want to apply
all of the settings, so go ahead and click
| | 04:04 |
Okay, then all of those settings which we
copied will now be copied and pasted and
| | 04:08 |
applied to our other photographs.
| | 04:12 |
| | Collapse this transcript |
| Recording a Camera Raw action in Photoshop| 00:00 |
In the next two movies, I want to
highlight a technique which will help you
| | 00:03 |
to speed up your workflow.
And it's a technique which will allow us
| | 00:07 |
to write, and record in action, which
involves using, Camera Raw.
| | 00:11 |
Well here you can see, I have two images
open, portrait-1.tif, and also portrait-2.tif.
| | 00:17 |
What I want to do, is create an action
which allows me to quickly sharpen these
| | 00:20 |
photographs, using Adobe Camera Raw.
In this first movie, we'll look at how we
| | 00:25 |
can create an action which duplicates the
background layer.
| | 00:28 |
And then applies a Camera Raw Sharpening
effect to the top layer.
| | 00:32 |
Well, in order to do that, the first step
is to open up the Actions panel.
| | 00:35 |
You can do that by clicking on this icon
here, it's a little play button.
| | 00:39 |
Next, what you want to do is click on the
folder icon, which allows you to create a
| | 00:43 |
new action set.
Go ahead and type out your name dash
| | 00:46 |
actions, then click OK.
Now, in ordre to write and record an
| | 00:50 |
action, you click on the icon which is
located right next to that little folder
| | 00:53 |
icon there, to this one here.
Go ahead and click on that icon and give
| | 00:57 |
this one a name.
I'll call this one ACR - Sharpen, next
| | 01:02 |
we'll click Record.
Once you click Record, Photoshop will
| | 01:06 |
remember any step that you take here.
So the first step that I'm going to take
| | 01:10 |
is to copy the background layer.
Click an drag this layer, to the new layer icon.
| | 01:15 |
Then let's go ahead an rename this layer
Sharpen - ACR.
| | 01:19 |
Next we'll navigate to the filter
pull-down menu, an here we'll select
| | 01:22 |
Camera Raw filter.
When you click on that menu item it will
| | 01:26 |
launch the Camera Raw dialogue here in
Photoshop.
| | 01:29 |
What I want to do is sharpen this image.
So I'll double-click the Zoom tool, this
| | 01:33 |
will zoom in to 100%.
Press the space bar key and Click an Drag
| | 01:36 |
to reposition the photograph.
Then navigate over to the Detail panel.
| | 01:41 |
In the Detail panel I want to apply a
subtle, but nonetheless, significant
| | 01:44 |
amount of sharpening to this photograph.
So bring up the Amount slider, I need to
| | 01:48 |
drop down my Radius a little bit and also
drop down the Detail slider.
| | 01:52 |
Well if we click on the Preview check box
we can see here's the before and then now
| | 01:56 |
here's the after.
We can see that a nice subtle sharpening
| | 01:59 |
effect is being applied to the photograph.
We also might want to reduce the noise
| | 02:03 |
here a little bit, so I'll go ahead and do
that to make sure that we aren't
| | 02:06 |
exaggerating any unwanted noise.
I'll increase the Sharpening value just a
| | 02:10 |
little bit there, an then go ahead an
click OK.
| | 02:13 |
In doing that, we will exit Camera Raw,
then we'll apply those setting to this new
| | 02:17 |
layer here.
An Photoshop will record all of the
| | 02:20 |
various steps that we've taken.
After having finished what we wanted to do
| | 02:24 |
here, simply click the Stop button.
Now I should point out to, that while
| | 02:29 |
we've recorded an action to use Adobe
Camera Raw to sharpen our photograph.
| | 02:33 |
We could record an action to do anything
that's possible to do in Camera Raw.
| | 02:37 |
Here I'm simply using Sharpening in order
to illustrate how we can record and then
| | 02:40 |
reuse an action.
This photograph is obviously taken care of
| | 02:44 |
but next what I want to do is work on
another picture, this one here.
| | 02:49 |
An in order to apply the action which we
just recorded, simply click on the action
| | 02:53 |
name, ACR - Sharpen, then click on the
Play button.
| | 02:56 |
What this will do is it will go through
all of those steps that we just recorded.
| | 03:00 |
An here if we zoom in on the image by
double-clicking the Zoom tool, then by
| | 03:03 |
pressing the Space Bar key.
And Clicking and Dragging to repostion
| | 03:07 |
that area that we're zoomed into, we'll
discover that what this did is it
| | 03:10 |
duplicated the layer.
It opened this file up in Camera Raw and
| | 03:14 |
applied those Sharpening and Noise
reduction adjustments which we've
| | 03:17 |
previously recorded.
And applied those to this layer so that
| | 03:21 |
this image is now sharp.
And in this way you can start to see how
| | 03:24 |
you can really take advantage of actions
in order to speed up your work flow.
| | 03:29 |
For those common tasks that you need to
perform on your photographs.
| | 03:33 |
Well in this movie, we looked at how we
could write and record an action that
| | 03:36 |
duplicated a layer and worked with that
layer in Adobe Camera Raw.
| | 03:40 |
Well next I want to look at how we can
write an action which allows us even more
| | 03:43 |
flexibility when working with Camera Raw.
So let's go ahead and take a look at how
| | 03:48 |
we can do that in the next movie.
| | 03:50 |
| | Collapse this transcript |
| Creating and using a Camera Raw Smart Filter action| 00:00 |
Now that we know a little bit about how we
can take advantage of using actions in
| | 00:04 |
Camera Raw in order to speed up our
workflow.
| | 00:07 |
What I want to do here is explore how we
can write an action which uses Camera Raw
| | 00:09 |
and gives us even more flexibility.
And gives us even more flexibility so that
| | 00:13 |
we can use Camera Raw and our Camera Raw
settings as a smart filter.
| | 00:18 |
We'll be working with these two portraits
here.
| | 00:20 |
Let's select Portrait-3.tiff, then click
on the icon which allows us to open up the
| | 00:24 |
Actions panel.
Next let's create a new action, so click
| | 00:28 |
on the New icon here.
We'll name this new action ACR - Sharpen -
| | 00:32 |
Smart Filter.
In this way, we'll record an action which
| | 00:35 |
will allow us to sharpen the photograph by
way of a smart filter.
| | 00:41 |
Here, click Record in order to start
recording this action.
| | 00:44 |
Now, the first step in working with smart
filters is to convert the layer to a smart
| | 00:47 |
object layer.
One way to do that is to right-click or
| | 00:51 |
Ctrl click on the layer, and choose
convert to smart object.
| | 00:55 |
Or, you can also navigate to the filter
pull down menu, and choose convert for
| | 00:59 |
smart filters.
When you click on this menu item, it will
| | 01:02 |
ask you if you want to do this in order to
be able to re-edit the filter, click OK
| | 01:05 |
because that's exactly what we want to do.
We want this layer to be a Smart Object layer.
| | 01:12 |
Next navigate to the filter pull down
menu.
| | 01:15 |
Here we'll choose Camera Raw filter.
This will then launch this photograph in
| | 01:20 |
Camera Raw.
Here I'll double-click the zoom tool to
| | 01:23 |
zoom into 100%.
Then navigate to the details panel by
| | 01:26 |
clicking on this icon here.
Here I'll go ahead and crank up my amount,
| | 01:30 |
bring down the detail in the radius.
So that we have a nice subtle sharpening
| | 01:34 |
affect applied to this photograph.
We also may want to reduce a little bit of
| | 01:39 |
noise whenever you sharpen an image, you
inadvertently bring out a little bit of
| | 01:43 |
extra texture sometimes of noise, so it's
a good idea drag out these sliders as well.
| | 01:49 |
All right, let's go ahead and click OK to
commit those changes and to apply those
| | 01:53 |
changes to this photograph as a smart
filter.
| | 01:56 |
Well, after having done that click on the
Stop button because we are done recording
| | 02:00 |
that action.
Now the advantage of an action like this
| | 02:03 |
is that it gives us extra flexibility.
Let me show you what I mean.
| | 02:08 |
Here, I'll click on Portrait 4, I'll
navigate to my Window pull-down menu,
| | 02:11 |
choose Arrange, and then I'll select
Consolidate All to Tabs.
| | 02:15 |
And this way, we can really just focus in
on this image here.
| | 02:18 |
With this photograph, what I want to do is
run this action.
| | 02:22 |
So here, we'll click on the action that we
have located right here which allows us to
| | 02:25 |
use Adobe Camera Raw to Sharpen the image
as a Smart filter.
| | 02:29 |
So let's click on the Play button and it
will run through all of those steps.
| | 02:41 |
Well, in seeing the before and after, I
really wish it was a little bit sharper.
| | 02:53 |
Well, we can further modify these camera
settings by simply clicking on this icon here.
| | 02:57 |
This will bring us back to Camera Raw.
In this way, I can go into the detail
| | 03:01 |
panel and crank up my amount so I can
sharpen this even more And for that
| | 03:04 |
matter, we can do anything that we want to
do here in Camera Raw.
| | 03:09 |
We can add some split toning.
We can work on contrast.
| | 03:12 |
Whatever it is we can do in Camera Raw, we
can now do here as a Smart Filter.
| | 03:16 |
And the great thing about this is that
once you click OK and commit to those
| | 03:19 |
changes, well, you can always go back and
change them later.
| | 03:23 |
Because those changes are applied as a
Smart Filter.
| | 03:27 |
Care to see the before the and after?
We can click on this eye icon, there's the
| | 03:31 |
before, now here is the after.
| | 03:34 |
| | Collapse this transcript |
| Batch processing multiple images| 00:00 |
In the previous movies, we looked at how
we could write and record actions, which
| | 00:04 |
took advantage of using Camera Raw inside
of Photoshop.
| | 00:08 |
In this movie, I want to talk about how we
can reuse those actions in order to batch
| | 00:11 |
process multiple photographs.
Here you can see I have two more portraits.
| | 00:16 |
And what I want to do is batch process
these portraits using the action that we
| | 00:19 |
created in the previous movie.
In order to do that, you want to go ahead
| | 00:23 |
and select on the images that you want to
work on.
| | 00:26 |
You can do that by clicking on one and
then hold down the Shift key and click on another.
| | 00:30 |
Next we'll navigate to the Tools pull-down
menu.
| | 00:33 |
And here what you want to choose is
Photoshop, and then Batch.
| | 00:37 |
When you click on the Batch menu item,
this will launch the Batch dialogue.
| | 00:41 |
In the Batch dialogue, we have the ability
to take advantage of the actions which
| | 00:45 |
we've written and recorded.
Here we can play actions from different sets.
| | 00:49 |
In this case I'll choose this set that we
created, which has my name on it.
| | 00:52 |
And I'll choose the action which we
created in the previous movie, which
| | 00:56 |
allowed us to apply some smart sharpening
using camera raw as a smart filter.
| | 01:01 |
Next, I'll simply use the files that we
selected in Adobe Bridge.
| | 01:06 |
Here I'll suppress any color profile
warning, so that won't hang up this
| | 01:09 |
overall batch processing.
In order to apply this to those
| | 01:12 |
photographs, simply click OK.
And as you'll discover here, it will open
| | 01:16 |
those images and then it will walk through
the steps of our action.
| | 01:20 |
In this case with this photograph you can
see it applied the Sharpening as a smart filter.
| | 01:24 |
The same thing can be said for the other
photograph this one here.
| | 01:28 |
If we double click the zoom tool to zoom
in on the picture we can see how we have
| | 01:31 |
that sharpening effect applied in this
photograph.
| | 01:34 |
Here's the before and then now, here's the
after.
| | 01:37 |
Again, with this image the sharpening
isn't quite strong enough because this
| | 01:40 |
image is a little bit too soft.
If you want to further modify a photograph
| | 01:45 |
that you have Batch processed in this way.
As you know, you just double-click the
| | 01:49 |
Camera Raw filter that will relaunch the
filter.
| | 01:51 |
Navigate to the panel you want to work on
in this case, the Sharpening panel.
| | 01:55 |
Drag this further to the right, and then
click OK.
| | 01:58 |
In doing that, we have extra flexibility,
so that we can increase or decrease, or
| | 02:01 |
change whatever camera raw setting it is
that we're applying to our photograph.
| | 02:07 |
And by taking advantage of batch
processing, we can then apply those
| | 02:10 |
settings to all of the photographs that we
select.
| | 02:14 |
| | Collapse this transcript |
|
|
13. Camera Raw CreativityCreating unique color with Curves| 00:00 |
In this chapter, we're going to look at
how we can come up with some creative,
| | 00:03 |
crazy, and sometimes a little bit
off-the-wall effects in our photographs
| | 00:06 |
using Camera.
Because at this point, you know a lot
| | 00:10 |
about how to use Camera Raw, so what I
want to do here is build upon that and
| | 00:13 |
talk about how we can start to get really
creative using this tool.
| | 00:18 |
In this first movie we'll keep things
simple, and we'll just use one panel.
| | 00:22 |
Then, in the next few movies, we'll dig
quite a bit deeper and we'll use a lot of
| | 00:26 |
different adjustments.
Well with this photograph that I captured,
| | 00:30 |
what I want to do is change the color
palette.
| | 00:32 |
I want it to have a lot of greens and
yellows.
| | 00:35 |
To do that, let's navigate to the Tone
Curve panel, and click on the tab for
| | 00:38 |
Point Curve.
Now here we access different channels by
| | 00:41 |
clicking on them from this pull down menu,
let's go ahead and start off with the red channel.
| | 00:46 |
We'll click into the red channel and
simply click and drag up.
| | 00:50 |
In doing that, that changes the over all
color characteristics up.
| | 00:52 |
In doing that, that changes the overall
color characteristic, yet it doesn't give
| | 00:54 |
me green.
Well, we can build that color by
| | 00:56 |
navigating to the green channel, you will
select that and click and drag that up.
| | 01:01 |
In dragging that up further and further
eventually, that gets us to this really
| | 01:05 |
interesting color palet Now we have these
greens and these yellows.
| | 01:09 |
Now this wouldn't have been possible had
we just gone to the green channel.
| | 01:13 |
Let me remove the reds and you can see
what the color looks like, it's not very
| | 01:16 |
interesting, but by having a lot of red
and also a lot of green.
| | 01:21 |
Well it helps us to create this muted,
almost vintage type of aesthetic here.
| | 01:25 |
Next we can go to the blue yellow channel,
we can also add a little bit of yellow
| | 01:28 |
into this, or we can a little bit of blue
if we want to shift it that way.
| | 01:32 |
And in this way, we can just have a lot of
fun with color.
| | 01:35 |
Now after you've worked in one of your
panels like the tone curve, you may want
| | 01:39 |
to navigate back to the basic panel.
Here we'll go back to the basic panel.
| | 01:43 |
You'll notice that I haven't done anything
to the photograph yet.
| | 01:46 |
And you know what?
With this project, I think it's fine the
| | 01:48 |
way it is.
You don't always have to make adjustments
| | 01:51 |
in certain areas.
Of course though if you want to
| | 01:53 |
experiment, by all means do so, that's
what this chapter is all about.
| | 01:58 |
Perhaps you want to experiment with the
contrast and see how that affects the
| | 02:01 |
color, or bring up the shadows Or do any
of the normal things that you like to do
| | 02:04 |
here in the basic panel.
Yet the point is to start to experiment
| | 02:08 |
because the more that you can experiment,
well the more that you'll really learn how
| | 02:12 |
all of these controls work.
And often as you experiment, sometimes it
| | 02:17 |
can help you come up with creative color
combinations or color options, or just a
| | 02:21 |
creative way to process your image like we
discovered here.
| | 02:25 |
| | Collapse this transcript |
| Combining numerous adjustments to generate creative results| 00:00 |
At this point in our course, you know
quite a bit about how to use Camera Raw.
| | 00:04 |
So here in this movie what I want to do is
talk about how we can put together, all of
| | 00:08 |
these different things that we've learned.
An with this image I want to have some fun
| | 00:12 |
an apply a Creative color effect to it.
So let's begin in the Basic panel.
| | 00:17 |
Then we're going to hop and skip to the
other panels as well.
| | 00:20 |
In the Basic panel, I want to brighten up
the overall exposure, so go ahead and
| | 00:23 |
click and drag the Exposure slider to the
right.
| | 00:26 |
I also want to bring some light into the
shadows, so again We'll drag that one to
| | 00:29 |
the right until we can brighten up those
shadows so that those are nice and bright.
| | 00:33 |
Often when you brighten an image, say with
exposure in shadows, you also may need to
| | 00:37 |
drag down the black so the darker tones.
Let's do that here.
| | 00:41 |
As that will add some nice contrast to the
photograph.
| | 00:44 |
Right well after having done that what I
want to do is zoom in on the picture.
| | 00:47 |
I'll grab the zoom tool and I'll click a
few times in order to zoom in.
| | 00:51 |
Just to evaluate the progress and also
evaluate the state of the photograph.
| | 00:55 |
Now once I zoom in close, I notice a
problem.
| | 00:58 |
I notice that there is some green color
fringe along that edge of the hat.
| | 01:01 |
And that kind of a red pinkish sort of
purple magenta maybe color fringe around
| | 01:05 |
the hand.
Well let's fix that by navigating to our
| | 01:08 |
panel which allows us to work with lens
corrections.
| | 01:11 |
Here click on the option to Enable the
Lens Profile Correction.
| | 01:15 |
It's almost always a good ideal to do
that.
| | 01:17 |
Then navigate to the color tab.
If we zoom in even closer you can see that
| | 01:20 |
purple fringe right here, also the green
fringe on the hat.
| | 01:23 |
Lets get rid of the purple amount by
clicking and dragging the purple slider to
| | 01:27 |
the right.
That fixes the issue on the hand.
| | 01:30 |
And also on this area of the hat.
Next for the green area, we'll go ahead
| | 01:34 |
and drag this to the right as well.
And again, you should see is that it's
| | 01:37 |
removing that color fringing from those
edges of that area of the photograph.
| | 01:42 |
Here, let me zoom in even closer.
Looks like I need to crank this amount up
| | 01:45 |
just a touch more and also extend the
reach by dragging this slider here, and
| | 01:48 |
you can see the before and after, how it's
dealing with those issues.
| | 01:53 |
Alright, well next let's zoom back out.
>> Now that we've worked on some of the
| | 01:56 |
details in this photograph and its overall
exposure and tone What I want to do next,
| | 02:00 |
is I want to change the color.
And again, I want to have some fun with
| | 02:04 |
the color.
To do that, let's navigate to the tone
| | 02:07 |
curve panel.
Let's work on the point curve.
| | 02:10 |
In the point curve, we can navigate to
various channels, as you know.
| | 02:13 |
We can select the red channel.
Here we can go ahead and click and drag a
| | 02:16 |
point on that curve.
In order to brighten up the image and also
| | 02:19 |
add some more reds.
Let's also do the same thing with the blue
| | 02:22 |
or the blue-yellow channel.
In this case we'll go ahead and click an
| | 02:25 |
add a point in order to add a little more
yellow as well.
| | 02:28 |
So that we have this really warm inviting
look.
| | 02:31 |
Now after having added that color.
Here's the before and then here's the after.
| | 02:35 |
I realize that the hat is still a little
bit purple or maybe a touch blue.
| | 02:39 |
Well we can correct that by navigating to
the HSL panel.
| | 02:44 |
Click on that icon here.
I told you we were going to be going to a
| | 02:46 |
lot of different panels.
Here, we'll click on the saturation tab,
| | 02:50 |
and we'll just click to desaturate the
blues.
| | 02:52 |
Also, we can remove, perhaps, a little bit
of the purples as well.
| | 02:56 |
Well, that removes that color problem that
we had there.
| | 02:59 |
Next, let's work on the detail.
Here, we'll click on the tab for the
| | 03:02 |
detail panel.
It's always nice to sharpen a photograph.
| | 03:06 |
Almost every digital image can benefit
from some sharpening, an some noise reduction.
| | 03:11 |
When you sharpen your image or reduce
noise it's a good idea to zoom in on the photograph.
| | 03:16 |
So here I'll zoom in to 100%.
Next I'll lower the radius an decrease the
| | 03:20 |
detail slider there.
There's quite a bit a noise in the shadows.
| | 03:24 |
That's because I brightened those up a
lot.
| | 03:26 |
So we'll go ahead an click an drag the
luminance slider to the right.
| | 03:29 |
That will help us deal with those noise
issues.
| | 03:31 |
Also going to bring up the, contrast in
that area.
| | 03:34 |
And reduce any color noise that we have.
After having done that, I realize I need
| | 03:37 |
to sharpen the image even a little bit
more.
| | 03:40 |
Alright, well already the photograph is
taking on a different characteristic.
| | 03:45 |
You can see how we corrected some of the
those issues.
| | 03:47 |
Reduced the noise.
Sharpened the photograph.
| | 03:49 |
Lets zoom back out.
Press command minus on a mac or control
| | 03:52 |
minus on windows.
Well now that we've modified this
| | 03:55 |
photograph in this fun way the next thing
I want to do is brighten up the outer edges.
| | 04:00 |
So here we'll navigate to yet another
panel.
| | 04:04 |
We'll click on the FX button to access the
effects panel and here in the post crop
| | 04:08 |
vignetting area lets brighten up the outer
edges by clicking and dragging this slider
| | 04:11 |
to the right.
In doing that, you can see that we can
| | 04:16 |
sort of brighten up that area so that the
image is taking on a bit more of an
| | 04:19 |
ethereal look.
Now, after having jumped all between these
| | 04:23 |
different panels and making these
different adjustments, let's go back to
| | 04:27 |
the Basic panel.
And this time, I want to navigate to the
| | 04:31 |
Basic panel by way of a shortcut.
As you get better at working in Camera
| | 04:35 |
Raw, you may want to use shortcuts to
navigate between your panels.
| | 04:39 |
If you press Cmd + Opt on a Mac or Ctrl +
Alt on Windows, and then tap the one key,
| | 04:43 |
you'll go to the Basic panel.
The 2 key to the Tone Curve.
| | 04:47 |
The 3 key to the Detail panel.
So on and so forth.
| | 04:51 |
And in a project like this when you're
really going to a lot of panels.
| | 04:55 |
it maybe helpful to use those shortcuts.
If you don't prefer to use the shortcuts,
| | 04:59 |
that's fine as well.
You can always just click on the tabs as
| | 05:01 |
we've been doing here in this movie.
All right in this one what i'm going to do
| | 05:04 |
is bring back a little bit of contrast,
also a touch of clarity, feel like the
| | 05:08 |
image was a little bit too soft there.
After having modified this image in some
| | 05:13 |
creative ways, let's take a look at the
overall results.
| | 05:16 |
Select the zoom tool, and click a few
times to zoom in.
| | 05:20 |
Then we'll click on one of our last
panels.
| | 05:22 |
Let's click on snapshots, and then press
the P key.
| | 05:26 |
Or click on this icon here, in order to
see the before, then click again, now we
| | 05:29 |
can see the after.
And the point here with this movie, we
| | 05:33 |
start to look at in a short amount of time
how we can put together many different
| | 05:36 |
techniques that we've been talking about
here.
| | 05:41 |
You know, in order to get good at Camera,
what we have to do is figure out how we
| | 05:44 |
can use Camera in order to really
actualize and finalize our vision for our photographs.
| | 05:50 |
And the quicker that we can become in
jumping, hopping between all of these
| | 05:53 |
different panels, the quicker that we can
become creative.
| | 05:57 |
Alright.
Well that wraps up this little mini
| | 05:59 |
project as we worked with many different
panels and adjustments in order to create
| | 06:03 |
this interesting and creative color
effect.
| | 06:07 |
| | Collapse this transcript |
| Using Curves and Camera Calibration to create a unique look| 00:00 |
In this movie we're going to take a look
at another example where we're going to
| | 00:03 |
use Camera Raw in a non traditional way in
order to create a unique color effect in
| | 00:07 |
this photograph.
The point of this chapter is to get you
| | 00:11 |
thinking about how you can use Camera Raw
in some really creative and fascinating ways.
| | 00:16 |
Here we're going to put ttogether some of
the different techniques which we've
| | 00:18 |
already talked about.
I'll also highlight a couple of new ones
| | 00:21 |
as well.
Right, well, let's begin here in the basic panel.
| | 00:24 |
All that we're going to do is brighten up
the shadows a little bit, and also add
| | 00:28 |
just a touch of clarity.
What clarity does, as you know, is it add
| | 00:32 |
some nice mid-tone contrast, and some nice
detail to the picture.
| | 00:36 |
It also mutes out the colors a little bit.
Now we'll be modifying the colors even
| | 00:40 |
further by using the tone curve.
Let's navigate to the tone curve by
| | 00:44 |
pressing Cmd + Opt + 2 on a Mac, or Ctrl +
Alt + 2 on Windows.
| | 00:50 |
Next let's navigate to the various
channels, starting off in the red channel.
| | 00:54 |
Here in the red channel, we'll navigate
over to the area which allows us to
| | 00:57 |
brighten up the highlights and also add
some red to that area.
| | 01:00 |
So we'll go ahead an click an drag up
there.
| | 01:02 |
An we'll drag, a point down, somewhere
around here in order to Darken up those
| | 01:05 |
shadows to maintain a little bit of the
original color and to bring in a touch of cyan.
| | 01:10 |
In this first adjustment, the photograph I
know doesn't look very good at all, yet
| | 01:14 |
just stick with me.
Here we're going to navigate to the Green Channel.
| | 01:19 |
In the Green Channel we're going to do
practically the same exact thing.
| | 01:22 |
bringing up the greens there, and then
bringing back some of the original color.
| | 01:26 |
Alright, we're starting to see this color
effect take shape.
| | 01:30 |
Next step is to go to the blue, or the
blue yellow channel.
| | 01:33 |
In this channel, we are just going to
click and drag down just a little bit here.
| | 01:37 |
And again, this is just the very beginning
of our process.
| | 01:40 |
But you can start to see really, how you
can use curves in order to customize the
| | 01:43 |
color in a pretty interesting way.
Now what I want to do next, I want to veer
| | 01:47 |
from the well worn path and in this case,
we're going to navigate over to the Camera
| | 01:51 |
Calibration tab.
Now, for most of us we very, very rarely
| | 01:55 |
navigate to this panel because it's a
little bit odd or strange.
| | 02:00 |
Yet you can use this panel in order to
come up with some creative or interesting
| | 02:03 |
ways to change the color in your picture.
Let's first begin by working on the shadows.
| | 02:08 |
Here we'll drag this slider to the right
and what that will do is it will bring
| | 02:11 |
some reds into the shadow area.
And you know, right there, that little
| | 02:15 |
adjustment, it really makes this image
come to life.
| | 02:18 |
It removes a lot of that green that we
had, an some of those other issues.
| | 02:21 |
We could take this further as well.
If we wanted to work on the reds, we could
| | 02:25 |
saturate those reds in order to bring them
out.
| | 02:27 |
Take a look at how we can remove or add
color.
| | 02:30 |
Just to the reds in this photograph.
In this case, I'll drag this just a touch
| | 02:33 |
to the right.
I also want to work on the blues.
| | 02:35 |
If we look at the blues here, again, we
can drag the blues down or we can bring
| | 02:39 |
those up as well.
I'm going to bring those up in order to
| | 02:42 |
create a little bit more sort of vibrance
in the blues that we have here on the garment.
| | 02:47 |
Alright, well there you have it.
A unique or interesting color aesthetic
| | 02:50 |
after we've modified this using camera
calibration.
| | 02:54 |
And also the point curve using the
different channels.
| | 02:57 |
Let's go back to the basic panel.
Now that we've customized this, what I
| | 03:01 |
want to do is bring down the highlights.
So I'll drag the highlight slider down a
| | 03:04 |
little bit that will reduce a little bit
of the brightness that we have in these areas.
| | 03:09 |
Then I'm going to brighten the overall
image up just a touch, add a little bit
| | 03:12 |
more contrast and I think that's pretty
good.
| | 03:15 |
Well let's navigate to one of the last two
panels we have by clicking on one of these icons.
| | 03:21 |
Then if we click on the Preview checkbox,
it will show us the overall preview of
| | 03:25 |
your work in the Basic panel, in the Point
Curve and also in the Camera Calibration tab.
| | 03:31 |
Here we'll click on the Preview checkbox.
Here you can see the before click again.
| | 03:35 |
Now you can see the after.
And in this example we did really stray
| | 03:39 |
from the well worn path.
Because we only made a few minor
| | 03:42 |
adjustments in the basic panel.
Then we really changed the color using the
| | 03:46 |
different channels in the point curve.
And then we finish this off by working
| | 03:50 |
with camera calibration.
Camera calibration gives us a unique way
| | 03:53 |
to access and change different colors,
take a look at the before and after of
| | 03:57 |
this layer, here this is before and then
here is the after.
| | 04:01 |
We are really able to bring out all of
those reds and create this unique look in
| | 04:04 |
our photograph, and you can use a
combination of different adjustments in
| | 04:07 |
order to work on your images in creative
ways, especially now that you're really
| | 04:11 |
advanced with all these controls and
sliders.
| | 04:16 |
What you want to do is start experimenting
and as you start to experiment Sometimes
| | 04:19 |
what you'll discover is that your
experiments will flop and you won't like
| | 04:22 |
them at all or maybe, like with this
photograph here, I like it but it isn't my
| | 04:26 |
all-time favorite.
Well, that's okay, because along the way
| | 04:31 |
we learn some valuable things.
We learned about how we can start to
| | 04:35 |
isolate and shift shadow color, we also
looked at how we can change color in
| | 04:38 |
different areas like the reds or the
blues, and we explored how we can combine
| | 04:41 |
a few different panel adjustments
together, so again, at your stage in your
| | 04:44 |
progress of growth in regards to Camera
Raw.
| | 04:50 |
I recommend that you experiment.
Have some fun, go crazy.
| | 04:53 |
Work with all these controls and
adjustments and see what you can come up with.
| | 04:57 |
| | Collapse this transcript |
|
|
14. Camera CalibrationIntroducing the Camera Calibration panel| 00:00 |
In this movie I want to introduce you to
how you can start to work with the Camera
| | 00:03 |
Calibration panel.
We'll be working with this photograph of
| | 00:07 |
my wife and two of our cute daughters
here.
| | 00:10 |
We're about to go boating in upstate New
York.
| | 00:12 |
And what I want to do with this image is
look at how we can change the process version.
| | 00:17 |
And also how we can customize a color
using the Camera Calibration panel.
| | 00:21 |
Well you can access this panel by clicking
on the little camera icon here.
| | 00:25 |
Notice that when you roll over it, it's
kind of like the flash turns on and it
| | 00:27 |
lights up there a little bit.
Let's click on that icon and that will
| | 00:31 |
take us the to the Camera Calibration
panel.
| | 00:34 |
Now this isn't a panel that people travel
to very frequently.
| | 00:38 |
That's why I'm including this chapter here
at the end of our course.
| | 00:41 |
Now one of the reasons though why you
might want to use this panel is to change
| | 00:44 |
the process version.
Notice that there's a little exclamation
| | 00:48 |
point down here.
That's telling me that I'm using an older
| | 00:50 |
process version.
It's older than the current version.
| | 00:53 |
Well, you can change this, either by
clicking on this icon here or you can also
| | 00:56 |
change this by going to the pull down
menu.
| | 00:59 |
And then choosing the most recent process
version, in this case.
| | 01:03 |
The process version of 2012 and you always
want to be using the current or the most
| | 01:06 |
recent version in order to take advantage
of the new technology.
| | 01:11 |
Or the new way to process your photograph.
Next what you might want to do is change
| | 01:15 |
the Camera Profile.
Here let me zoom on this image a little
| | 01:18 |
bit, so I just click on it few times so we
can get up close to this photograph.
| | 01:22 |
And here we can focus in on the colors
that we have as they were captured and
| | 01:25 |
rendered by the camera.
You know, when it comes to color, there
| | 01:29 |
isn't a way to create what's called
correct color.
| | 01:32 |
Rather, it's all about color relationships
and we all see and experience color in
| | 01:36 |
different ways and so do our cameras.
So here we have different profiles.
| | 01:41 |
We have an Adobe Standard profile, which
interprets a color in this way.
| | 01:45 |
Yet we can change this as well.
If you click on this pull down menu,
| | 01:48 |
you'll notice we have a few other options.
Let's try another option like Camera Landscape.
| | 01:53 |
When we click on this option, you'll
notice that all of a sudden, the colors
| | 01:56 |
are vibrant and alive.
Let me compare the differences for you.
| | 02:00 |
Here is Adobe Standard, that's how that
looked originally and then is Camera Landscape.
| | 02:06 |
Well you know what, I kind of like this
profile and it's not that one color
| | 02:09 |
treatment is right or wrong, rather it's
just different ways to process colors.
| | 02:14 |
We can also try out other profiles for
example Camera Portrait.
| | 02:17 |
Here with this photograph I don't think it
does a very good job, so it won't be that
| | 02:21 |
certain profiles will work for all images
and all situations for all times.
| | 02:26 |
Yet it may be worth while to experiment
with different profiles as you start to
| | 02:29 |
process your pictures.
Now between the three which we tried,
| | 02:33 |
Adobe Standard here, and then Camera
Landscape next, I think camera landscape
| | 02:37 |
looks kind of fun.
Think of this as the starting point for
| | 02:41 |
your photograph.
Next what you'll do is you'll go back
| | 02:44 |
through your normal workflow.
The typical Camera Raw workflow, as you
| | 02:47 |
know, begins in the Basic panel.
Here I'll warm up my color temperature,
| | 02:51 |
just a little bit.
Then I'll increase the contrast, recover
| | 02:54 |
some of those highlights, work on my
shadows, maybe deepen the blacks, and
| | 02:57 |
increase the clarity.
Again, just walk through the sliders and
| | 03:00 |
make adjustments so that your photograph
looks better.
| | 03:03 |
Actually, I think it's a little bit too
yellow so I'll go ahead and bring that
| | 03:06 |
back down just a touch.
Now, all of these adjustments are subtle,
| | 03:10 |
yet I was able to make these adjustments
on top of that profile that we selected.
| | 03:15 |
To view the overall before and after, we
have to click on one of the last two panel
| | 03:18 |
groups here.
Let's click on this one here and then
| | 03:21 |
we'll click on the checkbox.
Here you can see the before and then now
| | 03:25 |
you can see the after.
So in this situation you can see that it
| | 03:28 |
was advantageous to start off in the
camera calibration panel.
| | 03:32 |
In order to first update our process
version and second to choose a different
| | 03:36 |
Camera Profile.
After having established the color
| | 03:39 |
profile, next we went back to the Basic
panel and started to go through our image
| | 03:42 |
and work on it in a typical way.
| | 03:45 |
| | Collapse this transcript |
| Changing color with Camera Calibration| 00:00 |
Another reason why you might want to work
with the Camera Calibration panel is to
| | 00:04 |
make some changes to the overall color in
your photographs.
| | 00:08 |
We've already talked about how we can work
with different Camera Profiles by clicking
| | 00:11 |
on the pull -down menu and choosing New
option.
| | 00:14 |
Say like Camera Landscape.
Which makes the colors much more vibrant,
| | 00:17 |
yet we can also further customize the
colors by working with the shadows.
| | 00:22 |
Or the different types of color sliders
that we have here, red green or blue.
| | 00:26 |
Now these sliders don't allow us to adjust
specific colors, rather it's a range of color.
| | 00:31 |
First let's look at the Shadow slider.
We can Click and Drag this to the left and
| | 00:34 |
the shadows become more green.
Drag to the right and they take on a bit
| | 00:38 |
more of a magenta tint.
I think that looks a little bit better.
| | 00:41 |
Next we can work on the red primaries,
this allows us to shift color.
| | 00:45 |
Drag to the left, you'll notice that
everything becomes a little bit more pink.
| | 00:49 |
Drag to the right it becomes much more
orange.
| | 00:52 |
In this way, we can shift that range of
colors that we have in the photograph.
| | 00:55 |
We can also desaturate those, as well.
Sometimes you may need to desaturate the
| | 01:00 |
reds in digital capture if the red channel
is overexposed.
| | 01:03 |
This is a really quick and easy way to be
able to do that.
| | 01:07 |
We can work on the Greens, here we'll see
color shifts allowing us to make the image
| | 01:10 |
more yellow or more green.
We can also desaturate those tones as well.
| | 01:16 |
Then we have the Blues.
Again, we can shift those, make them more
| | 01:19 |
cyan or more purple.
In this case it makes some pretty,
| | 01:22 |
dramatic changes to the photograph.
So here I'll leave this at the default
| | 01:26 |
setting of zero, but what I do want to do
is just desaturate the sky a little bit.
| | 01:30 |
So here I'll desaturate the sky so that we
have a little bit more of a natural blue.
| | 01:34 |
And then I'll shift the blue around so
that it isn't quite so purple.
| | 01:38 |
In this way we can see that we can really
change the characteristics of the color.
| | 01:43 |
And what's interesting about this is
essentially this is what the Camera
| | 01:46 |
Profiles do, yet here we're creating this
ourselves.
| | 01:50 |
We're going through the different channels
or the different colors that we have here,
| | 01:54 |
groups of colors.
Or we're making channels in order to
| | 01:57 |
create a unique color look in this
photograph.
| | 01:59 |
If we click on the Preview check box we
can see here's the before, look again then
| | 02:02 |
here's the after.
As we make these changes, they allow us to
| | 02:06 |
make subtle or dramatic changes to our
photographs.
| | 02:10 |
Alright, well now that we've been
introduced to how we can work with color here.
| | 02:13 |
Let's go ahead and take a look at a real
world scenario where knowing how to work
| | 02:16 |
with these sliders might be helpful, and
let's do that in the next movie.
| | 02:20 |
| | Collapse this transcript |
| Creative color with the Camera Calibration controls| 00:00 |
In this movie I want to take a look at a
real world example where working with the
| | 00:03 |
Camera Calibration panel and the different
sliders that we have here, might help you out.
| | 00:08 |
And here we'll look at how we can dial in,
a distinct color look, and then how we can
| | 00:11 |
save this out as a particular setting.
Which can be applied to other photographs
| | 00:16 |
as well.
I have a friend who is a famous commercial
| | 00:19 |
photographer and he is really well known
one of the thing he does is he starts off
| | 00:23 |
all of his photographs the same way.
He navigates to the camera calibration
| | 00:28 |
panel and he desaturates the Blue.
One of the signature elements of his
| | 00:33 |
photographs is this slight blue color he
has in the sky, well, he starts to create
| | 00:36 |
that here in the Camera Calibration panel.
He also might shift the Hue just a little
| | 00:42 |
bit in order to change the overall look of
that color there.
| | 00:45 |
Next, after having removed a lot of the
blues, then navigate to the Basic panel.
| | 00:50 |
In the Basic panel, he increases the
Contrast, also a little bit of the Clarity.
| | 00:54 |
And then reduces the Vibrance and
increases a touch of the Saturation.
| | 00:59 |
Well here we have the recipe, which is the
starting point for his photographs.
| | 01:03 |
If we go to one of the panels which allows
us to save out the presets, we can then
| | 01:06 |
click on the Preview check box and see
here's the before.
| | 01:10 |
And then here's the after.
And he uses this particular recipe when
| | 01:13 |
he's working on fashion photographs or
landscape photographs.
| | 01:17 |
And for him, it's a way to communicate or
convey his mood or his feeling about the
| | 01:21 |
way that he sees the world.
And in this case as you can see with this
| | 01:25 |
photograph that I captured, it's kind of
this muted desaturated look.
| | 01:29 |
Well after having created a look like that
using the Camera Calibration panel and
| | 01:33 |
also the Basic panel.
What we can do is Save this out.
| | 01:37 |
We can do that click on this new icon
right here, this will open up, the New
| | 01:40 |
Preset option.
And here we want to use, all of the
| | 01:43 |
settings, which we've dialed in here.
And I'll go ahead and name this, Slate Blue.
| | 01:48 |
Because we're kind of creating this, Slate
Blue sky color, and then click OK.
| | 01:53 |
Well after we've saved this out, as a
preset, what you can do, is select,
| | 01:55 |
another image.
And before you even begin to work on it,
| | 01:58 |
you can click on that Preset, it will then
apply those settings so that you can then,
| | 02:02 |
further modify the photograph.
With this photograph it is a bit too
| | 02:07 |
bright, so here we will go the Basic panel
and then reduce the Exposure and increase
| | 02:10 |
the Contrast.
Here I'll decrease the Highlights a little
| | 02:15 |
bit more and increase the Clarity as well
and darken up those blacks.
| | 02:19 |
Again customizes a little bit further and
also to illustrate the point about how we
| | 02:23 |
can use those presets as starting points.
From which you can then further modify the
| | 02:28 |
picture, well here in this case if we go
back to the panel where we saved the
| | 02:31 |
preset we can then click on the Preview
check box.
| | 02:36 |
Here's the before and then click again to
see the after.
| | 02:39 |
The point here isn't necessarily that you
need to like this aesthetic.
| | 02:43 |
Rather, the idea is that if you have a
good working understanding of the Camera
| | 02:47 |
Calibration panel.
What you can do is create a unique or
| | 02:50 |
distinct color look in your photographs.
And with certain images, say with the
| | 02:55 |
original file here.
That can really help you to set apart your
| | 02:58 |
pictures, so that they look use a little
bit different.
| | 03:02 |
So in this way we've discovered how we can
work with the Camera Calibration panel.
| | 03:06 |
And also how we can combine those settings
with the basic panel and then save those
| | 03:09 |
out as a preset.
Once we've saved the Preset we can then
| | 03:13 |
apply that to other photographs by
navigating to the Presets panel and simply
| | 03:17 |
by clicking on the preset name.
| | 03:20 |
| | Collapse this transcript |
| Camera calibration resources| 00:00 |
Before we wrap up our conversation about
working with the Camera Calibration panel,
| | 00:04 |
I wanted to highlight a resource for you
which can help you to use a Camera
| | 00:07 |
Calibration panel, in order to ensure
color accuracy.
| | 00:11 |
Because so far we've been talking about
camera calibration really in color creativity.
| | 00:16 |
Yet you can also use this panel in order
to achieve, really good color.
| | 00:21 |
In order to do that, you might be
interested in taking a look at a small
| | 00:24 |
little device, which is called the X-Rite
ColorChecker Passport .
| | 00:28 |
You can see it in this photograph here.
What you do is you include this in one of
| | 00:31 |
your photographs.
Here I'll take a closer look at that so
| | 00:34 |
you can see this better.
And when you take a picture of this with
| | 00:37 |
your camera and your lens in a certain
lighting scenario, It will then capture
| | 00:40 |
the color that we have here.
If the color is off what you can do is
| | 00:45 |
build a custom profile, based on the color
that was captured so that the color in
| | 00:49 |
your photographs will be correct.
With that custom profile you can apply it
| | 00:54 |
to your photographs by clicking on this
Pull-down menu right here.
| | 00:58 |
To get more information about this device,
I'm going to navigate over to my web
| | 01:01 |
browser here and take you to the X-Rite
photo website.
| | 01:05 |
If you do a search for ColorChecker
Passport and then click on the link, it
| | 01:08 |
will take you to this page.
Here you can find out more information
| | 01:12 |
about this little device, when you buy it,
it comes with some software which allows
| | 01:15 |
you to build custom profiles for your
camera and your lens.
| | 01:19 |
Because you know every camera, and every
camera sensor, captures color a little bit differently.
| | 01:25 |
By using something like this, you can
create a profile which will insure that
| | 01:29 |
the color will be rendered at the most
accurate level.
| | 01:32 |
If you click around here a little bit on
the website you can find some tutorial
| | 01:35 |
movies which might be helpful.
You can also do a search on the website
| | 01:39 |
for creating a DNG profile.
If you do that, it will take you to this
| | 01:43 |
page here.
And here it will talk about the process of
| | 01:46 |
building those profiles.
And you can see essentially that what it's
| | 01:49 |
going to do is measure all of the colors.
And again when doing this, it can just
| | 01:53 |
help you to achieve even more accurate
color.
| | 01:56 |
Alright.
Well, I just wanted to throw that out
| | 01:58 |
there so that you know you can also use
that panel in order to achieve more
| | 02:00 |
accurate color.
But in order to do that, you'd need to use
| | 02:04 |
a device like this.
It's called the X-Rite ColorChecker Passport.
| | 02:08 |
This isn't something that you need to go
out and buy.
| | 02:11 |
Yet it would be worthwhile to visit the
site and learn a little bit more about
| | 02:14 |
this device because in my own workflow
I've found that it's helped me to increase
| | 02:17 |
my overall color accuracy, which in the
long run has made me really, really happy.
| | 02:23 |
Alright, well that wraps up our
conversation about this helpful little tool.
| | 02:27 |
| | Collapse this transcript |
|
|
ConclusionCamera Raw and Lightroom| 00:00 |
Any conversation about Adobe Camera Raw or
about Raw processing in general really
| | 00:04 |
wouldn't be complete without at least
mentioning Adobe Photoshop Lightroom, and
| | 00:08 |
that's what I want to do here.
But first what we need to do is step back
| | 00:13 |
for a second and think about our work flow
all the way from capturing images to
| | 00:16 |
working on them to output Now here in the
middle space we really work on Lightroom,
| | 00:20 |
Bridge and Photoshop.
Well what we have to start think about, is
| | 00:26 |
how do we work with these tools together?
You know occasionally, people will say,
| | 00:30 |
hey Chris.
I discovered Adobe Camera Raw.
| | 00:32 |
It's amazing and I'll never use Photoshop
again.
| | 00:35 |
That's definitely not the right approach.
Rather what we want to do is think of
| | 00:39 |
these two programs as separate
applications.
| | 00:42 |
And somehow there's overlap, and we thus
work with them together.
| | 00:45 |
Perhaps a better approach could be to say
hey I"m going to do a lot of my work in
| | 00:48 |
Adobe camera raw.
I'm going to do all my global corrections
| | 00:51 |
and then some of my fine tuning I'll do in
adobe camera raw but all of the sweet
| | 00:54 |
stuff, all of the precise stuff, all of
the really exact work, well that's all
| | 00:58 |
going to take place inside of Photoshop...
Man, this is a really valid and effective
| | 01:04 |
and good and strong workflow.
Well then what happens when we bring
| | 01:08 |
Lightroom into the equation, again, I get
questions.
| | 01:12 |
Chris, should I use camera raw, should I
use Photoshop, should I use Lightroom, and
| | 01:15 |
my answer is you should use all three
because each of these different programs
| | 01:19 |
have strengths.
First what I want to do is take a look at
| | 01:24 |
comparing Bridge and Lightroom, and to do
so comparing only the basic controls.
| | 01:30 |
On the left we have Adobe Camera, on the
right we have Adobe Lightroom.
| | 01:34 |
Well, if you compare these different
controls and sliders, you'll notice that
| | 01:37 |
they're exactly the same: temperature and
tint, temperature and tint, exposure,
| | 01:40 |
exposure, and all the way down the list.
And for that matter the raw engine that's
| | 01:45 |
actually working or processing the files
is identical.
| | 01:49 |
Well why then would you want to use one
tool versus another?
| | 01:52 |
Well one of the things that's good about
Lightroom is it's a professional level
| | 01:55 |
really strong and effective tool.
In order words there's some more features,
| | 02:00 |
there are more shortcuts, there's more
efficiency, there's better output.
| | 02:04 |
So what Adobe Camera Raw is which is
really good.
| | 02:07 |
Lightroom is even better.
And a lot of times, when people discover
| | 02:11 |
this, they then swing their approach.
So they work in Bridge when needed, but
| | 02:14 |
then they spend a lot of time in
Lightroom.
| | 02:17 |
And for that matter, they start to spend
even more time in Lightroom, and perhaps
| | 02:20 |
less inside of Bridge and Camera Raw.
And for some people, this is really an
| | 02:25 |
effective approach.
Because what Lightroom allows you to do is
| | 02:28 |
really keep track of your photographs and
also to process them in a pretty unique
| | 02:32 |
and powerful way.
Now, that being said, this isn't the only
| | 02:36 |
way to work on your images, and of course
Lightroom costs extra money, and so some
| | 02:40 |
people stick with working with camera raw
and Photoshop, because camera raw comes
| | 02:43 |
with Photoshop.
Now whatever your own workflow practice,
| | 02:48 |
just keep that in mind, and keep in mind
that it is also incredibly valid way to
| | 02:51 |
work using Adobe camera raw and photoshop.
Yet, if you're feeling like, hey, now I've
| | 02:56 |
learned Adobe Camera Raw, now I want to
take this to the next level, now, perhaps
| | 02:59 |
the next step for you is to dig into
Lightroom, and if you're interested in
| | 03:02 |
Lightroom I've created a number of
different training titles on that topic.
| | 03:08 |
So you can go ahead and check those out to
see if Lighroom might be right for you.
| | 03:11 |
Well, whatever your decision, there's one
thing that I think is incredibly important
| | 03:15 |
in regards to workflow.
I think in order to have a good workflow
| | 03:19 |
it doesn't necessarily matter what
software you use, but what does matter is:
| | 03:23 |
does my digital photographic workflow
increase my passion.
| | 03:27 |
Does it expand my creativity?
Does it enliven my vision?
| | 03:31 |
Because I believe wholeheartedly that, as
Marc Riboud once said, "photography is
| | 03:35 |
about savoring life at one one hundredth
of a second." So, therefore, as you step
| | 03:39 |
back for a moment and evaluate your own
photographic workflow, say "Hey, is it
| | 03:43 |
hitting these spots?
Is it increasing my passion or is it
| | 03:48 |
bogging me down?" Is it helping me to be
more creative or is it a little bit stifling.
| | 03:52 |
Is it helping me set my sights higher or
lower?
| | 03:56 |
So then after answering those questions,
you can then go back to your software
| | 04:00 |
applications and say ok, well what
software tools do I really need in order
| | 04:03 |
to take my overall photographic workflow
to the next level?
| | 04:08 |
And in closing, however you decide, I hope
that your decision leads you to being a
| | 04:12 |
more effective photographer and also to
getting even more out of life.
| | 04:17 |
| | Collapse this transcript |
| Additional resources| 00:00 |
In this brief movie, I want to highlight a
resource site, which will help you to get
| | 00:03 |
better with Camera Raw.
I also want to highlight a few techniques
| | 00:06 |
that you can use so that you and I can
stay in touch.
| | 00:09 |
Well first, this section of Adobes site.
Here you can learn more about Camera Raw.
| | 00:14 |
You can find information about Camera Raw
updates.
| | 00:17 |
You can find some really valuable
information, like right here for example
| | 00:20 |
if you click on this you can find answers
to common Camera Raw problems.
| | 00:24 |
So this is definitely one of those sites
which you'll want to bookmark and visit,
| | 00:27 |
so that you can get better with Adobe
Camera Raw.
| | 00:30 |
Next I want to highlight my own website,
it's chrisorwig.com.
| | 00:35 |
You can navigate to this site in order to
view some of my work and to see some of my
| | 00:38 |
other projects like my book projects,
etcetera.
| | 00:42 |
And if you navigate to
chrisorwig.com/subscribe.
| | 00:46 |
Here, you can subscribe to a newsletter.
I put this out about three or four times a year.
| | 00:50 |
And it contains information and
inspiration about photography, Photoshop,
| | 00:54 |
Lightroom and more.
Or if you prefer to keep in touch by way
| | 00:57 |
of social media.
You can always click on the social media
| | 01:00 |
icons as well.
Last, but not least, it would be great to
| | 01:02 |
hear from you.
If you want to send me a note, feel free
| | 01:05 |
to do so.
You can always do so by simply visiting
| | 01:07 |
the contact page of my website.
I would love to hear from you.
| | 01:11 |
All right, well, that wraps up our
conversation about one resource site, and
| | 01:14 |
also a couple of ways that you and I can
stay in touch.
| | 01:17 |
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