IntroductionWelcome| 00:00 |
(music playing)
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Hello, I'm Tim Grey.
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For years I've been encouraging
photographers to make the most of their
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digital photography by taking advantage
of their camera's Raw Capture option.
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When using the Raw Capture mode you're
maximizing the amount of information
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gathered by the camera.
And therefore maximizing the potential of
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the final image.
In this course, I'll guide you through
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the many powerful features for processing
your raw captures using Adobe Camera Raw.
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Which is included as part of Photoshop.
I'll start off by giving you an overview
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of Adobe Camera Raw and guiding you
through the basic operations and
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configuration options.
Next we'll go step by step through all of
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the basic adjustments available to you.
For optimizing the appearance of your
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photos in the raw conversion process.
We'll then explore some of the more
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advanced features including image
cleanup, targeted adjustments, cropping
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and straightening, graduated adjustments,
camera calibration and much more.
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Using Raw Capture helps ensure the best
results in your photography.
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And having a solid understanding of Adobe
Camera Raw will enable you to really make
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the most of every photo you work with in
Photoshop.
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So let's get started.
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1. Adobe Camera Raw OverviewOpening raw captures| 00:02 |
One of the things I find interesting
about a Adobe Camera Raw is that you
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can't exactly go looking for it.
It's not really an application in its own
| | 00:09 |
right but rather essentially a part of
Photoshop.
| | 00:12 |
It's a tool that enables us to convert
our raw captures into actual pixel values.
| | 00:17 |
But, it's nowhere to be found, until you
need it.
| | 00:21 |
And that's because Adobe Camera Raw is
automatically invoked whenever you open a
| | 00:26 |
raw capture.
And so, of course, to get started with
| | 00:30 |
Adobe Camera Raw, we have to first open a
raw capture.
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There are several ways you can go about
opening a raw file.
| | 00:37 |
It depends in large part on your own
workflow and personal preferences.
| | 00:41 |
Let's take a look at those several ways.
I'm in Photoshop at the moment, and
| | 00:45 |
really I just want to open a file.
In this case a raw capture.
| | 00:48 |
And to do that I can go to the File menu
and then choose Open.
| | 00:52 |
I could also press Ctrl+O on Windows, or
Cmd+O on Macintosh in order to bring up
| | 00:58 |
the file open dialog.
But I'll go ahead and choose the file
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open command from the menu at the moment.
And that will bring up the open dialog.
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That allows me to navigate to the
particular location where the photo I
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want to work with is located and then
within that folder, I can find the image
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that I want to work with, select that
image and click Open or simply
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double-click on the file itself.
I'll go ahead and select the file and
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click Open and as soon as I do so, you'll
see that the image actually opens in
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Adobe Camera Raw.
So even though I've opened the file in
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Photoshop, Adobe Camera Raw is stepping
in so that it can provide me with a
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variety of options for adjusting the
appearance of my image in the actual raw
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conversion process.
So you can see Adobe Camera Raw is there
| | 01:45 |
exactly when you need it and otherwise it
just stays out of the way.
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Of course there are some other ways we
can open a file.
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I'll go ahead and click cancel so that we
can close Adobe Camera Raw and take a
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look at another option which I use on a
regular basis to open images directly and
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that is to simply double click on the
application frame.
| | 02:03 |
On Windows, there is an application frame
automatically.
| | 02:06 |
That's this dark background that we see.
On Macintosh, by default, that background
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is not visible, meaning you're able to
see down to the actual desktop in your
| | 02:15 |
operating system or to other applications
that are running.
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If you're on a Macintosh system, you can
simply go to the Window menu and then
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choose Application Frame from down toward
the bottom of that menu in order to
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enable this application frame.
So Windows users won't see that option on
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the menu, but I do recommend for
Macintosh users that you enable it, both
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so that you're not distracted by other
elements outside of Photoshop, and also
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so that you can take advantage of this
quick shortcut for opening images, and
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that shortcut is simply to double-click
on that application frame.
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That will bring up the open dialog so
that you can select an image and open it
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with Adobe Camera Raw.
And of course, there's another option as well.
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I'll go ahead and click cancel in order
to close Adobe Camera Raw.
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And now I'm going to go to the File menu,
and I'm going to choose Browse in Bridge.
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I could also press Ctrl+Alt+O on Windows
or Cmd+Option+O on Macintosh to launch
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Bridge, and because Bridge is a separate
application, I could also launch it directly.
| | 03:13 |
But I'll go ahead and choose it from the
menu here, that will bring up Adobe
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Bridge and here, I can navigate to a
particular folder, locate a specific
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image that I want to open, and then
simply double-click on that image, in
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order to open the image in Photoshop via
Adobe Camera Raw.
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So as you can see, there's a variety of
ways we can open a raw capture in Photoshop.
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But regardless of which specific approach
we use, Adobe Camera Raw will always step
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in to provide us with the options for
fine-tuning our image in the process of
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that raw conversion.
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| Setting Camera Raw preferences| 00:02 |
I think in most cases, you'll probably
find that the default settings in the
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Adobe Camera Raw will work perfectly fine
for you.
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But it can be worthwhile to look at those
settings to see if there might be some
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options that you'd like to change.
Let's have a look at how we can configure
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the preferences in Adobe Camera Raw.
There are actually a few ways we can get
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to the Preferences dialog or Adobe Camera
Raw.
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In fact, we don't even need to be in
Adobe Camera Raw in order to access the
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preferences for camera raw.
I can in Bridge, for example, go to the
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Edit menu, and then choose Camera Raw,
Preferences.
| | 00:34 |
I can also work directly in Photoshop by
going to the Edit menu and then
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Preferences followed by Camera Raw.
But of course, I can also access those
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Preferences directly inside the Camera
Raw dialog.
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I'll go ahead and open a Raw Capture for
example, and that will bring up Adobe
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Camera Raw.
And up at the top, on the toolbar, you'll
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see what looks like a bullet list button,
and that is actually the button to access
| | 00:59 |
the Preferences dialog.
I will go ahead and click that button and
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that will bring up the Camera Raw
Preferences dialog.
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First, we have the General section, and
here, we can start off by choosing
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whether or not we want the settings for
our images.
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In other words, for the most part, the
Adjustments that we apply in Adobe Camera
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Raw to be stored in Sidecar XMP files or
in the Camera Raw database.
| | 01:22 |
My recommendation is to use the Sidecar
XMP option.
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That will create an XMP file with the
same base file name as your original Raw
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Capture , and that means that the
settings you've applied in Adobe Camera
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Raw will be stored right alongside the
images themselves.
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So, that if you copy the image along with
that sidecar file, and then access that
| | 01:42 |
Raw Capture on another computer or with a
different application, such as Adobe
| | 01:46 |
Camera Raw.
These settings for adjustments will be
| | 01:49 |
retained right along with the image,
whereas, if you store those image
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settings in the Camera Raw database, you
need to have access to that database in
| | 01:56 |
order to access the settings that you
created for your images.
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So, I generally recommend the XMP option.
Next, we have the Apply sharpening two
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option and this essentially allows to
disable sharpening in Adobe Camera Raw.
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So, if you're concerned about applying
sharpening too early in your workflow,
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you can choose the Preview images only
option.
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So that any sharpening settings you apply
in Adobe Camera Raw will effect the
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preview, in other words, you'll actually
see the result within Adobe Camera Raw.
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But those settings won't effect the
converted image.
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Of course, you can also just set that
sharpening down to a 0 value, and so, I
| | 02:32 |
usually leave the option set here to All
images.
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Next, we have some options related to
image settings.
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The first is an option to apply automatic
tonal adjustments to our images.
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I prefer to leave this option turned off,
because I prefer to exercise a bit more
| | 02:47 |
direct control over each image.
And I find the automatic tone adjustments
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sometimes have a little bit too much
contrast, and, so I end up spending time
| | 02:55 |
correcting for those changes in any
event, and I'd rather just start from the
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baseline values.
However, when creating a black and white
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version of my image or grayscale image, I
do prefer to have the automatic grayscale
| | 03:09 |
mix applied.
That usually gives a nice starting point
| | 03:12 |
for a basic black and white conversion.
If you're working with multiple cameras,
| | 03:17 |
you can also have the defaults apply
specifically to individual camera serial numbers.
| | 03:23 |
That allows you for example to apply
different settings for different camera models.
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Let's assume you were a wedding
photographer, and that one photographer
| | 03:30 |
at the wedding is shooting in color, and
the other is shooting in black and white.
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Well, you could set Adobe Camera Raw's
default settings for that specific
| | 03:38 |
camera's serial number to always convert
to black and white, and that way, when
| | 03:43 |
you view the images, you'll see the
colored camera's images in color and the
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black and white camera's images in black
and white.
| | 03:50 |
That's just one example of course, there
are a variety of situations where you
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might want to use this option, but in
most cases, I leave that turned off.
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We can also have the default settings
specific to camera ISO settings.
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In other words, for high ISO shots, you
might apply some automatic relatively
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strong noise reduction, and for low ISO
shots, you might apply no noise reduction
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at all.
Generally speaking, though, I apply noise
| | 04:14 |
reductions specifically to individual
images, and so I leave this option turned off.
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When Camera Raw processes our images, it
stores information about those images in
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a cache and the size of that cache
determines how many images Camera Raw
| | 04:28 |
rock can essentially remember information
about before it loses that information.
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Now, bear in mind the information itself
is never lost that always is preserved,
| | 04:36 |
for example in the XMP sidecar files, the
cache simply allows Adobe Camera Raw to
| | 04:42 |
work a little more quickly.
And so, if you have plenty of hard drive
| | 04:45 |
space available, you can increase the
size for that cache in order to improve
| | 04:50 |
performance in terms of working with
previously worked with images.
| | 04:54 |
For each new image, of course, there's no
information in the cache, and so the
| | 04:58 |
cache size is not all that beneficial.
You can also change the location of the cache.
| | 05:02 |
If for example, you have a secondary hard
drive that you want to put that cache on.
| | 05:06 |
And perhaps, more importantly, you have
the option to Purge that cache.
| | 05:10 |
Every now and then, you may find for
example, that preview images are
| | 05:13 |
corrupted and don't appear properly.
Or, you just may want to free up some
| | 05:18 |
hard drive space.
In either case, you can simply click the
| | 05:20 |
Purge Cache button in order to clear that
cache.
| | 05:24 |
There are also some options related
specifically to processing DNG files, and
| | 05:29 |
so, if you capture in DNG or if you
convert your RAW captures into DNG, you
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can choose whether you want to ignore any
sidecar files associated with those DNG images.
| | 05:38 |
And also, whether you want to Update the
embedded JPG previews when you make
| | 05:43 |
changes to those DNG files within Adobe
Camera Raw.
| | 05:47 |
Finally, in addition to processing raw
captures, Adobe Camera Raw can also be
| | 05:52 |
used to process JPG and TIFF images.
And, so you have the option as to whether
| | 05:56 |
or not you want Adobe Camera Raw to be
invoked when you open JPG or TIFF images.
| | 06:01 |
I'll go ahead and click the pop-up here
and you can see that you can Disable
| | 06:05 |
support for JPG or also for TIFF images.
You can Automatically open only JPEG or
| | 06:11 |
TIFF images that have already been opened
in Adobe Camera Raw.
| | 06:15 |
Or, you can automatically open all JPEG
or TIFF images regardless of whether or
| | 06:19 |
not they've been previously opened in
Adobe Camera Raw.
| | 06:22 |
Generally speaking, I leave this set to
the Automatically open option, so that
| | 06:27 |
JPEG or TIFF images are only opened via
Adobe Camera RAW if I've specifically
| | 06:32 |
chosen in the past to open that image
with Adobe Camera Raw.
| | 06:36 |
Note by the way, that there are separate
pop-ups for JPEG versus TIFF images.
| | 06:41 |
As you can see, the settings in the
Camera Raw Preferences dialog are
| | 06:44 |
relatively straightforward, and for most
photographers, I think the default
| | 06:48 |
settings are perfectly fine.
Once you're finished reviewing and
| | 06:52 |
modifying the settings within the
Preferences dalog, you can simply click
| | 06:56 |
the OK button in order to apply those
changes.
| | 06:58 |
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| Checking for updates| 00:00 |
In most cases you'll work with your raw
captures in Adobe Camera Raw and probably
| | 00:06 |
not really give much thought to Adobe
Camera Raw itself.
| | 00:09 |
It simply provides a set of controls that
allow you to fine tune your overall
| | 00:13 |
adjustments for that raw conversion.
However, from time to time, Adobe Camera
| | 00:18 |
Raw is updated.
That sometimes includes new adjustments
| | 00:22 |
or improvements to existing adjustments,
for example.
| | 00:25 |
But those updates also add support for
new types of raw capture files.
| | 00:29 |
When a new camera model is released and
it utilizes a new type of raw file or a
| | 00:34 |
variation on a previous type of raw file,
Adobe Camera Raw needs to be updated in
| | 00:39 |
order to support that specific type of
raw capture.
| | 00:42 |
And so, for example, if you were to get a
new camera, you may find initially that
| | 00:46 |
you're not able to open the images from
that camera with Adobe Camera Raw.
| | 00:51 |
In that situation, you need to get an
update so that you make sure you're
| | 00:54 |
working with the very latest version of
Adobe Camera Raw.
| | 00:57 |
I'll go ahead and click the Cancel button
to close Adobe Camera Raw.
| | 01:01 |
And then to check for updates and have
them installed automatically, I can
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simply go to Photoshop, and from the Help
menu, choose Updates.
| | 01:10 |
That will bring up the Adobe Application
Manager dialogue.
| | 01:13 |
And it will check online for any updates
to the applications that you have
| | 01:18 |
currently installed, including Adobe
Camera Raw.
| | 01:21 |
If there are any updates, of course
you'll be notified of that and you can
| | 01:24 |
choose to install those updates, and that
will all be taken care of for you automatically.
| | 01:28 |
It's a very simple and easy process.
In this case though, you can see that my
| | 01:32 |
version is completely up to date.
You'll notice there is a preferences
| | 01:36 |
button down at the bottom right of the
Adobe Application Manager dialogue, and
| | 01:40 |
here you can sure that all of the
applications you are concerned about, in
| | 01:43 |
this case specifically Camera Raw, are
included for updates.
| | 01:48 |
So I have the check box turned on for all
of the applications here for example,
| | 01:51 |
because I want to make sure that all of
them are updated any time there's a new version.
| | 01:55 |
There's also an option to receive a
notification on the Menu bar when a new
| | 02:00 |
update is available.
In addition, you can enable an option to
| | 02:04 |
allow Adobe to verify that the update was
successful by sending that information to Adobe.
| | 02:11 |
Those preferences work perfectly fine for
me so I'll go ahead and click the okay
| | 02:14 |
button and since there are no updates I
can now close that Adobe application
| | 02:18 |
manager dialogue, confident that I'm
working with the latest version of my software.
| | 02:23 |
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| Zooming and panning| 00:02 |
You may find that you have a tendency to
work with your images in Adobe Camera
| | 00:05 |
Raw, viewing the entire image.
In other words, having the image sized as
| | 00:10 |
it is by default, to fit the available
space.
| | 00:13 |
However, in many cases, you may want to
get a closer look at a specific area of
| | 00:18 |
the image.
And for that, you'll need to take
| | 00:20 |
advantage of the various options for
zooming and panning within the image.
| | 00:24 |
Let's take a look first at some of the
zooming options.
| | 00:28 |
You'll see that by default the image fits
the available space.
| | 00:31 |
For this specific image, at my current
display resolution, that happens to call
| | 00:36 |
for a zoom setting of 15.6%.
I can choose a different Zoom setting by
| | 00:41 |
clicking the popup and simply selecting
that option.
| | 00:45 |
For example, when I'm evaluating
sharpness in an image, I prefer to view
| | 00:48 |
the image at 100%.
And so I could simply choose 100% from
| | 00:53 |
that popup.
I can also use the plus and minus buttons
| | 00:56 |
in order to zoom out or zoom in as
appropriate.
| | 01:01 |
But in most cases I find that this
particular option is most useful for
| | 01:06 |
either fitting the image into view, the
last option on the popup menu there, or
| | 01:10 |
choosing a specific zoom setting such as
100% to evaluate sharpness, or perhaps
| | 01:15 |
400% to evaluate noise.
When I want to look at a specific area of
| | 01:21 |
the image, then I'll tend to use the zoom
tool in order to zoom in on that specific
| | 01:26 |
portion of the photo.
The zoom tool is active by default but
| | 01:29 |
you can also choose it from the toolbar
up at the top of Adobe Camera Raw or by
| | 01:33 |
pressing the letter Z on the keyboard.
With the zoom tool active you can click
| | 01:38 |
on a particular area in order to zoom in
on that area of the image.
| | 01:42 |
You can also hold the alt key on Windows
or the option key on Macintosh in order
| | 01:47 |
to access the zoom out option and then
click on the image to zoom out.
| | 01:52 |
In addition though, you can click and
drag in order to draw a marquis with the
| | 01:57 |
Zoom tool.
And that, in essence, is saying I want to
| | 02:00 |
look at this specific area.
So I'll draw a marquis around this buoy
| | 02:05 |
for example and you can see that, that
area is now zoomed in to fill the
| | 02:09 |
available space.
I can also quickly get to a 100% zoom
| | 02:13 |
setting by double clicking on that zoom
tool.
| | 02:17 |
So I'll go ahead and zoom in by a few
notches here.
| | 02:20 |
And then double-click on the Zoom tool
and I'm back at a 100% Zoom setting.
| | 02:25 |
Once I'm zoomed in, of course, I may want
to pan around the image.
| | 02:29 |
And I can do that with the Hand tool.
I can switch to the Hand tool by clicking
| | 02:34 |
on it on the tool bar, or by pressing the
letter H on the keyboard.
| | 02:37 |
But I can also access the Hand tool at
any time by pressing and holding the
| | 02:41 |
Spacebar key.
Then, I can simply click and drag on the
| | 02:44 |
image itself in order to move around the
image.
| | 02:48 |
If I want to get back to a Fit In View
setting, in other words to zoom out so
| | 02:53 |
that I can see the entire image, I can
also simply double-click on that Hand
| | 02:57 |
tool on the toolbar.
I can also use the same keyboard
| | 03:01 |
shortcuts that you may be accustomed to
in Photoshop in order to zoom in or out.
| | 03:05 |
I can hold the Ctrl key on Windows or the
Command key on Macintosh, and press Plus
| | 03:10 |
to zoom in, and Minus to zoom out.
And I can also press Ctrl+0 on Windows or
| | 03:16 |
Command+0 on Macintosh in order to set
the image to fit within the available space.
| | 03:21 |
And I can press Ctrl+Alt+0 on Windows or
Command+Alt+0 on Macintosh in order to
| | 03:27 |
zoom into a 100% Zoom setting.
As you can see, Adobe Camera Raw offers a
| | 03:33 |
variety of ways to zoom and pan around
your images.
| | 03:36 |
And which option works best for you
depends in large part on your personal preferences.
| | 03:40 |
For example, do you prefer to use
keyboard shortcuts versus the mouse.
| | 03:44 |
But also on the task you're performing at
any given moment.
| | 03:47 |
I often find myself using the keyboard
shortcut to fit the image into the view,
| | 03:52 |
for example, pressing Ctrl+0 or
Command+0.
| | 03:55 |
But at other times, I'll use the Zoom
tool to zoom in on a particular area.
| | 03:58 |
And, of course, the Hand tool to pan
around checking for various issues with
| | 04:03 |
the image.
The key, I think, is to keep in mind that
| | 04:06 |
we do have the option in Adobe Camera Raw
to zoom in on specific areas of the
| | 04:11 |
photo, so that we can evaluate our
adjustments, check for sharpness or
| | 04:15 |
perform other tasks that involve a
specific area of the photo.
| | 04:18 |
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| Histogram evaluation| 00:02 |
I suspect you are already familiar with
the notion of checking the histogram for
| | 00:06 |
your images on the back of your camera.
Not that you need to check the histogram
| | 00:10 |
for every single capture, but of course,
it's a good idea to at least periodically
| | 00:14 |
check your exposures by taking a look at
that histogram.
| | 00:18 |
But it can also be helpful to evaluate
the histogram for your images in the
| | 00:22 |
context of Adobe Camera Raw.
Both in terms of evaluating overall
| | 00:26 |
quality, but also for evaluating the
adjustments as you're applying them.
| | 00:30 |
The histogram display is shown at the top
right of the Adobe Camera Raw dialog.
| | 00:35 |
And as you can see, it is represented as
a full color histogram.
| | 00:38 |
In other words this histogram represents
all of the individual color channels red,
| | 00:42 |
green and blue, that are used to create
the full color image.
| | 00:47 |
Individual colors are shown to reflect
the channels.
| | 00:51 |
So for example we can see that there is a
fair amount of dark information for the
| | 00:55 |
red channel as well as the blue channel.
And in areas where those channels
| | 00:59 |
overlap, we'll see another color.
So mixed in over here on the left side,
| | 01:03 |
we can see red, green, and blue, but
where there's an overlap, for example an
| | 01:07 |
overlap between blue and green, then
we'll see cyan.
| | 01:10 |
The areas that are white indicate areas
where there is information on all three
| | 01:15 |
of the channels.
The left end of the histogram represents
| | 01:18 |
black and the right end represents white
with all of the tonal values represented
| | 01:23 |
in between.
And so based on the distribution of the
| | 01:26 |
chart here, we can get an indication of
where the pixel values lie in the image.
| | 01:31 |
Now, of course, I can look at the image
itself and see that there are a fair
| | 01:34 |
number of dark pixels and a reasonable
number of moderately bright pixels, but
| | 01:39 |
that's also reflected in the histogram.
And it can be helpful to evaluate that
| | 01:43 |
histogram, especially in the context of
applying adjustments.
| | 01:47 |
One of the key things to keep an eye out
for, in regards to the histogram, is
| | 01:50 |
clipping of shadow or highlight detail.
In other words, if the histogram chart is
| | 01:55 |
cut off at either end, it indicates that
information has been lost.
| | 02:00 |
I'll go ahead and adjust the blacks
slider for example while holding the Alt
| | 02:04 |
or Option key and as I drag that slider
over to the left, you'll start to see not
| | 02:08 |
only are pixels appearing in the image,
indicating that detail has been lost, but
| | 02:13 |
you can also observe that the histogram
itself, is being cut off.
| | 02:17 |
It doesn't end before the available space
ends.
| | 02:20 |
If I do the same for the whites slider,
holding the Alt key on Windows or the
| | 02:24 |
Option key on Macintosh, and then
dragging that white slider over to the right.
| | 02:29 |
Once again we see an indication of the
pixel values being lost within the image
| | 02:33 |
itself thanks to that clipping preview.
But I can also simply observe the
| | 02:37 |
histogram display.
You'll notice, for example, that now I
| | 02:41 |
have an abrupt cutoff over on the right
side, indicating that I'm clipping
| | 02:45 |
highlight values.
In addition to holding the Alt or Option
| | 02:48 |
key in order to see that clipping preview
display, we can also enable a clipping
| | 02:52 |
preview display for shadows and
highlights, directly within the histogram display.
| | 02:57 |
At the top left, we have a button to
enable the shadow clipping display and at
| | 03:01 |
the top right we have a button to enable
the highlight clipping display.
| | 03:04 |
I'll then go ahead and adjust both the
blacks and the whites, in order to enable
| | 03:09 |
some clipping and you'll see that I then
get a color overlay.
| | 03:12 |
Blue for shadows and red for highlights.
Indicating areas of the image that are
| | 03:16 |
losing detail.
So of course I can use the clipping
| | 03:19 |
preview display via the Alt or Option key
or via the button that is available
| | 03:23 |
within the histogram display area or I
can observe the histogram itself.
| | 03:29 |
I'll go ahead and reset the Camera Raw
adjustments to get back to my original histogram.
| | 03:33 |
And you can see of course that I have
very little, if any, shadow clipping
| | 03:37 |
based on this histogram display and
certainly no white clipping based on the histogram.
| | 03:42 |
And I can also get a better sense of the
overall distribution of pixel values.
| | 03:46 |
It can also be helpful to take a look at
the settings displayed directly below the histogram.
| | 03:51 |
That includes an indication of the
aperture and shutter speed, as well as
| | 03:54 |
the ISO setting used to capture this
image.
| | 03:57 |
And the lens focal length that was used
as well.
| | 04:00 |
And if I move my mouse out over the
image, you'll see that I get RGB values
| | 04:05 |
indicating the red, green, and blue
values for the pixel directly below my
| | 04:10 |
mouse at any given time.
Of course the histogram display is
| | 04:14 |
relatively straight forward and I think
most photographers have become accustomed
| | 04:18 |
to evaluating histograms in general.
But I do think it's helpful to have the
| | 04:22 |
histogram available directly within
Camera Raw and it's especially helpful
| | 04:26 |
that that histogram updates dynamically
as I apply adjustments to my image.
| | 04:31 |
| | Collapse this transcript |
| Evaluating with previews| 00:02 |
I'm sure any photographer can appreciate
the importance of perspective in a
| | 00:05 |
photographic image, but there's also an
important element of perspective related
| | 00:10 |
to working with your images in Adobe
Camera Raw.
| | 00:13 |
And specifically what I'm referring to is
getting some perspective on how good the
| | 00:17 |
adjustments are that you're applying at
any given moment.
| | 00:20 |
And I think the best way to get some
perspective on the adjustments you're
| | 00:23 |
applying is by turning off the preview
check box from time to time.
| | 00:28 |
For example I'll apply some arbitrary
adjustments here and let's just assume
| | 00:32 |
for the sake of argument that the
adjustments I'm applying are adjustments
| | 00:36 |
that I'm happy with.
I'll go ahead and apply some changes here
| | 00:40 |
warming up the image just a little bit,
well okay a lot, and adding some
| | 00:44 |
contrast, some clarity, some saturation
and vibrance.
| | 00:48 |
Now of course in this case the adjustment
is obviously not a good adjustment.
| | 00:52 |
I've applied very, very strong
adjustments and they're just not working
| | 00:55 |
that well for the image.
But, sometimes you'll apply adjustments
| | 01:00 |
that seem to be pretty good until you see
the before and after view.
| | 01:04 |
So, let's assume for the moment that you
thought this image looked pretty good
| | 01:07 |
right now then you turn off the preview
check box and you see the original image
| | 01:12 |
and suddenly it doesn't look very good at
all.
| | 01:15 |
Meaning that the after version looks a
lot worse than the before version.
| | 01:19 |
To be sure, the before version is a
little bit drab.
| | 01:23 |
It could use some more contrast, a little
more punch.
| | 01:25 |
But the after version looks worse.
It's very yellow to orange and there's
| | 01:30 |
too much contrast.
We've lost some shadow detail, etc.
| | 01:34 |
So just by toggling that preview check
box you can get a much better sense of
| | 01:38 |
the adjustments that you've applied and
whether or not they're actually good adjustments.
| | 01:43 |
And of course, to make that process a
little bit faster, in addition to
| | 01:47 |
toggling that preview check box, you can
simply press the letter P on the keyboard
| | 01:52 |
to toggle the preview display as well.
So with the preview check box turned on,
| | 01:57 |
you're seeing the effect of all of your
adjustments.
| | 01:59 |
And with that preview check box turned
off, you're seeing the original image.
| | 02:03 |
And switching back and forth between them
can really give you a much better sense
| | 02:07 |
of whether or not the adjustments you
applied are the best possible adjustments.
| | 02:11 |
And also give you some sense of what you
might like to refine.
| | 02:14 |
So, for example, here, I certainly want
to cool off the image a little bit, and
| | 02:18 |
tone down the contrast.
And overall just fix some of the
| | 02:22 |
problematic adjustments that I've
applied.
| | 02:25 |
But again the important thing is to get
some perspective on the adjustments as
| | 02:29 |
you apply them.
I always encourage you to toggle that
| | 02:32 |
preview off and on to get a better sense
of how much you really like the after
| | 02:36 |
version relative to the before version of
your photo.
| | 02:40 |
| | Collapse this transcript |
| Presets| 00:02 |
More often than not when I'm working in
Adobe Camera Raw I want to apply specific
| | 00:06 |
adjustments to the specific image that
I'm currently working with.
| | 00:10 |
I don't even think about the concept of
applying a preset set of adjustments for
| | 00:15 |
a particular image.
But from time to time, you may find that,
| | 00:18 |
for example, a creative effect you've
applied would work well as a basic
| | 00:22 |
starting point for other images.
And through the use of presets you can
| | 00:27 |
save specific settings that you've
applied to one image, and then apply
| | 00:31 |
those settings in turn to another image.
Let's take a look at the process of using presets.
| | 00:37 |
It starts, of course, with applying
specific adjustments that you'd like to save.
| | 00:41 |
And so, I'll apply some basic adjustments
for this image.
| | 00:44 |
I'll just convert it to grayscale, maybe
apply some very basic adjustments.
| | 00:49 |
I'll perhaps increase contrast just a
little bit, and open up some highlight detail.
| | 00:54 |
I might even open up shadow detail just a
little bit.
| | 00:57 |
Perhaps I'll increase clarity, or even
reduce clarity to get more of an ethereal
| | 01:01 |
look in the image.
Of course at the moment, I'm just
| | 01:04 |
applying some arbitrary adjustments just
to illustrate the basic concept here.
| | 01:10 |
But the point is that we can apply
adjustments to our images and then use
| | 01:14 |
that as the basis of future adjustments.
So let's just assume that I'm happy with
| | 01:19 |
this creative effect and I think I'd like
to apply it to other images in the future.
| | 01:24 |
I can now save the current settings as a
preset.
| | 01:27 |
So, I'll go to the Presets tab in Adobe
Camera Raw and then down at the bottom
| | 01:33 |
I'll click on the Create New Presets
button, that blank sheet of paper icon.
| | 01:36 |
And then you'll see that I have the new
preset dialog.
| | 01:41 |
And I can choose which specific
adjustments I want to save as part of
| | 01:45 |
this preset.
By default all of the basic asjustments
| | 01:49 |
will be applied.
But we can also turn on automatic tone
| | 01:52 |
and automatic grey scale adjustments if
we'd like.
| | 01:56 |
Or we can turn off specific adjustments.
So for example if the image I'm currently
| | 02:01 |
working with was captured at a very high
ISO setting and so I reduced noise for
| | 02:06 |
the image, I might not want to save those
settings as part of the preset on the
| | 02:10 |
assumption that I'll apply the preset to
images without high noise levels.
| | 02:14 |
But for now, I'll leave all of the
adjustment controls here turned on, and
| | 02:17 |
then I'll provide a name up at the top.
I'll just call this Ethereal Sepia,
| | 02:24 |
because it's sort of an ethereal
sepia-toned type of effect.
| | 02:29 |
The important thing of course is that the
name is meaningful to you so that you can
| | 02:32 |
select it from the list.
I'll go ahead and click OK and you can
| | 02:35 |
see that that ethereal sepia effect has
been applied.
| | 02:39 |
Just as we can easily save a preset we
can also very easily apply preset to an image.
| | 02:45 |
I'll go ahead and just reset my controls
in Adobe Camera Raw to get back to the
| | 02:49 |
original image and then on that Presets
tab I could simply click on a specific
| | 02:54 |
preset that I'd like to apply in order to
have it applied to the image.
| | 02:57 |
So here, for example, I can click on
Ethereal Sepia and that adjustment is
| | 03:02 |
applied to the image, but of course the
preset is not actually changing my
| | 03:06 |
original raw capture.
The preset simply remembers the specific
| | 03:10 |
settings that I used in creating this
effect, and so for example, if I go back
| | 03:14 |
to the basic adjustments you'll see that
that negative clarity value has been
| | 03:18 |
saved, so if I decide that the effect
isn't quite working for this specific
| | 03:22 |
image, I can always refine the effect.
In other words, just by applying a
| | 03:27 |
preset, I'm not committing myself to that
particular look.
| | 03:31 |
Rather, I'm giving myself what is
hopefully a good starting point for the
| | 03:35 |
image that I'm working on.
So, as you can see utilizing presets
| | 03:39 |
enables you to save settings that you
feel worked well for one image so that
| | 03:43 |
you can apply those same settings as a
starting point for another image.
| | 03:46 |
| | Collapse this transcript |
| Snapshots| 00:02 |
More often than not when I capture an
image I have a pretty good sense of what
| | 00:06 |
I'd like the final result to look like.
And as I'm working on optimizing my
| | 00:09 |
images I also have a pretty good idea of
which direction I want to head.
| | 00:14 |
But in some cases I might be a little
indecisive, not exactly sure how I want
| | 00:18 |
to interpret a photo.
And in those situations I might try a
| | 00:22 |
variety of different options before
settling on the final interpretation of a photo.
| | 00:27 |
And when that's the case, in Adobe Camera
Raw, I'll sometimes make use of the
| | 00:31 |
Snapshots feature.
The Snapshots feature is something of a
| | 00:34 |
history capability within Adobe Camera
Raw.
| | 00:36 |
It allows me to essentially capture a
snapshot of a photo at a given moment, so
| | 00:41 |
that I can always get back to that
particular moment in time for the image.
| | 00:45 |
Let's take a look at an example so you
can better understand the possibilities
| | 00:49 |
of this feature.
We'll start by assuming that I want to
| | 00:51 |
create a black and white interpretation
of this image.
| | 00:55 |
And so, I'll go through the various
adjustments.
| | 00:58 |
Don't worry about the specific
adjustments I'm applying at the moment.
| | 01:01 |
Just understand that I'm applying
specific adjustments based on a
| | 01:06 |
particular intent for the image.
So in this case a black and white version
| | 01:10 |
of the image, perhaps with a reasonable
degree of contrast.
| | 01:14 |
Once I arrive at what I think is a
possible destination for my image, at
| | 01:19 |
least in terms of the Camera Raw
conversion, then I may want to create a
| | 01:23 |
snapshot, so that I can explore other
options but always get back to this
| | 01:26 |
specific version of the photo.
So to do that, I'll go to the snapshots
| | 01:31 |
tab, and then down at the bottom right of
Adobe Camera Raw I'll click on the blank
| | 01:36 |
sheet of paper icon, the New Snapshot
button, in order to create a new snapshot
| | 01:41 |
for this particular instance of the
photo.
| | 01:44 |
When I do that, I'll be prompted to enter
a name for this version.
| | 01:47 |
And I'll just call this BNW, for black
and white and contrasty, just because
| | 01:53 |
this is a slightly contrasty black and
white interpretation.
| | 01:56 |
Ultimately I just need to recognize which
version of the image is represented by
| | 02:00 |
which snapshot name.
So it just has to be meaningful to me.
| | 02:04 |
I'll go ahead and click the OK button,
and that will create the snapshot.
| | 02:08 |
So, at any given time I can come back to
this interpretation of the image.
| | 02:12 |
So now I'm free to explore other
possibilities.
| | 02:15 |
For example, perhaps I'll go back to a
color interpretation of the photo, and
| | 02:20 |
then apply a variety of different
adjustments.
| | 02:24 |
Perhaps negative clarity to create a more
dreamlike appearance in the photo.
| | 02:27 |
Maybe I’ll boost the colors just a little
bit.
| | 02:30 |
I might consider cooling the image off a
little or even warming it up some more,
| | 02:34 |
or perhaps giving it a little bit of a
magenta tint.
| | 02:38 |
And let’s assume that this is what I
think what might be a good dreamlike
| | 02:42 |
state for the image.
And it's a version that I'm considering
| | 02:45 |
for the final image.
I'll go back to my Snapshots tab, and
| | 02:50 |
then I'll create another new snapshot.
I'll just call this dreamy for example,
| | 02:54 |
and I'll click OK to create that
snapshot.
| | 02:57 |
And once again, I can go back and
fine-tune all of my various adjustments
| | 03:01 |
and find different ways of interpreting
the scene.
| | 03:04 |
Maybe I'll bring up the clarity, for
example.
| | 03:07 |
And we'll call this sort of the
high-detail interpretation of the image.
| | 03:12 |
So I'll go back to Snapshots and I'll
create one more snapshot.
| | 03:15 |
We'll call this high detail, and I'll
click OK.
| | 03:18 |
So now I've explored various
interpretations, various possible ways of
| | 03:23 |
approaching this image and I can choose
among them very easily.
| | 03:28 |
All I need to do is go to the Snapshots
tab and click on the specific snapshot
| | 03:32 |
that I'd like to see, and I can switch
back and forth between all of them at
| | 03:36 |
will until I decide upon which particular
version I want to stick with.
| | 03:41 |
But of course this doesn't have to be the
final result.
| | 03:44 |
I can decide that black and white
contrasty is the best snapshot, but that
| | 03:48 |
I want to further refine things just a
little bit.
| | 03:51 |
And so I can go back to my various
adjustments, and fine tune them as I see fit.
| | 03:56 |
So as you can see, the Snapshots feature
in Adobe Camera Raw can be very useful,
| | 04:00 |
especially in situations where you're not
sure exactly how you want to interpret
| | 04:04 |
the final photo.
| | 04:05 |
| | Collapse this transcript |
| Workflow options| 00:02 |
As you're working on an image in Adobe
Camera Raw, you might notice that down
| | 00:05 |
below the image there's a summary of the
various settings that are going to be
| | 00:09 |
used in the process of converting the raw
capture into actual pixel values.
| | 00:15 |
Those options are referred to as the
workflow options in Adobe Camera Raw, and
| | 00:19 |
the summary here is actually a link.
So not only does it provide us with a
| | 00:24 |
summary of the specific settings that are
currently in use, but it also provides
| | 00:28 |
the opportunity to change those settings.
All we need to do is click on that link
| | 00:32 |
in order to bring up The work flow
options dialogue.
| | 00:35 |
Let's take a look at the various options
that are available here.
| | 00:38 |
The first is the color space and if you
click the popup you'll see that we have
| | 00:42 |
four basic options available, those
include Adobe RGB, ColorMatch RGB,
| | 00:47 |
ProPhoto RGB and sRGB.
Generally speaking, I recommend choosing
| | 00:52 |
one of three possible options depending
on your specific needs.
| | 00:56 |
The sRGB color space is the smallest of
the three color spaces that I recommend,
| | 01:01 |
and so for most photographers it probably
isn't the best choice.
| | 01:05 |
But if you only share your images online
or if you have prints made by a
| | 01:09 |
commercial printer that utilizes an SRGB
workflow, then SRGB may be a perfect fit.
| | 01:16 |
So SRGB is not a bad color space it's
just a small color space compared to the
| | 01:20 |
other options and so it's not the best
option for most photographers but
| | 01:24 |
certainly a good option for certain
photographers with certain work flows.
| | 01:28 |
A good all purpose choice is Adobe RGB.
This is a color gamut that's a little bit
| | 01:33 |
larger than SRGB and it's well suited for
images that will be printed...
| | 01:38 |
So if you print your own images on a
photo inkjet printer, or you send your
| | 01:42 |
photos off to a commercial printer that
is not using an SRGB based workflow, then
| | 01:47 |
Adobe RGB is probably a good choice.
But the Pro photo RGB color space is the
| | 01:53 |
biggest of all of them.
In fact it's so big it includes colors
| | 01:56 |
that aren't even real colors in the
visible spectrum.
| | 02:00 |
It is absolutely huge in fact much larger
than the color gamut of any computer
| | 02:05 |
monitor or any print device that's
available.
| | 02:08 |
To some extent you might say that that
means it's more than you need but, it
| | 02:12 |
also means that it provides a little bit
of insurance against future change.
| | 02:16 |
We can certainly bet that future computer
monitors or printers will offer wider
| | 02:20 |
color gamuts and utilizing the ProPhoto
RGB color space helps insure that you
| | 02:25 |
always have the maximum range of colors
available.
| | 02:28 |
So, when in doubt I would probably opt
for the Adobe RGB color space because
| | 02:32 |
it's just a safe general bet.
But if you have a workflow that calls for
| | 02:36 |
SRGB that is certainly a good option, or
if you are a more experienced user and
| | 02:40 |
you want to ensure the very best results
including future proofing your images, as
| | 02:44 |
it were Then I recommend the ProPhoto RGB
option.
| | 02:48 |
If you're working with ProPhoto RBG, the
bit depth option is especially important,
| | 02:53 |
but it's worth considering for all users.
The bit depth determines how many colors
| | 02:57 |
are actually going to be available.
With the 8 Bits/Channel option, we have a
| | 03:02 |
total of just about 16.8 million colors
available.
| | 03:06 |
That's a lot of colors and in fact, it
happens to match approximately what the
| | 03:10 |
human visual system is estimated of being
capable of.
| | 03:13 |
And that means 8 Bits/Channel works
pretty well for photographic images.
| | 03:17 |
But it doesn't work as well when you're
applying strong adjustments to your images.
| | 03:21 |
So if you tend to apply strong
adjustments, I definitely recommend the
| | 03:25 |
16 bit per channel option, and if you're
working in the ProPhoto RGB Color Space,
| | 03:30 |
I would say that the 16 bit per channel
option is absolutely mandatory.
| | 03:35 |
But I would also say that 16-bit is just
a safe choice for any photographer.
| | 03:39 |
It does mean your files will be twice as
large because there's simply more
| | 03:43 |
information there.
But it also provides you with maximum
| | 03:45 |
flexibility and helps reduce the risk, or
even eliminate the risk, of having
| | 03:50 |
posterization, or the loss of smooth
gradations of tone and color within your images.
| | 03:55 |
So I'll choose the 16-bit option here.
Next we can consider size.
| | 04:00 |
If I know that I'm preparing an image for
an especially large output then I might
| | 04:04 |
choose an option with a plus after it,
meaning I'm increasing the size of the
| | 04:08 |
image in the raw conversion process, and
that can actually lead to better quality
| | 04:13 |
in that enlargement.
Similarly, if I know that I will only
| | 04:16 |
present the converted image in a very
small form, for example online.
| | 04:19 |
Then I might choose one of the minus
options, the smaller sizes.
| | 04:23 |
But more often than not I'll leave the
size set to the default value based on
| | 04:27 |
the resolution of my camera.
Because generally I don't know exactly
| | 04:30 |
what I'm going to do with the image, or I
know that I'll be sharing it in a wide
| | 04:34 |
variety of ways, and therefore we'll need
to create images with various sizes eventually.
| | 04:39 |
So in this case I'll go ahead and leave
that option set to its default.
| | 04:43 |
Next we can set a resolution setting, but
it's important to keep in mind this is
| | 04:47 |
purely a convenience setting, this will
have absolutely no impact on the pixels
| | 04:51 |
in your image.
It simply sets a meta data value that
| | 04:55 |
determines the pixel-per-inch resolution
for your photo.
| | 04:58 |
So, if you're not sure what to set this
to, you can just leave it alone.
| | 05:02 |
If you're going to be printing the image
then you might want to use a 300 or 360
| | 05:07 |
pixel per inch value for example, but
ultimately it makes no difference.
| | 05:11 |
Adjusting this setting simply saves you a
step later on.
| | 05:15 |
So, for example, if I were to be printing
this image eventually on a photo inkjet
| | 05:18 |
printer, I might want to use a 360 pixel
print value for resolution and so I can
| | 05:23 |
set that now so I don't need to set it
later.
| | 05:27 |
But again it doesn't impact the overall
size or quality of the image in any way.
| | 05:32 |
The next option allows for sharpening,
and while I do apply some sharpening as
| | 05:37 |
part of a typical rock conversion, I
don't apply this output sharpening.
| | 05:41 |
I can apply sharpening at this stage
specific for the screen, in other words a
| | 05:45 |
monitor display or for glossy paper or
map paper if I'm printing the image.
| | 05:50 |
But I prefer to apply that type of
sharpening later in my workflow, and so
| | 05:54 |
I'll leave the sharpen setting set to
none.
| | 05:56 |
I can also choose to open my image as a
smart object.
| | 06:00 |
The benefit of working with a smart
object in a context of a raw capture is
| | 06:04 |
that I can double click on the thumbnail
for that image on the layers panel in
| | 06:07 |
Photoshop to bring up Adobe camera raw
and fine tune my original raw conversion settings.
| | 06:13 |
I tend not to use this feature however
because it interferes with some of the
| | 06:17 |
layer based workflows that I would prefer
such as performing images clean up on a
| | 06:21 |
separate layer.
So I'll leave that checked box off.
| | 06:24 |
Once you've established the preferred
settings though, for workflow options,
| | 06:28 |
you can simply click the Okay button, in
order to apply the changes.
| | 06:31 |
And note that those changes will be
reflective in this summary of the
| | 06:35 |
settings down below the image.
So in this case for example, you can see
| | 06:39 |
that I have the value set to ProPhoto RGB
for my color space, 16-bit per channel
| | 06:43 |
for the bit depth.
The native size for the overall
| | 06:46 |
resolution of the image, and a 360 pixel
per inch output resolution.
| | 06:51 |
These settings by the way will become the
default settings for any new images that
| | 06:55 |
I open in Adobe Camera Raw in future.
| | 06:57 |
| | Collapse this transcript |
| Cancel, Save, Done, or Open| 00:02 |
The whole point of working in Adobe
Camera Raw of course is to establish
| | 00:05 |
settings for the specific raw conversion
for the image that you're working with at
| | 00:10 |
any given time.
But of course once you've applied the
| | 00:13 |
various adjustments to the settings in
Adobe Camera Raw, you need to actually
| | 00:17 |
tell Adobe Camera Raw to process the
image.
| | 00:20 |
The simplest way to do that is to simply
open the image in Photoshop, but there
| | 00:23 |
are a variety of other options as well.
Let's take a look at those options.
| | 00:27 |
I'll go ahead and just apply some basic
adjustments here, maybe warm up the image
| | 00:31 |
a little bit and increase contrast.
Maybe I'll boost the vibrance just a
| | 00:36 |
little bit.
And then go back and fine tune things as needed.
| | 00:40 |
But once I'm happy with the result, let's
assume this is the final interpretation I
| | 00:44 |
want for this raw conversion, then we
need to decide what to do with the image.
| | 00:49 |
In most cases, once you've established
your settings for the raw conversion,
| | 00:53 |
you'll probably just want to open the
image in Photoshop, so that you can
| | 00:56 |
continue working on it.
Perhaps applying additional adjustments,
| | 00:59 |
cleaning up the image a little bit,
adding filter effects, or whatever it is
| | 01:03 |
you have in mind for this particular
photo.
| | 01:05 |
So if you want to open the image, simply
click the open image button and that raw
| | 01:10 |
capture will be processed and opened in
Photoshop.
| | 01:14 |
I'll go ahead and close this image though
without saving it and then reopen the
| | 01:19 |
same photo and you'll see that my
settings have been saved because they
| | 01:23 |
were stored in an XMP sidecar file in
conjunction with the original raw capture.
| | 01:28 |
So I have the exact same settings still
applied.
| | 01:31 |
And in this case, perhaps I want to apply
some other minor adjustments, maybe
| | 01:34 |
brighten the image up just a little bit,
and perhaps bring the black levels down
| | 01:38 |
just a little.
And if I decide that I'm happy with the
| | 01:41 |
result at this point, I could also then
click Open Image, in order to open this
| | 01:45 |
photo in Photoshop.
But if I decide I'm not really happy with
| | 01:48 |
the results, I can also click the Cancel
button.
| | 01:51 |
And Camera Raw will close and any changes
I made to the settings will not be preserved.
| | 01:57 |
I'll go ahead and open that image up once
again, and then we can take a look at the
| | 02:02 |
done option.
Done allows me to save my settings, but
| | 02:06 |
not open the image.
So let's assume that I'm going to make a
| | 02:10 |
different interpretation of the photo,
but I don't have time right now to work
| | 02:14 |
with the image in Photoshop.
I just want to preserve these settings so
| | 02:17 |
that whenever I do convert this raw
capture into actual pixel values, these
| | 02:21 |
settings will be preserved.
So, I'll click the Done button, Adobe
| | 02:25 |
Camera Raw closes but those settings are
saved.
| | 02:28 |
So when I open that image once again
you'll see, that for example in this case
| | 02:33 |
I applied a negative clarity value so I
have a little bit more of a dream-like
| | 02:37 |
appearance in the image.
So, Open Image will open the image in
| | 02:41 |
Photoshop and save the settings just as
I've established them, Cancel will not
| | 02:46 |
open the image, and will not save any
changes to the settings that I've made,
| | 02:50 |
and the Done option will close the image
but preserve the settings.
| | 02:55 |
Over at the far left though, we also have
the option to save the image.
| | 02:59 |
I'll go ahead and click that button, and
you'll see that I have a save options dialog.
| | 03:04 |
Here I can specify the particular
location where I want to save the image.
| | 03:08 |
I can specify file naming.
You can see the default is just the
| | 03:11 |
existing file name.
But I can also change this to a specific
| | 03:15 |
new file naming format.
The File Extension option allows me to
| | 03:19 |
choose what type of file I'd like to
save.
| | 03:22 |
For example, maybe I want to create a
Photoshop PSD file in this case.
| | 03:26 |
You'll see that the format option is also
available down below.
| | 03:29 |
We have Digital Negative, JPEG, TIFF or
Photoshop as our options.
| | 03:34 |
We can also specify which particular
metadata we want to save.
| | 03:37 |
Do we want to save all of the metadata?
All except for camera metadata, and
| | 03:42 |
Camera Raw information.
Only our copywrite and contact
| | 03:45 |
information, or only our copywrite
information.
| | 03:48 |
In this case I'll go ahead and leave the
option set to all.
| | 03:51 |
Notice that we also have a check box that
allows us to remove location information
| | 03:55 |
so that for example if GPS coordinates
were embedded in metadata at the time of
| | 03:59 |
capture, that information can be stripped
out.
| | 04:03 |
I can then click the Save option.
This, essentially, is the same as
| | 04:06 |
choosing the Open Image option then
immediately choosing to save that image
| | 04:11 |
in Photoshop and finally closing that
image without applying any additional changes.
| | 04:16 |
So, for example, I might use this option
when I'm finished processing the raw
| | 04:20 |
capture, I want to save the derivative
image but I'm not ready to work with it
| | 04:24 |
right at this moment so I don't want to
open it in Photoshop.
| | 04:27 |
In this case I'll go ahead and click the
Cancel button.
| | 04:30 |
And since I don't need to actually work
with this particular image at the moment,
| | 04:33 |
I'll also click the Cancel button in
Adobe Camera Raw, but bear in mind that
| | 04:37 |
since I've already clicked the Open Image
button as well as the Done button with
| | 04:41 |
specific settings applied, the Cancel
button will not reset the adjustments, it
| | 04:46 |
just won't save any changes I've made
during the current session with Adobe
| | 04:50 |
Camera Raw.
| | 04:50 |
| | Collapse this transcript |
| Resetting adjustments| 00:02 |
From time to time as you're working on an
image in Adobe Camera Raw, you may feel
| | 00:06 |
that you're just not happy with the
overall effect that you've created.
| | 00:10 |
In those situations, you may want to
essentially just start over with the image.
| | 00:14 |
But instead of closing the image without
saving any of the changes, in other words
| | 00:18 |
clicking the cancel button at the bottom
right of Adobe Camera Raw, and then
| | 00:21 |
reopening the image all together You can
just reset the controls.
| | 00:26 |
Let's take a look at an example here.
I'll start off by converting the image to
| | 00:29 |
black and white for example, maybe
increasing clarity, toning down the
| | 00:33 |
highlights, maybe even toning down
shadows a little bit.
| | 00:36 |
It's not important what the specific
adjustments are at the moment.
| | 00:40 |
The point is that maybe I'm not happy
with this result.
| | 00:43 |
And so I want to get back to the original
version of the image, the color version
| | 00:47 |
of the image, in this case.
I could certainly click the Cancel button.
| | 00:50 |
That will close the image, and not save
the changes, and then I could open the
| | 00:55 |
image again.
But there's a much easier option, and
| | 00:57 |
that is to reset the adjustments to their
default values.
| | 01:02 |
To do that, I can hold the Alt key on
Windows or the Option key on Macintosh.
| | 01:06 |
And that will cause the cancel button to
change to a reset button.
| | 01:11 |
So, holding Alt or Option I can click on
that reset button.
| | 01:14 |
And you can see that the adjustment
controls are reverted.
| | 01:17 |
To their original values.
But what if I had already made changes to
| | 01:21 |
the settings in Adobe Camera Raw?
For example, I'll go ahead and recreate
| | 01:25 |
that basic black and white interpretation
of the image.
| | 01:28 |
Maybe I'll apply some contrast and darken
down the highlights, increase clarity, etc.
| | 01:34 |
The point is that I'm making some obvious
changes to the image.
| | 01:37 |
And then I click the Done button in order
to save the settings but close the image.
| | 01:43 |
I'll go ahead and open up that image one
again in Adobe Camera Raw, and you can
| | 01:46 |
see, sure enough, the adjustments that I
just applied are preserved.
| | 01:52 |
Now, if I hit the Alt or Option key, and
click What had been the Cancel button but
| | 01:56 |
is now the Reset button, I don't get any
result.
| | 01:59 |
The image is not really being reset
because, instead, it's being reset to the
| | 02:04 |
image settings.
The save settings that I've created, this
| | 02:07 |
black and white interpretation of the
photo.
| | 02:10 |
In that case, I need to use a different
option in order to reset my image.
| | 02:13 |
To do that, I'll go up to the popup menu
over toward the top right, and you can
| | 02:18 |
see that the default setting here now is
Image Settings.
| | 02:21 |
In this case what I want is Camera Raw
Defaults.
| | 02:24 |
And when I choose that option from the
popup menu, the image will be reverted to
| | 02:28 |
the original camera raw defaults.
Meaning that I no longer have that black
| | 02:32 |
and white interpretation.
I'm not back to the default, original
| | 02:36 |
starting point for this image in Adobe
Camera Raw.
| | 02:39 |
| | Collapse this transcript |
| Processing multiple images| 00:02 |
If you've captured multiple images under
similar circumstances, and you want to
| | 00:06 |
work with all those images, then you may
want to apply consistent adjustments to
| | 00:10 |
those photos in Adobe Camera Raw.
Here for example, I have several images
| | 00:15 |
that were captured of a city in snow.
And they were all captured under the same
| | 00:20 |
basic lighting conditions and very
similar exposure conditions, and so it
| | 00:23 |
makes sense that I might want to apply
the same adjustments to all 3 of these images.
| | 00:28 |
And so I can open all 3 images in Adobe
Camera Raw.
| | 00:32 |
All at the same time.
I could certainly do this directly from
| | 00:35 |
the File Open command all in Photoshop
but it's usually easier to perform the
| | 00:39 |
task in bridge.
I'll simply click on the first image that
| | 00:43 |
I want to adjust and then hold the shift
key.
| | 00:46 |
And click on the last image in the
series.
| | 00:48 |
If the image I want to select were not
contiguous, or in other words not all in
| | 00:51 |
a row, I could also hold the control key
on windows or the command key in
| | 00:54 |
mackintosh in order to toggle the
selection of individual images while I'm clicking.
| | 01:00 |
With all 3 of those images selected, I
can now double click on the thumbnail for
| | 01:06 |
any one of those 3 and Adobe Camera Raw
will come up but now you'll notice that I
| | 01:10 |
have a filmstrip over on the left hand
side that includes all 3 of these images.
| | 01:16 |
I can click on the thumbnail to select a
specific image, and usually, what I like
| | 01:20 |
to do is find the image that is the best
representation of the overall group, in
| | 01:25 |
other words, one image that I can use as
the basis for my adjustments.
| | 01:29 |
With that image selected, I'll then click
the select all button, and now you can
| | 01:33 |
see that all of the images on the film
strip are selected.
| | 01:36 |
But I'm still looking at that one image
that I decided was the best for
| | 01:40 |
evaluating my adjustments, then I can
apply whatever adjustments I like.
| | 01:44 |
I'll apply some very obvious changes to
the image and you'll notice that the
| | 01:49 |
thumbnails are updating for all of the
images on the film strip, so I'm applying
| | 01:54 |
the exact same adjustments.
To all 3 of these images all at the same time.
| | 01:58 |
So I'm able to work a lot more
efficiently by opening multiple images at
| | 02:02 |
once in Adobe Camera Raw.
I can continue fine tuning, applying a
| | 02:07 |
variety of different adjustments that,
once again, will effect all of those
| | 02:10 |
photos that are currently selected.
But I can also apply individual adjustments.
| | 02:16 |
For example, let's assume that I want
this specific image to be desaturated so
| | 02:20 |
that it appears black and white.
I can click on just that one image, and
| | 02:25 |
then reduce the saturation value, for
example, all the way down to its minimum value.
| | 02:30 |
And you'll see that this image has been
desaturated, but the other images on the
| | 02:33 |
film strip have not, and I can continue
in this fashion selecting all of the
| | 02:38 |
images and applying adjustments that will
affect all of the selected photos but
| | 02:42 |
then working individually on individual
images as needed.
| | 02:46 |
And when I'm finished applying those
adjustments on multiple images, I'll want
| | 02:50 |
to make sure that I've selected all
images and that I can open all of them,
| | 02:54 |
or I can click done if I just want to
close Camera Raw.
| | 02:57 |
Preserving the settings, but not actually
opening the images.
| | 03:00 |
Or I can click the save images option at
the bottom left if I want to save these
| | 03:04 |
images as individual files.
It's also worth noting that we have a
| | 03:08 |
synchronize option, so if I hadn't
selected all of the images initially, and
| | 03:13 |
then I wanted to synchronize the settings
for all of those photos, I can still do that.
| | 03:17 |
I'll go ahead, for example, and click on
the first image and I'm just going to
| | 03:21 |
apply some very obvious dramatic effect
so that we'll be able to see exactly
| | 03:25 |
what's going here.
In this case, I've just shifted the color
| | 03:28 |
temperature to a severe blue color cast.
So now you can see that I've applied that
| | 03:33 |
adjustment but only to the one image.
If I actually want all of the images to
| | 03:37 |
have that same adjustment, I can then
select all the images and click Synchronize.
| | 03:42 |
I can choose which specific settings I
want to synchronize.
| | 03:46 |
And then click Okay..
And you'll see that all of those
| | 03:49 |
thumbnails on the film strip are getting
updated.
| | 03:52 |
So, whether I selected all of the images
first and apply adjustments in real time
| | 03:55 |
to all of those photos.
Or I work with a single image and then synchronize.
| | 04:00 |
With the ability to open multiple images
at once in camera raw, I am able to apply
| | 04:05 |
consistent adjustments to a group of
images that were captured under similar circumstances.
| | 04:10 |
| | Collapse this transcript |
|
|
2. Basic AdjustmentsImage rotation| 00:02 |
There's a good chance that you don't need
to spend much time, if any, thinking
| | 00:06 |
about rotating your images in 90 degree
incriments and that's because digital
| | 00:10 |
cameras include a sensor that allows them
to determine how the camera was
| | 00:14 |
positioned when the image was captured.
For example, was the image captured in
| | 00:18 |
the horizontal or landscape orientation,
or was the scene captured vertically or
| | 00:24 |
in portrait orientation?
In some case though, the camera may not
| | 00:28 |
know exactly what you intended.
If you hold the camera at a 45 degree
| | 00:32 |
angle for example, should it rotate the
image to be horizontal or vertical.
| | 00:37 |
It's a little unclear, because the camera
doesn't know what you were intending.
| | 00:40 |
And in most cases, if you hold the camera
upside down or point it straight up,
| | 00:46 |
you're going to get some unpredictable
results.
| | 00:48 |
With certain images, it doesn't even
really matter necessarily which direciton
| | 00:52 |
you orient the scene.
Here, looking straight up at some trees,
| | 00:56 |
for example, I could probably get away
with just about any orientation in terms
| | 01:00 |
of rotating in 90 degree increments.
If you find a situation where the image
| | 01:04 |
is oriented incorrectly, or where you
have some creative flexibility and you
| | 01:09 |
might want to rotate the image to a
different orientation, you can use the
| | 01:12 |
options within Adobe Camera Raw to rotate
the image as part of that raw conversion process.
| | 01:18 |
And you can perform this task, very, very
easily.
| | 01:21 |
You'll see up on the Toolbar, we have a
couple of buttons.
| | 01:23 |
One for rotating to the left or counter
clockwise, and one for rotating to the
| | 01:28 |
right or clockwise.
I'll go ahead and click the clockwise
| | 01:31 |
rotation button for example.
And you can see that the image is rotated
| | 01:35 |
90 degrees to a vertical orientation in
this case.
| | 01:38 |
I can then click again and look at the
essentially upside down version of the
| | 01:43 |
image as it were, although in this case,
I'm not sure we could call any
| | 01:46 |
orientation upside down.
And we can rotate once again.
| | 01:49 |
And I can go through all four
orientations to decide which version I
| | 01:54 |
think might work best for the image.
Hopefully, I can actually remember what I
| | 01:59 |
had in mind or which way I was facing
when I captured the image.
| | 02:02 |
For this scene, I think having the sun up
towards the top right, you can see the
| | 02:06 |
rays just barely peeking in.
That feels more natural for me but I
| | 02:10 |
could certainly use a vertical
orientation as well.
| | 02:13 |
Either of the vertical orientations, I
think, would work perfectly fine in this
| | 02:16 |
case but once again, I would tend toward
having the sun at the top of the frame if
| | 02:21 |
I were going to choose the vertical
orientation.
| | 02:24 |
But the point is that in some cases you
may want or need to rotate the image in
| | 02:28 |
90 degree increments, and that's a very
easy task to perform in Adobe Camera Raw.
| | 02:33 |
| | Collapse this transcript |
| Cropping and straightening| 00:02 |
You can probably imagine that if you're
capturing an image from the passenger
| | 00:06 |
seat of a moving car, holding the camera
up over your head outside the window of
| | 00:10 |
the car, that getting the horizon
straight can be a little bit of a challenge.
| | 00:14 |
And in a variety of situations you may
find that you need to rotate the image.
| | 00:18 |
Just a little bit to straighten the
horizon or make sure their vertical
| | 00:21 |
object is absolutely vertical.
Now, you can rotate an image as part of a
| | 00:27 |
cropping process, and, in fact, when you
do rotate by an arbitrary amount, you're
| | 00:31 |
definitely going to need to crop the
image to some degree.
| | 00:34 |
But let's take a look at the options that
are available.
| | 00:36 |
For cropping and straightening an image.
Here we have a very obviously crooked
| | 00:41 |
horizon so, we might start there and I'll
choose the Straighten Tool for that purpose.
| | 00:46 |
So, I'll click on the Straighten Tool on
the toolbar, and then I'll move out into
| | 00:50 |
my image.
And then click on the horizon and then
| | 00:53 |
drag across the image.
You can see that I have a line connecting
| | 00:57 |
the point where I initially clicked to
the current position of my mouse.
| | 01:01 |
And I can simply align that line, that
edge.
| | 01:05 |
To the horizon in this case.
Or to whatever line in the scene I want
| | 01:09 |
to make perfeclty horizontal or pefectly
vertical.
| | 01:13 |
Once you have the line in perfect
alignment, you can simply release the
| | 01:16 |
mouse button and you'll notice now that I
have essentially a cropping box that
| | 01:21 |
defines which portion of the image will
be retained.
| | 01:25 |
More importantly, that cropping box is
rotated, meaning that it reflects the
| | 01:29 |
orientation of the line that I drew, but
I've actually in the process switched
| | 01:34 |
from the straighten tool from the crop
tool.
| | 01:35 |
You'll notice the crop tool is active up
on the tool bar, and while we have this
| | 01:40 |
crop tool active, we can take a look at
the other option for.
| | 01:43 |
For rotating the image, and that is to
move the mouse outside the Crop Box and
| | 01:48 |
then click and drag in order to rotate
that Crop Box.
| | 01:52 |
Well, you can probably appreciate that
it's not all that easy to get a perfect
| | 01:56 |
orientation for that crop box if you're
simply rotating the box.
| | 02:00 |
So at anytime you can switch to that
Straighten tool.
| | 02:03 |
And then once again click and drag across
the line that should be oriented
| | 02:07 |
horizontally or vertically.
And then adjust the crop boxes needed, in
| | 02:11 |
this case for example, the crop box is a
little bit too small and so I'll stretch
| | 02:16 |
things out just a little bit.
In most cases I want to include as much
| | 02:20 |
of the image as possible in that crop.
Because I'm really just cropping in order
| | 02:26 |
to compensate for the fact that I'm
rotating the image.
| | 02:28 |
I don't want to remove any portion of the
image.
| | 02:31 |
At least in most cases.
I certainly could eliminate portions of
| | 02:34 |
the photo as part of the crop if I wanted
to.
| | 02:37 |
But again, the key is that we're able to
both rotate and crop the image as part of
| | 02:41 |
one basic process.
Once I'm happy with the result I can
| | 02:45 |
simply double click inside that cropping
box and then you'll see that my preview
| | 02:49 |
gets updated to reflect the change.
So that horizon has been straightened.
| | 02:53 |
And the image has been cropped.
And that gives me, I think, a much better
| | 02:57 |
starting point for the raw conversion in
this case.
| | 02:59 |
Or in any situation where a line that
should be perfectly horizontal or
| | 03:03 |
vertical isn't that way in the capture.
It's very easy to fix those types of
| | 03:08 |
situations, utilizing the Straighten tool
in conjunction with the Crop tool within
| | 03:13 |
Adobe Camera Raw.
| | 03:14 |
| | Collapse this transcript |
| White balance adjustments| 00:02 |
More often than not, I find that digital
cameras do a pretty good job of
| | 00:06 |
interpreting the color for a scene.
But not always.
| | 00:09 |
In certain situations a camera can be
confused by mixed lighting, for example,
| | 00:14 |
or by very strong lighting that it just
doesn't interpret correctly.
| | 00:18 |
Here you can see for example, the camera
didn't do all that great a job and the
| | 00:22 |
color doens't exactly look natural.
But we can fix that very easily by
| | 00:26 |
adjusting the ovrerall settings for white
balance in the image.
| | 00:30 |
There are several basic approaches that
we can use for adjusting white balance in
| | 00:34 |
a photo utilizing Adobe Camera Raw.
Perhaps the simplest is to simply utilize
| | 00:39 |
a white balance preset.
Just as you can adjust the settings on
| | 00:43 |
your camera to apply a specific preset
compensation for the temperature of the
| | 00:48 |
light, so can you apply such a
compensation in adobe camera raw, and in
| | 00:53 |
fact the options you find on the white
balance popup are exactly the same as
| | 00:58 |
those you'll find on your camera.
So here, for example, I have options for
| | 01:01 |
daylight, cloudy, shade, tungsten,
flourescent, flash, or custom.
| | 01:06 |
Custom just means that I've modified the
settings for temperature and tint.
| | 01:11 |
So, if you know what the lighting
conditions were for the scene, you can
| | 01:14 |
choose a preset here and that will
establish that as the adjustment that's
| | 01:19 |
being applied for the image.
So here you can see that tungsten does
| | 01:22 |
improve the situation a little bit.
Although it's still not quite perfect, I
| | 01:26 |
could take a look at the flourescent
option for example or daylight or cloudy.
| | 01:31 |
I could go through all of these various
options if I like, but in most cases,
| | 01:35 |
I'll leave this set to as shot, and that
means that whatever the camera.
| | 01:40 |
Thought was the correct setting should be
established as my starting point and
| | 01:44 |
that's simply because no matter which
option I choose from this popup, more
| | 01:49 |
than likely I'm going to adjust the
temperature and tint sliders anyway and
| | 01:53 |
so my tendency is just to leave things as
they are and go directly to those sliders.
| | 01:57 |
It's worth noting, by the way, that the
auto option is not the same as the auto
| | 02:01 |
option on your camera.
If you use the auto option on your
| | 02:04 |
camera, then you'll want to use as shot
in order to reflect the color as it was
| | 02:09 |
interpreted by your camera.
The Auto Option in Adobe Camera Raw
| | 02:13 |
actually means that Camera Raw will
attempt to anaylze the image and
| | 02:16 |
determine the best color.
And you can see, that in this case Camera
| | 02:20 |
Raw actually does a better job than my
camera did in terms of interpreting the
| | 02:24 |
color in the photo.
In addition to using the white balance
| | 02:28 |
popup to choose a particular preset to
apply.
| | 02:31 |
I can also click on a specific pixel in
the image that I think should be
| | 02:35 |
perfectly neutral gray.
To do that, I can choose the White
| | 02:38 |
Balance eyedropper from the toolbar, and
then click in an area of the image that I
| | 02:43 |
think should be neutral gray, and the
image will be adjusted accordingly.
| | 02:47 |
So if I click on an area that is
relatively cyan, I'll get a little bit of
| | 02:51 |
a reddish tint.
If I click on an area that's relatively
| | 02:54 |
yellow, I can expect the image to shift
toward blue.
| | 02:56 |
But if I can find a pixel within the
image that should be perfectly neutral
| | 03:01 |
gray, and I click on that pixel, I'll
probably end up with a pretty good
| | 03:05 |
starting point at least or maybe even a
final destination in terms of that
| | 03:09 |
overall color adjustment.
But the last method that I can use, of
| | 03:12 |
course, is to modify the temperature and
tint sliders directly.
| | 03:17 |
In most cases I'll simply start with
temperature and tint.
| | 03:20 |
But of course, in some cases, you may
want to use the white balance pop up or
| | 03:24 |
use the eye dropper to click within the
image.
| | 03:27 |
But even when you do use those options,
you can still fine tune using temperature
| | 03:31 |
and tint.
The temperature adjustment allows us to
| | 03:34 |
shift the image either toward blue, or to
the left, or toward yellow, to the right.
| | 03:40 |
In other words, we can cool off, or warm
up the image.
| | 03:44 |
I think of the temperature adjustment as
being both corrective and creative.
| | 03:48 |
In other words, I can use it to correct
for a color problem, but also exercise a
| | 03:54 |
little bit of creative license.
Perhaps the actual scene appeared
| | 03:57 |
something like this, for example.
But I want to warm it up just a little
| | 04:01 |
bit more.
So I can make the color accurate or I can
| | 04:05 |
interpret the color just a little bit.
But the tint slider is different in that
| | 04:09 |
it tends to be purely corrective.
In other words, we don't tend to want to
| | 04:12 |
add a green tint or a magenta tint to our
images.
| | 04:16 |
In fact if we see a green or magenta
tint, we probably want to compensate for
| | 04:20 |
it And that's exactly what tint does.
It allows us to shift toward green to the
| | 04:24 |
left or toward magenta over toward the
right.
| | 04:27 |
So the adjustment with temperature might
be relatively strong, but the adjustment
| | 04:31 |
with tint will tend to be relatively
modest by comparison.
| | 04:35 |
And we can of course continue going back
and forth between each of those sliders
| | 04:38 |
until you're happy with the result.
If you're having difficulty getting just
| | 04:42 |
the right setting with the mouse, by the
way, it's worth noting that you can use
| | 04:45 |
the keyboard as well.
I'll simply click for example in the
| | 04:49 |
temperature adjustment.
And now I can press the down arrow key to
| | 04:53 |
cool off the image, or the up arrow key
to warm up the image., and I can apply
| | 04:56 |
that adjustment in bigger steps by
holding the shift key while pressing the
| | 04:59 |
up or down arrow keys.
So that's sometimes is a much easier way
| | 05:05 |
of evaluating the image and shifting back
and forth between various values until
| | 05:10 |
you find just the right adjustment for
both, temperature and tint.
| | 05:16 |
So regardless of which approach you
prefer, ultimately, you're adjusting the
| | 05:19 |
temperature and tint in order to achieve
more accurate or more pleasing color in
| | 05:23 |
your photos.
| | 05:25 |
| | Collapse this transcript |
| Basic tonal adjustments| 00:02 |
When you think about tonality in the
context of capturing a photographic
| | 00:06 |
image, you're probably thinking about
overall exposure, in other words
| | 00:09 |
brightening or darkening the overall
photo.
| | 00:12 |
But when we're processing an image in
Adobe Camera Raw, we can take quite a bit
| | 00:16 |
more control over what would otherwise be
a very basic tonal adjustment.
| | 00:20 |
Lets's take a look at the basic and yet
rather sophisticated adjustment controls
| | 00:24 |
that are available for tonal adjustments
within Adobe Camera Raw.
| | 00:28 |
First off you'll notice that there is a
link for auto directly above the tonal adjustments.
| | 00:34 |
In the basic section of the right panel
in Adobe Camera Raw, and that will apply
| | 00:38 |
an automatic exposure adjustment,
automatically adjusting the vaious
| | 00:41 |
settings that relate to overall tonality
and contrast.
| | 00:46 |
But I tend not to use that option because
more often than not I find that it is not
| | 00:50 |
quite exactly how I would like to
interpret the image.
| | 00:54 |
Sometimes it's a little bit too contrast
and in general it tends not to be able to
| | 00:58 |
read my mind.
Basically, not to be able to figure out
| | 01:00 |
exactly what I want for the photo, and so
I tend to just work directly with the
| | 01:04 |
various sliders.
So I'll go ahead and click default to
| | 01:07 |
take all of those values back to their
default settings.
| | 01:10 |
And then we can examine each of the
individual adjustments in turn.
| | 01:14 |
The exposure adjustment is relatively
straightforward.
| | 01:17 |
We drag to the right to brighten the
image or increase exposure, and to the
| | 01:21 |
left to dark the image or decrease
exposure.
| | 01:24 |
And in fact, the value for the exposure
slider is shown as EV values.
| | 01:29 |
In other words, as stops of light.
So I can brighten by 1 stop or by 2
| | 01:34 |
stops, or I can darken by a stop.
And of course, we're primarily affecting
| | 01:38 |
the overall tonality, though with an
emphasis on establishing a white point.
| | 01:43 |
And in fact, I can hold the Alt key on
Windows, or the Option key on Macintosh,
| | 01:48 |
in order to view a clipping preview so
that I can see where I'm losing detail.
| | 01:53 |
For example, if I brighten the image up
too much, you'll see that I'm losing
| | 01:56 |
tremendous detail in the photo.
So, I might want to back off, for
| | 02:00 |
example, to the point where either no
pixels are being lost, or very few are
| | 02:05 |
being lost.
But I can also, of course, evaluate the
| | 02:08 |
overall image.
And it's very important, even if you're
| | 02:10 |
going to use the clipping preview.
To examine the image itself.
| | 02:14 |
After all, the image is going to be
shared in ways where the viewer won't
| | 02:17 |
know what the histogram looks like.
So while I might use a clipping preview
| | 02:21 |
as a basic guide, ultimately I'll
evaluate the image itself in order to
| | 02:24 |
establish a value for exposure.
And as you'll see in a moment, we also
| | 02:29 |
have some other ways of fine tuning the
result.
| | 02:32 |
I can also adjust contrast but I tend not
to start off with contrast instead using
| | 02:36 |
other controls, but you can see dragging
the slider to the right increases
| | 02:40 |
contrast and dragging to the left
decreases contrast.
| | 02:45 |
But, I find that more often than not when
I want contrast in an image, I'm not
| | 02:49 |
really thinking about contrast per se,
but rather darkening up shadow areas and
| | 02:53 |
brightening up highlight areas.
And you can see that the next set of
| | 02:57 |
controls provide what I consider to be a
tremendous amount of control over the
| | 03:01 |
tonality for the overall image.
We have a highlight slider, a shadow
| | 03:06 |
slider, a white slider, and a blacks
slider.
| | 03:09 |
And all of these allow us to either
brighten or darken the image.
| | 03:13 |
But we're focusing that adjustment on a
specific range of tonal values.
| | 03:18 |
The highlight slider allows us to
brighten or darken the very bright areas
| | 03:23 |
on the image.
Not the pure white areas although it
| | 03:26 |
possible to clip highlights by increasing
the highlights value.
| | 03:30 |
But we're looking at a somewhat broad
range of the brighter values within the scene.
| | 03:35 |
So I might want to brighten up those
highlights in order to intensify them, or
| | 03:38 |
I might want to tone down highlights in
order to retain as much detail in the
| | 03:43 |
image as possible.
Similarly, I can lighten or darken the
| | 03:48 |
shadow areas and that's a relatively
large range of tonal values that
| | 03:52 |
represent the darkest portion of the
image.
| | 03:55 |
So you can generally think of that as
values that are darker than middle gray.
| | 03:58 |
So, if I want to add a little bit of
drama, I can darken up those shadows.
| | 04:04 |
Or if I want to present as much detail as
possible, I can brighten up the shadows.
| | 04:08 |
In this case I think I'd like to darken
up the shadows a little bit, right about
| | 04:12 |
there looks to be pretty good.
Then we come to the whites and blacks
| | 04:16 |
sliders and these are very similar in
concept to highlights and shadows except
| | 04:20 |
that the whites and blacks sliders effect
a very narrow range of total values at
| | 04:24 |
the extremes.
In other words the brightest whites and
| | 04:27 |
the darkest blacks.
I'll go ahead and increase the value for
| | 04:31 |
whites, for example, and you'll see that
I'm focusing that adjustment on the
| | 04:35 |
brightest areas of the photo, and here it
can be especially helpful to hold the Alt
| | 04:39 |
key on Windows or the Option key on
Macintosh in order to access the clipping
| | 04:44 |
preview display so I know when I'm losing
detail in those highlights.
| | 04:49 |
I can do the same thing for the blacks
holding the alt key on Windows or the
| | 04:53 |
option key on Macintosh, and then
dragging to the left to darken the blacks
| | 04:57 |
or to the right to brighten the blacks.
And in most cases I want to have at least
| | 05:02 |
a small area of the image reflecting pure
black, and so I'll typically move the
| | 05:07 |
slider over toward the left until I see
some actual black pixels appear while I'm
| | 05:11 |
holding the Alt or Option key on the
keyboard and that tells me that I have a
| | 05:15 |
true black value in the image and
therefore I've really maximized the
| | 05:19 |
overall dynamic range in the scene.
And of course at any time I can go back
| | 05:23 |
and forth fine tuning my overall
adjustment in this case maybe I'll
| | 05:27 |
brighten up the highlights just a little
bit.
| | 05:29 |
And I might pull out a little more detail
out of those shadows not darkening them
| | 05:33 |
up quite as much.
But I think it's important to keep in
| | 05:36 |
mind that we don't have to apply these
adjustments in any particular order.
| | 05:39 |
You can move back and forth between the
various sliders as you continue fine
| | 05:43 |
tuning the overall tonality of your image
and exercising quite a bit of control in
| | 05:48 |
the process.
| | 05:48 |
| | Collapse this transcript |
| Presence adjustments| 00:02 |
Among my favorite adjustments in Adobe
Camera Raw are the group of adjustments
| | 00:06 |
generally referred to as the presence
adjustments, in other words they allow
| | 00:11 |
you to adjust the overall presence or
impact of a photo.
| | 00:15 |
Those controls include clarity, vibrancy
and saturation.
| | 00:20 |
Let's start off with the clarity
adjustment.
| | 00:22 |
You can sort of think of clarity as being
something along the lines of a sharpening
| | 00:27 |
control, but what it's really doing is
enhancing local contrast.
| | 00:32 |
Essentially that means sharpening, but
across a larger area of the photo.
| | 00:37 |
But to me the best way to think about the
clarity adjustment is that moving the
| | 00:41 |
slider over toward the right will reduce
haze, and dragging the slider over toward
| | 00:46 |
the left will add haze, or make a more
dreamlike interpretation of the photo.
| | 00:52 |
For me personally I tend to find that I
increase clarity at least a little bit
| | 00:56 |
with most of my photos and when I have a
hazy scene and I want to sort of cut
| | 01:01 |
through that haze I might increase it a
lot.
| | 01:03 |
But in many cases using a negative
clarity especially with more delicate
| | 01:08 |
subjects like portraits or flowers can
really add a nice touch to a photo.
| | 01:13 |
And it's an effect that can be created
very, very easily in Adobe Camera Raw.
| | 01:18 |
For this particular image I think I'll
increase clarity just a little bit.
| | 01:22 |
Not so much because I'm worried about
haze in the background, but more because
| | 01:26 |
I like the way it accentuates the detail
in the foreground.
| | 01:30 |
Then we can move on to the vibrance and
saturation sliders.
| | 01:34 |
And they're both actually very similar.
Both allow you to increase or decrease
| | 01:40 |
the overall intensity or purity of the
colors in the image.
| | 01:44 |
So increasing saturation significantly
will shift the colors toward more pure
| | 01:50 |
colors, or closer to the primary colors
of red, green, blue and cyan, magenta, yellow.
| | 01:57 |
Reducing saturation will tone down those
colors.
| | 01:59 |
And in fact taking saturation all the way
down to minus 100 is one way you could
| | 02:04 |
achieve a black and white interpretation
of a photo.
| | 02:07 |
It seems to me that most photographers
like to increase saturation most of the time.
| | 02:12 |
But I usually start with vibrance.
And that's because vibrance is a
| | 02:17 |
saturation adjustment with a bit of
built-in self control.
| | 02:21 |
To begin with, the vibrance adjustment
will automatically protect skin tones.
| | 02:25 |
So you can boost the colors in the image,
for example, without making skin tones
| | 02:29 |
look weird.
But for any image, the vibrance
| | 02:32 |
adjustment can actually be a better way
to increase color intensity.
| | 02:36 |
If I drag the Vibrance slider over toward
the right, I am increasing saturation for
| | 02:41 |
the image.
But I'm focusing that saturation boost on
| | 02:45 |
areas of the image that have relatively
low saturation.
| | 02:48 |
In other words, the colors that are
already saturated won't be boosted too much.
| | 02:52 |
They'll remain mostly the way they are.
But the colors that are a little bit drab
| | 02:56 |
will get a nice boost.
Similarly if I reduce vibrance, first the
| | 03:01 |
colors that are highly saturated will be
toned down.
| | 03:04 |
That way I can tone down the intensity of
colors that might appear a little bit too
| | 03:08 |
strong without completely removing the
colors in areas that are somewhat subdued.
| | 03:14 |
So in my mind vibrance represents a more
intelligent approach to adjusting
| | 03:18 |
saturation in the image, and an approach
that involves some built in self-control.
| | 03:23 |
Usually, I'll increase vibrance, but
sometimes I might want to tone down the
| | 03:27 |
colors in an image as well.
In this case though I think I'll boost
| | 03:30 |
vibrance just a little bit.
I can usually get away with a bigger
| | 03:33 |
boost in vibrance than I could
saturation, but that doesn't mean I want
| | 03:37 |
to get carried away, so I'll just use a
relatively modest increase in vibrance.
| | 03:41 |
And then if I want to adjust saturation
evenly for all colors in the photo, I can
| | 03:46 |
also do that with saturation.
In fact in some cases, I will increase
| | 03:50 |
the value for vibrance, in order bring up
those colors that are a little bit too
| | 03:54 |
subdued, but then tone down the overall
image.
| | 03:58 |
In other words I'm essentially equalizing
saturation throughout the photo by
| | 04:02 |
boosting saturation via vibrance for the
colors that don't have much color to
| | 04:07 |
begin with but then toning down the
overall image, so that the colors don't
| | 04:10 |
seem too exaggerated.
But as you can see, those presence
| | 04:14 |
controls, clarity, vibrance, and
saturation are subtle adjustments that
| | 04:19 |
can really make a big impact in your
images.
| | 04:22 |
| | Collapse this transcript |
| Tone curve adjustments| 00:02 |
For basic tonal adjustments in Adobe
Camera Raw you'll probably find that the
| | 00:06 |
various options in the basic section will
work quite well.
| | 00:10 |
Those include exposure, contrast,
highlights, shadows, whites and blacks.
| | 00:15 |
But in some cases you may want to take
just a little bit more control over the
| | 00:18 |
process of adjusting brightness and
contrast, especially when you want to
| | 00:22 |
focus on various tonal ranges within the
image.
| | 00:25 |
For those situations the tone curve
provides a great deal of control.
| | 00:30 |
Let's take a look.
I'll start by switching to the tone curve
| | 00:33 |
tab so I'll click that tone curve button
below the histogram to bring up the tone
| | 00:38 |
curve options and you'll see that we have
both a point tone curve as well as a
| | 00:43 |
parametric tone curve.
The simpler of the two is parametric, and
| | 00:47 |
you'll notice that we have some controls
that are very similar to the basic tonal
| | 00:51 |
adjustments in the basic set of controls,
here they include highlights, lights,
| | 00:56 |
darks, and shadows.
The four sliders allow us to brighten or
| | 01:02 |
darken the specific tonal range that the
slider relates to, so the highlight
| | 01:07 |
slider allows me to brighten or darken
the brightest areas of the photo.
| | 01:11 |
The lights slider allows me to brighten
or darken a broader range of bright or
| | 01:16 |
relatively bright tonal values within the
image and you can see that reflected on
| | 01:20 |
the curve itself.
When I drag the lights slider over toward
| | 01:24 |
the right, you'll see that the rightmost
portion of the curve is getting pushed
| | 01:28 |
upward or getting brightened quite a lot,
whereas the left end of the curve is
| | 01:32 |
relatively fixed and as I darken, you can
see that essentially I get the opposite,
| | 01:36 |
the curve is just moving downward.
Of course what that really means is that
| | 01:40 |
we're simply focusing our adjustment on
specific areas at any given moment, and
| | 01:45 |
that's very similar to what you can
accomplish with the basic adjustments.
| | 01:49 |
But what's a little unique with the tone
curve is that we can change the
| | 01:52 |
definition of lights versus darks, for
example.
| | 01:55 |
I'll go ahead and apply an exaggerated
adjustment using lights.
| | 01:59 |
So I'm darkening up the brightest areas
of the image, you can see that reflected
| | 02:03 |
in the tone curve.
But each of these individual sliders
| | 02:06 |
actually focuses its adjustment on a
specific range.
| | 02:10 |
And those ranges are defined below the
histogram display here.
| | 02:14 |
And I can change that range so, for
example if I want to broaden the range of
| | 02:19 |
tonal values being affected by that
lights slider, I can drag the mid tone
| | 02:24 |
slider over toward the left.
In essence what I'm doing then is
| | 02:27 |
defining a larger range of tonal values
as being the values that are defined by lights.
| | 02:34 |
I can also constrict that range if I want
to focus the adjustment on a very narrow
| | 02:39 |
range within the image.
Similarly you'll see that I can adjust
| | 02:43 |
the highlights, so I'll brighten
highlights and then I can shift that
| | 02:47 |
definition of highlights, in other words
determining where that breaking point is
| | 02:51 |
going to fall.
Now at the moment, I'm just making a mess
| | 02:54 |
of the image in applying these various
adjustments.
| | 02:58 |
But of course, that's just to illustrate
the basic concepts.
| | 03:01 |
I'll go ahead and hold the Alt key on
Windows or the Option key on Macintosh
| | 03:05 |
and then click the reset button.
And then I might apply a little bit more
| | 03:09 |
realistic adjustment, perhaps darkening
those darks a little bit and brightening
| | 03:13 |
the brights, maybe even expanding the
range of brights so that I'm darkening
| | 03:17 |
only the darkest values in the image, but
then brightening up more values in the image.
| | 03:23 |
So I'm sort of focusing the contrast
adjustment on brightening the brights
| | 03:26 |
more than I'm darkening the darks.
If I want to exercise even more control I
| | 03:31 |
can go to the point curve.
There I can actually manipulate the curve directly.
| | 03:37 |
By default the curve is linear.
We can choose a different option.
| | 03:40 |
For example, Medium Contrast or Strong
Contrast.
| | 03:44 |
But I'll start of with Linear because a
linear curve doesn't affect the image at all.
| | 03:48 |
That curve is a straight line that goes
from the bottom left, or the black point,
| | 03:52 |
up toward the top right, or the white
point.
| | 03:55 |
And I can change the shape of this curve
in order to adjust the overall tonal
| | 04:00 |
values within the image.
So if I wanted to increase contrast
| | 04:04 |
without sacrificing highlight or shadow
detail for example, I could drag the
| | 04:08 |
curve downward over toward the left side.
And then drag the curve upward over
| | 04:13 |
toward the right side in order to enhance
midtone contrast.
| | 04:17 |
I can of course adjust the position of
these various anchor points that I'm
| | 04:21 |
creating in order to improve the final
result.
| | 04:24 |
But the point is that I have tremendous
control over that overall tonality.
| | 04:29 |
In addition to adding and adjusting
anchor points along the curve, I can also
| | 04:33 |
adjust the end points.
So I can brighten the value of black for
| | 04:37 |
example or shift the value of black so
that more pixels become pure black.
| | 04:42 |
I can do the same for the white point,
either toning down white so it appears a
| | 04:46 |
bit more gray or clipping the highlights
so that we get more contrast in the image.
| | 04:51 |
Taking things a step further I can even
work on the individual channels.
| | 04:55 |
So for example, I could switch to the red
channel and then use a curve to shift the
| | 05:00 |
color balance between red and cyan for
example.
| | 05:05 |
Working on each of the individual color
channels as needed in order to optimize
| | 05:10 |
the balance of colors within the photo.
But as you can see, the tone curve
| | 05:14 |
enables you to exercise tremendous
control over the tonality and even the
| | 05:18 |
color in your image.
Whether you prefer to work with a
| | 05:21 |
parametric option or the point option,
you have a huge amount of control over
| | 05:26 |
the appearance of your photo.
| | 05:28 |
| | Collapse this transcript |
| Image sharpening| 00:02 |
One of the more interesting things about
sharpening with digital photographs is
| | 00:06 |
that if it's very obvious an image needs
to be sharpened, there's probably no
| | 00:10 |
point sharpening it because you're not
going to salvage an out of focus image.
| | 00:14 |
And if an image appears sharp, you
probably do want to apply sharpening in
| | 00:19 |
order to compensate for the subtle loss
of sharpness that can occur with a
| | 00:22 |
digital capture.
In other words, even if you don't think
| | 00:25 |
you need sharpening, it's probably a good
idea to apply some.
| | 00:29 |
And in fact in the Raw conversion
process, we can apply some basic
| | 00:32 |
sharpening that is aimed not at creating
a final image but, rather, on
| | 00:36 |
compensating for the factors that cause a
loss of sharpness in the original capture.
| | 00:41 |
For example, most digital cameras include
an anti-aliasing filter on the front of
| | 00:46 |
the image sensor.
And that filter serves to minimize or
| | 00:49 |
eliminate the risk of Moire patterns, but
it also softens the image a little bit.
| | 00:54 |
And even just the process of converting
analog light information into digital
| | 00:58 |
values causes some loss of sharpness.
Fortunately, we can compensate for that
| | 01:04 |
loss of sharpness during the raw
conversion process in Adobe Camera Raw.
| | 01:08 |
To get started, I'll click on the Detail
button.
| | 01:12 |
That's the third button on the row of
buttons below the histogram in order to
| | 01:15 |
switch to the detail controls.
And in that detail section, we'll find
| | 01:19 |
the controls for sharpening.
We have an Amount slider that controls
| | 01:23 |
the intensity of the effect.
We also have a Radius slider that
| | 01:28 |
determines how large of an edge we're
creating in our images.
| | 01:31 |
In other words, when we sharpen or
enhancing contrast along edges in the
| | 01:35 |
image, and the radius value determines
how large an area we're going to enhance
| | 01:41 |
with that contrast, we can also specify
how much detail we want to enhance.
| | 01:45 |
In other words, do we want to enhance
every little nook and cranny in the image
| | 01:49 |
or just the larger detail areas?
And finally, do we want to focus our
| | 01:53 |
sharpening only on the real edges in the
image?
| | 01:56 |
So, for example, do I want to only
sharpen along the outer edge of this
| | 02:00 |
burrowing owl or do I want to sharpen all
areas of the image?
| | 02:05 |
Of course, having a basic understanding
of those controls is all well and good.
| | 02:09 |
But it can be more helpful to get
something of an enhanced preview of the effect.
| | 02:14 |
And to do that you can simply hold the
Alt key on windows, or the option key on
| | 02:17 |
Macintosh while you're adjusting the
individual sliders.
| | 02:22 |
So I'll hold the Alt or Option key and
then adjust the amount and you'll see
| | 02:26 |
that while I'm making this adjustment,
the image is transitioned to a black and
| | 02:31 |
white preview, so that I can better see
the effect of the actual sharpening
| | 02:35 |
without being distracted by color.
Of course, you'll see that the effect is
| | 02:39 |
relatively subtle, and that's by design.
The sharpening controls in Adobe Camera
| | 02:44 |
Raw are aimed at compensating for the
loss of sharpness in the capture, not
| | 02:48 |
creating a final print.
But if we increase the value for Radius,
| | 02:52 |
for example, then that amount will be a
little bit more obvious within the photo.
| | 02:56 |
You can see as I drag to the left, the
image looks almost a little bit more soft.
| | 03:00 |
And as I drag over toward the right it
starts to look almost a bit crunchy.
| | 03:04 |
We've got quite a bit of enhanced texture
in the photo.
| | 03:08 |
Let's take a look at the Preview option
for the Radius control.
| | 03:12 |
I'll once again hold the Alt or Option
key and as I adjust that radius you'll
| | 03:16 |
see that we can start off with a low
value where we're affecting a very small
| | 03:21 |
area, in terms of the edges within the
photo.
| | 03:24 |
But as I increase the radius, you'll see
that that sort of embossed effect gets
| | 03:29 |
larger and larger.
Now, the radius is limited to a maximum
| | 03:32 |
value of 3 pixels in Adobe Camera Raw.
And so, even if we take it to that
| | 03:37 |
maximum, we're still not affecting a huge
area of the image.
| | 03:41 |
But in general, with high detail images,
you'll want to use a relatively low
| | 03:46 |
radius and a relatively high amount.
With relatively low detailed images,
| | 03:51 |
where the transitions and tonal values
happen across a larger range, you'll want
| | 03:55 |
to use a relatively high radius with a
relatively low value for a mount.
| | 04:01 |
So, in this case I might use a relatively
high value for a mount and a relatively
| | 04:05 |
low value, something probably a little
bit below 1.0 for the radius control.
| | 04:11 |
But I can also control the overall range
of pixels being affected.
| | 04:16 |
Let's take a look first at the detail
slider.
| | 04:18 |
I'll hold the Alt key on Windows and the
Option key on Macintosh, and you'll see
| | 04:22 |
that I get a similar preview compared to
the Radius preview.
| | 04:27 |
But here I'm actually controlling the
level of detail that is going to be enhanced.
| | 04:31 |
So not the size as it were, of that
sharpening effect, but rather the degree
| | 04:36 |
to which I'm effecting fine detail.
In this case, that mostly means the
| | 04:40 |
feather detail of the owl, so you can see
with the high value I see lots of feather
| | 04:45 |
detail in this preview and with the low
value you'll see some of that detail fade away.
| | 04:49 |
And this preview gives you a sense of
exactly which details will be enhanced by sharpening.
| | 04:55 |
In this case, since the focus is on the
feathers, I'll go ahead and use a
| | 04:59 |
relatively high value.
I think right about there will work
| | 05:01 |
pretty well.
And then finally we can take a look at masking.
| | 05:05 |
I'll hold the Alt or Option key, and
then, increase the value for masking.
| | 05:09 |
And as I do so, you'll see that the
preview goes from all white to mostly black.
| | 05:14 |
The white areas indicate areas of the
image where sharpening will be applied.
| | 05:18 |
And as I increase the value for masking,
you'll see that most of the image is
| | 05:22 |
black and only the highest contrast edges
throughout the photo will actually get enhanced.
| | 05:28 |
So if, for example, it was very important
to me to maintain the smooth textures in
| | 05:32 |
the background, then I might use a
relatively high value for masking.
| | 05:37 |
If, on the other hand, I wanted to
enhance every little nook and cranny
| | 05:40 |
throughout the photo, then I might use a
relatively low value for masking, or even
| | 05:45 |
a value of zero.
In this case though, I would like to
| | 05:48 |
preserve some of that smooth detail, and
so I'll increase the masking to a
| | 05:53 |
moderate value.
Something right about like that should
| | 05:56 |
work pretty well.
And of course, now that I've scaled back
| | 06:00 |
that sharpening to only affect the
highest contrast areas in the image I can
| | 06:04 |
probably get away with higher values for
amount and possibly for radius.
| | 06:08 |
But one of the most important things when
it comes to evaluating the results of
| | 06:12 |
sharpening, is that you should evaluate
the image at a 100% Zoom setting.
| | 06:17 |
Here, we've been viewing the overall
image so that we can get a better sense
| | 06:20 |
of how these controls affect the
sharpening.
| | 06:22 |
But now that I'm ready to finalize the
effect, I'll switch to a 100% View, and
| | 06:27 |
then use the Hand tool to pan to an area
of the image that I want to analyze in particular.
| | 06:33 |
You'll notice for example at the moment
my settings are a little bit too
| | 06:36 |
strong,and so I can reduce the amount
value.
| | 06:39 |
I can adjust the overall value for
radius.
| | 06:43 |
And now that I'm zoomed in, of course,
you can get a much better sense of
| | 06:47 |
exactly how I'm affecting the image.
But I think the biggest issue here is I
| | 06:51 |
need to reduce the value for detail.
That will help make sure that I'm only
| | 06:56 |
enhancing the real detail as it were
within the photo.
| | 07:01 |
I'll tone down that amount just a little
bit more and maybe increase masking just
| | 07:04 |
a little bit.
I can still use that Preview option to
| | 07:08 |
get a better sense to exactly where I
want to focus my sharpening.
| | 07:12 |
I think right about there will work
pretty well.
| | 07:14 |
I'll turn off the Preview and then turn
it back on again and you can see the
| | 07:17 |
effect is relatively subtle.
But I'm getting an improved level of
| | 07:22 |
detail within the photo Just by fine
tuning those sharpening settings.
| | 07:26 |
So evaluating the image at 100% and
really scrutinizing the settings, as you
| | 07:32 |
zero in on the best settings for a
particular image, will help ensure that
| | 07:36 |
you have the best starting point in terms
of overall sharpness.
| | 07:39 |
| | Collapse this transcript |
| Noise reduction| 00:00 |
Just by virtue of the fact that it's
called noise, you can probably appreciate
| | 00:06 |
that noise in a digital photograph is not
generally regarded as a good thing.
| | 00:10 |
Noise is exhibited as random variations
in tonal or color values at the pixel level.
| | 00:17 |
And if we zoom in, we're sure to find
noise in this image, because this
| | 00:21 |
particular image was captured at a very
high ISO setting.
| | 00:25 |
You can see, up at the top right, the ISO
setting is at 6,400 ISO.
| | 00:31 |
That's a high value, and it means lots of
amplification was applied to the signal
| | 00:35 |
that was captured by the image sensor,
and that leads to noise.
| | 00:39 |
And yet, when I zoom in, you might think
that the noise is not all that bad.
| | 00:43 |
Sure, there are some variations in
luminance value, but it sort of looks
| | 00:47 |
like film grain.
It doesn't look too terribly problematic.
| | 00:50 |
But actually, the noise is worse than it
appears.
| | 00:53 |
I'll go ahead and switch to the Detail
tab in Adobe Camera Raw.
| | 00:57 |
And if you take a look at the Noise
Reduction section, you'll see that the
| | 01:01 |
value for Color Noise Reduction is set to
a default of 25.
| | 01:05 |
In other words, every image is getting
some color noise reduction by default.
| | 01:10 |
I'll go ahead and reduce the value to
zero, and now you get a better picture of
| | 01:15 |
just what's going on with this image.
There is a tremendous amount of color
| | 01:18 |
noise, not to mention the luminance noise
that we already saw.
| | 01:23 |
Now, of course, your first reaction when
you see significant noise in an image may
| | 01:27 |
be to try to eliminate it.
To use a very aggressive approach.
| | 01:32 |
And so you might be tempted, for example,
to maximize the value for color noise,
| | 01:37 |
and also maximize the value for luminance
noise, in order to reduce that noise as
| | 01:42 |
much as possible.
But you can certainly appreciate now,
| | 01:46 |
looking at the image, that this is
probably not a good approach.
| | 01:49 |
And that's because noise reduction, by
definition, involves the averaging out of
| | 01:53 |
pixel values.
Or the loss of color intensity or tonal variations.
| | 01:58 |
In other words, texture within the image.
In essence, by applying noise reduction,
| | 02:03 |
we're really just blurring the image.
Of course, it's not really quite that
| | 02:07 |
simple, but that gives you some sense of
the challenges, or the compromise,
| | 02:10 |
inherent in noise reduction.
What that means is that we want to apply
| | 02:15 |
the minimum amount of noise reduction
necessary to achieve a good result in the image.
| | 02:19 |
And so, in fact, my tendency is to start
off by setting both values, Color and
| | 02:25 |
Luminance, for color noise reduction and
luminance noise reduction, down to their
| | 02:28 |
minimum values.
I'll then zoom in on an area of the image
| | 02:33 |
that exhibits lots of noise.
And I'll zoom in at least to 100%, and
| | 02:37 |
sometimes even more, depending on the
particular image.
| | 02:41 |
Then I'll start off with whatever is the
more problematic element of noise.
| | 02:45 |
In this case, of course, it's color, and
so I'll start increasing the value for
| | 02:49 |
color noise reduction, but I'll only take
it up to the minimum value necessary to
| | 02:54 |
compensate for that color noise.
It can be helpful, by the way, to reduce
| | 02:58 |
the Color Detail slider all the way to
its minimum value as you fine tune the
| | 03:03 |
Color slider to reduce color noise.
And then, when you're finished
| | 03:06 |
compensating for that color noise, again
using the minimum value necessary to
| | 03:10 |
reduce or hopefully eliminate, to the
extent possible, the noise in the image,
| | 03:15 |
then you can increase the value for the
color detail in order to enhance the
| | 03:20 |
color in the photo.
In other words, to compensate for the
| | 03:23 |
loss of color that was caused by that
color noise reduction.
| | 03:27 |
Then, we can move on to the luminance
noise reduction.
| | 03:30 |
So I'll increase the value for Luminance.
But here I'm going to be even more
| | 03:34 |
careful, because as we saw, luminance
noise reduction can really have a strong
| | 03:39 |
impact on the image.
So, compromise is going to be the key
| | 03:42 |
word here.
I want to increase the value for
| | 03:44 |
luminance just enough to tone down the
effect of that noise.
| | 03:48 |
I won't be able to remove it altogether,
in this case.
| | 03:51 |
I can also reduce the value for Luminance
Detail to get a better sense of whether
| | 03:55 |
my Luminance adjustment is appropriate.
I think right about there will work
| | 03:59 |
pretty well.
And then I can increase the value for
| | 04:01 |
Luminance Detail, which is essentailly
something of a sharpening effect.
| | 04:06 |
It will bring back some of the detail
that was lost as part of that luminance
| | 04:10 |
noise reduction.
And I can also increase overall contrast
| | 04:14 |
for the image, once again to help improve
the overall appearance of detail within
| | 04:19 |
the photo.
So you can see we've not eliminated all
| | 04:22 |
of the noise, but generally speaking, you
won't be able to.
| | 04:25 |
So compromise is going to be involved.
But you can see, just by resetting that
| | 04:29 |
value for color noise reduction and then
bringing it back where I've left it.
| | 04:34 |
You'll see we've made tremendous progress
with this photo.
| | 04:36 |
It's probably quite clear that noise is
best avoided.
| | 04:41 |
But in situations where it can't be
avoided, you can take a very careful
| | 04:45 |
approach to noise reduction in order to
improve the overall quality of your images.
| | 04:50 |
| | Collapse this transcript |
|
|
3. Advanced AdjustmentsHSL adjustments| 00:02 |
When you think about color adjustments in
the context of a digital photograph, you
| | 00:05 |
might first think about color temperature
or color balance adjustments and
| | 00:10 |
saturation adjustments, but we can also
exercise considerably more control by
| | 00:15 |
affecting the individual hue.
Saturation and luminance values for each
| | 00:21 |
individual range of colors in Adobe
Camera Raw.
| | 00:23 |
Let's take a look at this very powerful
method for adjusting color in our photos.
| | 00:28 |
I'll start by switching to the hsl slash
greyscale area of adjustments.
| | 00:33 |
HSL stands for hue, saturation, and
luminance, and that's because we're able
| | 00:40 |
to adjust hue, saturation, and luminance
individually, and not just individually
| | 00:44 |
overall for the image, but for specific
ranges of colors.
| | 00:48 |
So I can effect just the reds, just the
oranges, just the yellow, etc.
| | 00:54 |
For example, since we're on the hue tab,
let's take a look at how we might shift
| | 00:58 |
the hue for specific color.
Perhaps I've decided the sky is not quite
| | 01:03 |
the shade of blue I'm looking for, it's a
little to cyan and I'd like to shift it
| | 01:07 |
toward more of a cobalt blue sky.
I'll come down to the blues slider, and
| | 01:12 |
that allows me to shift the hue, or the
basic color, for just the blues.
| | 01:17 |
So if I drag that slider to the right,
the blues, which of course, in this case,
| | 01:21 |
is mostly the sky, will be become a bit
more purple.
| | 01:24 |
And if I drag toward the left, those
areas will become a bit more cyan.
| | 01:28 |
So in this case, I might, for example
,mgiht want to drag that slider just a
| | 01:32 |
little bit over toward the right.
As another example, lets say that the
| | 01:36 |
overall color looks pretty good here.
But the reds, especially in the carousel
| | 01:39 |
here are a little too hot, so I'd like to
tone them down just a little bit.
| | 01:43 |
I'll switch to the saturation tab and I
want to affect red so I'll go to the red
| | 01:48 |
slider and then drag that slider over to
the left.
| | 01:51 |
Because I want to reduce the saturation
or the intensity of that color.
| | 01:55 |
I could also drag the slider to the right
to increase intensity for the reds, but
| | 01:59 |
of course they're pretty well maxed out
at the moment.
| | 02:02 |
In this case I just wanted tone those
reds down a little bit and now that I
| | 02:07 |
have them toned down I'm thinking I might
shift the hue just a little bit, so I'll
| | 02:11 |
go to the Reds slider for hue.
And you can see I can shift towards
| | 02:15 |
something of sort of a pinkish purplish
tone versus something an orange type of tone.
| | 02:20 |
I just want to go a little bit over to
the right to make the red a bit more red essentially.
| | 02:25 |
And of course, I can also adjust the
luminance, once again on a color by color basis.
| | 02:29 |
So if I wanted to, for example, darken
the sky just a little bit or brighten the
| | 02:33 |
sky I can move the blue slider.
So by switching between the hue,
| | 02:38 |
saturation, and luminance tabs and then
focusing our adjustment on an individual
| | 02:44 |
sliders representing the various colors
in the image, we can focus our
| | 02:48 |
adjustments on specific colors and on
specific attributes of those colors in
| | 02:53 |
order to really make the most of the
colors in our photographs.
| | 02:56 |
| | Collapse this transcript |
| Grayscale conversion| 00:02 |
In many cases the reason I captured a
particular image has to do with color,
| | 00:06 |
and yet I still find myself even in those
situations thinking about converting an
| | 00:11 |
image to black and white, and it actually
is very helpful to start with an image
| | 00:16 |
that has lots of color when we're
creating a black and white interpretation.
| | 00:19 |
Let me show you why.
I'm going to start off by clicking on the
| | 00:23 |
HSL grayscale button to bring up that set
of controls, and then I'll turn on the
| | 00:28 |
convert to grayscale check box.
And that will give me a default gray
| | 00:33 |
scale mix In this case, an automatic mix
that Adobe Camera Raw has applied.
| | 00:37 |
And you can see that, that has created a
basic black and white image.
| | 00:41 |
Essentially, all the colors have just
been desaturated.
| | 00:44 |
But we can actually exercise quite a bit
of control over that black and white
| | 00:48 |
interpretation by adjusting the intensity
of tonal values related to the original
| | 00:53 |
color values.
In other words if we take a look at the
| | 00:56 |
red slider, dragging to the right will
cause any areas in the image that had
| | 01:01 |
been red to become brighter.
Dragging to the left will cause any areas
| | 01:05 |
of the image that had been red to turn
darker and so I can effect lumenese
| | 01:09 |
values based on the original color values
within the photo.
| | 01:14 |
So, for example.
I'll move to the green slider and
| | 01:16 |
increase the value and decrease the
value.
| | 01:18 |
You can see that there's just one
building off in the background that's
| | 01:22 |
being affected.
I think I'll brighten it up just a little bit.
| | 01:25 |
I'll take a look at the blues, and I find
that there's very little impact there.
| | 01:30 |
We can take a look at each of the
individual sliders, so I'll move on to
| | 01:33 |
purples and magentas.
In this case many of the colors are not
| | 01:37 |
really having a significant impact on the
image and that's simply because those
| | 01:42 |
colors were not present in the original
photo, but of course with the oranges,
| | 01:47 |
yellows and reds we'll find some very
significant effects within the photo.
| | 01:52 |
In some cases you may find that you want
to focus on specific colors.
| | 01:56 |
For example if there's a blue sky, and
you want to darken it, you'll drag the
| | 01:59 |
blue slider to the left.
In other cases you might not really have
| | 02:03 |
a specific goal in mind for the image in
terms of the grayscale appearance and so
| | 02:08 |
you'll want to play with each of those
individual sliders.
| | 02:11 |
If you're not sure what color an area is
and you want to focus some attention there.
| | 02:15 |
You can certainly turn off the Preview
checkbox to get a sense of what colors
| | 02:19 |
exist in which particular areas of the
image.
| | 02:23 |
Here, for example, it's just becoming
even more clear that red, orange, and
| | 02:26 |
yellow are the primary colors that exist
in this photo, and therefore the areas
| | 02:31 |
we're going to want to focus on most in
terms of the sliders for grayscale mix.
| | 02:35 |
I'll go ahead and turn on the preview
check box once again, and then I want to
| | 02:40 |
emphasize another key point and that why
we have a tremendous amount of control we
| | 02:44 |
can exercise with that gray scale mix set
of sliders.
| | 02:48 |
We can also adjust overall tonality.
So my typical approach is to start off by
| | 02:53 |
turning on the convert to grayscale check
box, and then fine-tune the sliders for
| | 02:57 |
grayscale mix, but then go back to the
basic adjustments and perhaps adjust
| | 03:02 |
overall exposure.
In this case, I might brighten up the
| | 03:05 |
highlights a little bit, maybe even
brighten up the white points.
| | 03:08 |
And I might even darken down the shadows
just a little bit, or open up shadow detail.
| | 03:13 |
The point is that I will still go back
and adjust my overall tonal adjustments.
| | 03:19 |
Even if I adjust the tonality for the
color image first, and then moved on to
| | 03:23 |
the grayscale mix set of controls, I will
still come back to these basic
| | 03:27 |
adjustments in order to improve the
overall tonality in the photo.
| | 03:33 |
But as you can see, between the gray
scale mix sliders and the basic tonal
| | 03:37 |
adjustments that are available to us in
Adobe Camera Raw, we can really exercise
| | 03:41 |
a tremendous amount of control over
converting our image to a black and white interpretation.
| | 03:46 |
| | Collapse this transcript |
| Split toning| 00:02 |
If you were to just randomly stumble upon
the split toning controls in Adobe Camera
| | 00:06 |
Raw and apply them to an image you might
not think they were all that worthwhile
| | 00:11 |
for most photographs or maybe not for any
photographs.
| | 00:14 |
Let me show you what I mean and then I'll
show you exactly how I do use split
| | 00:18 |
toning in certain situations.
You can see that split toning provides
| | 00:22 |
controls for highlights and shadows and
specifically color controls.
| | 00:26 |
We can essentially add individual color
tints to the highlights versus the
| | 00:30 |
shadows in an image.
To get started though, we need to
| | 00:33 |
increase saturation for the color.
So the first step is to increase
| | 00:37 |
saturation for highlights or shadows or
both.
| | 00:41 |
I'll go ahead and increase significantly
the saturation for both Highlights and
| | 00:46 |
Shadows, so that we get an exaggerated
effect.
| | 00:49 |
You can probably already see why many
photographers might think these are not
| | 00:53 |
the most useful controls in the world.
I'll then shift the hue, so I'll take the
| | 00:58 |
hue for the highlights into a sort of
greenish tone, and I'll take the hue for
| | 01:03 |
the shadows into a magenta tone.
I'll increase the saturation for shadows
| | 01:08 |
a just little bit so we can see that
color better.
| | 01:11 |
And of course, I've really just made the
image look even worse.
| | 01:14 |
But the point here is just to illustrate
that we have a green tint in the
| | 01:18 |
highlights and a magenta tint in the
shadows.
| | 01:21 |
I can of course reduce the overall
saturation if I want to tone down the effect.
| | 01:26 |
But let's also take a look at the balance
slider.
| | 01:28 |
We can shift the balance between
highlights and shadows.
| | 01:32 |
In other words, at what tonal value do we
define the separation between the bright
| | 01:36 |
areas and the dark areas in the image.
Or, put more clearly, how do we want to
| | 01:40 |
balance the green versus magenta?
If I drag over toward the left, more of
| | 01:45 |
the image will be considered shadow
areas, and therefore, we'll see more magenta.
| | 01:50 |
If I drag over toward the right, more of
the image will be considered highlight
| | 01:53 |
areas and so we'll see more green in the
image.
| | 01:56 |
But we're still not producing a very good
effect are we?
| | 01:58 |
And that's because, in most cases, I
think you'll find that the split toning
| | 02:02 |
effect is better used for black and white
images, not color images.
| | 02:06 |
So, I'll go ahead and switch to the HSL
grayscale tab, and then I'll turn on the
| | 02:11 |
convert to grayscale check box.
You can already see a somewhat
| | 02:15 |
interesting improvement in the photo.
Then I'll go back to split toning, and of
| | 02:20 |
course I'll tone down the saturation for
both highlights and shadows because in
| | 02:25 |
most cases we want a relatively subtle
effect in the image.
| | 02:28 |
I'll then, in this case, maybe shift
toward a cyan or blue type of a tone for
| | 02:33 |
the highlights so that we get kind of a
cool appearance in the sky.
| | 02:37 |
And maybe I'll take the shadows to more
of a kind of sepia tone type of effect,
| | 02:43 |
maybe a slightly warmer sepia tone.
A little bit of a perhaps slightly
| | 02:47 |
orangish value.
I can also shift the split.
| | 02:50 |
And in this case I want to take the value
over toward the left just a little bit so
| | 02:55 |
I get some more of that sepia kind of
effect.
| | 02:58 |
And just so we can see a little more
clearly what's going on, I'll adjust the
| | 03:01 |
saturation for our shadows, but
ultimately I will typically use a
| | 03:05 |
relatively low value for saturation.
I'll even bring the saturation down for
| | 03:09 |
the highlights a little bit there.
And really I'm trying to get what is
| | 03:13 |
essentially a black and white image but
with a little hint of color.
| | 03:18 |
In some cases, I might use the same color
for both the highlights and the shadows.
| | 03:21 |
For example, creating a sepia effect all
over the image.
| | 03:24 |
In other cases, I might use a warm color
for the highlights and a cooler color for
| | 03:29 |
the shadows, just to enhance the mood of
those areas of the image.
| | 03:32 |
But the point is that with a black and
white image or a grayscale conversion, we
| | 03:37 |
can actually produce a very nice and
interesting artistic effect by utilizing
| | 03:41 |
split toning.
So it tends not to work all that well
| | 03:44 |
with most color images, although
certainly you can create a variety of
| | 03:48 |
very cool creative effects when applying
split toning to color images.
| | 03:51 |
But more often than not, I consider it an
effect to be applied to a black and white image.
| | 03:56 |
But as you can see the basic concept is
rather straightforward.
| | 04:00 |
We can add a color tint to our image, but
with a different tint for the highlights
| | 04:03 |
versus the shadows, and we can even shift
the balance between those areas of the image.
| | 04:08 |
| | Collapse this transcript |
| Profile-based lens corrections| 00:02 |
The lenses we use with our digital
camera's, by their very nature, bend the
| | 00:06 |
light as least a little bit, but some
lenses bend the light more then others.
| | 00:10 |
For example, an extreme wide angle lense,
causes a tremendous amount of bending.
| | 00:15 |
We're taking a very wide field of view,
and bending that light so that it fits
| | 00:19 |
down into the lens barrel, and onto the
image sensor.
| | 00:22 |
The result can be a little bit of
distortion in the overall image.
| | 00:26 |
In Adobe Camera Raw, provides a profile
based approach for compensating for the
| | 00:31 |
behavior of specific lenses.
Let's take a look at an example.
| | 00:35 |
This photograph of Horseshoe Bend, was
captured with an extremely wide angle lens.
| | 00:40 |
A 10 millimeter lens, the equivalent of a
16 millimeter lens for a 35 millimeter camera.
| | 00:46 |
And so, we have a bit of distortion.
You can see the perspective is obviously
| | 00:50 |
a bit unique, but there's also a little
bit of apparent warping, as it were,
| | 00:54 |
within the photo.
If I switched to the lens corrections
| | 00:58 |
section of the Adobe Camera Raw
Adjustments, you'll see that I have a
| | 01:02 |
Profile Tab, and that allows me to apply
corrections for lens behavior, based on
| | 01:08 |
specific lens profiles.
I'll start by turning on the Enable Lens
| | 01:12 |
Profile Corrections checkbox.
And then under Set Up, I can choose Auto,
| | 01:17 |
if I want to allow Adobe Camera Raw to
determine the specific camera and lens
| | 01:21 |
that were used.
That of course, is based on metadata in
| | 01:25 |
the image.
But I can also choose a specific lense
| | 01:28 |
for example from the popup.
But in the case, Adobe Camera Raw found
| | 01:32 |
the correct lense, based on the metadata
in the image.
| | 01:35 |
So I don't need to make a change there.
If I turn off the Enable Lense Profile
| | 01:39 |
Correction checkbox, and turn it back on,
watching the image you'll see that the
| | 01:44 |
adjustment is subtle, but significant.
We have a little bit of a warping correction.
| | 01:49 |
Essentially a barrel distortion versus
pincushion distortion adjustment, we'll
| | 01:54 |
see that in a little more detail in just
a moment.
| | 01:56 |
But you may also notice that there's some
vignetting correction.
| | 02:00 |
With a wide angle lens, there's some
light falloff and therefore, the edges
| | 02:03 |
tend to be a little bit darker than the
center, and we can compensate for that
| | 02:08 |
automatically with this profile based
lens correction.
| | 02:12 |
Of course, I can also step in and apply
some modifications to the adjustment.
| | 02:17 |
I can drag the Distortion slider over to
the right to increase the amount of
| | 02:21 |
correction, and to the left to decrease
the amount of correction.
| | 02:25 |
In this case, I think dragging a little
further to the right will help just a
| | 02:28 |
little bit.
To help me evaluate that result, I can
| | 02:31 |
turn on the Show Grid checkbox, and then
adjust the slider affiliated with that
| | 02:35 |
checkbox, to change the scale of that
slider.
| | 02:38 |
And then I'll go ahead and fine-tune the
Distortion Slider a little bit more,
| | 02:42 |
paying attention to that grid line to try
to get the best result.
| | 02:46 |
I'll then go ahead and turn off the Show
Grid checkbox, and we can take a look at vignetting.
| | 02:51 |
Once again if I turn off the Enable Lens
Profile Corrections checkbox and turn it
| | 02:55 |
back on again, especially if you focus at
the bottom edge, I think you'll see that
| | 03:00 |
we get a fair amount of lightning of the
corners of the image, based on this lens profile.
| | 03:05 |
But I can also increase or decrease the
degree of adjustment.
| | 03:09 |
So I can brighten the edges a little bit
more, or not brighten them up quite so much.
| | 03:15 |
Based on my personal preference, in this
case, I think I'll keep that vignetting
| | 03:19 |
just a little bit.
So I'll drag the Vignetting slider over
| | 03:21 |
to the left, so that we're not getting
quite as much of that lightning effect at
| | 03:25 |
the corners of the photo.
So with those settings adjusted, I'll
| | 03:29 |
turn off that Enable Lens Profile
Corrections check box again, and turn it
| | 03:33 |
on, and that looks much better.
So now we have an image that's certainly
| | 03:37 |
has an interesting perspective, but
doesn't appear to have that degree of
| | 03:40 |
distortion that we saw initially.
And we also had a much improved result,
| | 03:44 |
in terms of the vignetting.
So a very quick and easy way to
| | 03:48 |
compensate for some of the behaviors that
we'll see with certain lenses, as regards
| | 03:53 |
distortion in the scene.
| | 03:55 |
| | Collapse this transcript |
| Correcting color fringing| 00:02 |
Color fringing, also referred to as
chromatic aberration, can be a real
| | 00:06 |
challenge in a photographic image.
But fortunately, it's also very easy to
| | 00:10 |
resolve in Adobe Camera Raw.
Color fringing can occur for a variety of reasons.
| | 00:15 |
It's more common with relatively
inexpensive lenses, for example, and
| | 00:19 |
you'll tend to see it more with wide
angle lenses than with telephoto lenses.
| | 00:24 |
In other words, in many cases it's simply
unavoidable based on the lens that you're
| | 00:28 |
using to capture an image.
But let's take a look at how we can
| | 00:31 |
resolve color fringing.
I'll start off by zooming into a portion
| | 00:34 |
of the image, so that we can see some
color fringing.
| | 00:38 |
You'll notice that on the left side of
the building here, I have some cyan to
| | 00:42 |
maybe slightly green color fringing.
And along the top edges of most of the
| | 00:46 |
building here, you'll see that I have
some magenta color fringing.
| | 00:50 |
So let's take a look at how we can
resolve those issues.
| | 00:53 |
I'll start off by switching to the Lens
Corrections tab in Adobe Camera Raw.
| | 00:57 |
And then I'll go to the color tab and
turn on the Remove Chromatic Aberration checkbox.
| | 01:04 |
In many cases, turning on this checkbox
might be all you need or it might at
| | 01:08 |
least provide a good starting point.
But for this image you can see there is a
| | 01:12 |
dramatic improvement in that color
fringing, but it hasn't been eliminated altogether.
| | 01:17 |
I'll zoom in just a little bit more so we
can get a closer look at that color fringing.
| | 01:21 |
And then I'll turn off the Remove
Chromatic Aberration checkbox and you can
| | 01:25 |
see there's a fair amount of color
fringing.
| | 01:27 |
When I turn that checkbox back on it's
mostly gone, but there's still a little bit.
| | 01:31 |
We have some magenta or purple fringing
up at the top, and we have some cyan
| | 01:36 |
maybe slightly green fringing over on the
left.
| | 01:39 |
We'll start off with that magenta tint,
that we can further correct with the
| | 01:43 |
purple amount slider for defringe.
I'll go ahead and drag that slider over
| | 01:47 |
toward the right and you'll notice that
the purple fringing disappears relatively
| | 01:51 |
quickly and easily.
It looks like there might be a little bit
| | 01:54 |
of blue fringing over here, so I might
expand that purple hue over into the blue
| | 01:59 |
range just a little bit to try to resolve
that portion of the image as well.
| | 02:03 |
But I still have a little bit of an issue
with the greens and cyans over here.
| | 02:07 |
Not too much, but a little bit.
So I'm going to increase the value for
| | 02:10 |
green amount.
You'll notice that that fringing does get
| | 02:13 |
cut back just a little bit more but I do
think we need to expand the range of hues
| | 02:18 |
being effected there as well.
Specifically over into the more bluish or
| | 02:22 |
cyan values and so I'll drag the right
slider for the green hue over toward the
| | 02:27 |
right and right about there looks like
we've just about resolved all of that
| | 02:31 |
color fringing.
Of course it's a good idea to evaluate
| | 02:34 |
other areas of the image as well.
I'll zoom in on a portion of the bridge
| | 02:39 |
for example and make sure that we don't
have any problematic fringing there and
| | 02:44 |
generally check around various portions
of the photo to make sure that we don't
| | 02:48 |
have additional color fringing to deal
with.
| | 02:50 |
For example here it looks like we have a
little bit of red fringing.
| | 02:53 |
That might be just the nature of that
subject but I think I'm going to expand
| | 02:57 |
that purple amount out into the reddish
orange values.
| | 03:00 |
And maybe even expand the greens over
toward those yellowish values as well.
| | 03:07 |
It looks like it this case I might not be
able to completely eliminate that
| | 03:10 |
particular color fringing but it's not
especially problematic in the image either.
| | 03:14 |
But once again the key is to make sure
that you're evaluating various areas of
| | 03:18 |
the image.
In some cases as you apply a certain
| | 03:21 |
correction for chromatic aberration you
might create additional problems
| | 03:26 |
somewhere else.
And as I pan around I see that that is
| | 03:28 |
certainly the case here.
I have a bit of fringing happening.
| | 03:32 |
So I'll take a look at the purple hue
sliders first and adjust those.
| | 03:37 |
And sure enough I was expanding a little
too far into the blue range.
| | 03:41 |
And that was causing a compensation into
other colors.
| | 03:44 |
So I'll fine tune that range of colors
that I'm affecting.
| | 03:48 |
And then continue panning around the
image, making sure that everything is
| | 03:51 |
looking good.
But at this point I think we have a good fix.
| | 03:54 |
So in many cases that Remove Chromatic
Aberration checkbox will be all you need.
| | 03:58 |
But if you need a little bit more, the
defringe options for both purple and
| | 04:02 |
green, where we can adjust the intensity
of the correction with the amount slider
| | 04:06 |
and also the range of colors with the hue
sliders will help us to resolve that
| | 04:11 |
color fringing in our images.
| | 04:13 |
| | Collapse this transcript |
| Correcting perspective| 00:02 |
If you've ever photographed a building,
you can certainly appreciate the
| | 00:05 |
challenge of Perspective Correction.
In other words, when you photograph a
| | 00:09 |
building from down below for example, the
top of the building seems to come inward.
| | 00:13 |
Here, you can see with the cathedral, you
can see that the two bell towers seem to
| | 00:17 |
lean inward towards each other.
You might think about the Lens
| | 00:20 |
Corrections option in Adobe Camera Raw,
and that's a good place to start, but the
| | 00:25 |
Profile base lens corrections won't
provide an adequate adjustment.
| | 00:29 |
Instead, we're going to have to apply
some manual corrections to the overall
| | 00:33 |
prospective in the image.
Let's get started by switching to the
| | 00:37 |
Lens Correction section of Adobe Camera
Raw, and then, I'll switch right away to
| | 00:41 |
the Manual tab so that I can focus on
manual adjustments for this image.
| | 00:46 |
I'll also turn on the Show Grid check box
right from the start so that I can use
| | 00:51 |
that to help evaluate the adjustments as
I go.
| | 00:54 |
At the top of the Manual tab, you'll find
the Upright controls.
| | 00:59 |
You can turn the option off all together.
You can apply an Automatic Upright adjustment.
| | 01:04 |
You can apply correction only to
leveling, in other words, rotating for
| | 01:08 |
example to straighten the horizon.
We can apply both leveling and vertical
| | 01:12 |
distortion correction or we can apply
leveling, Vertical and Horizontal
| | 01:17 |
Distortion Correction.
You can certainly click on the individual
| | 01:22 |
options here.
We see, for example, that the auto option
| | 01:25 |
has done a reasonably good job correcting
the appearance of the image.
| | 01:30 |
The level option doesn't provide us good
a result, because of course, it's just
| | 01:33 |
leveling the overall image.
With the inclusion of Vertical
| | 01:37 |
Perspective correction, we get a much
better result, and finally, with our
| | 01:42 |
third option, we have what seems to be
not quite as good a result.
| | 01:47 |
It doesn't seem that the addition of
horizontal correction is really going to
| | 01:50 |
help matters very much.
So in this case it looks like the level
| | 01:55 |
plus vertical perspective correction is
going to be my best starting point.
| | 01:58 |
So I’ll start there but then I’ll adjust
the individual sliders in the transform
| | 02:03 |
section down below.
The first slider is distortion correction
| | 02:07 |
and so we can apply pin cushion versus
barrel distortion correction.
| | 02:12 |
In this case, maybe just a little bit
right about there.
| | 02:16 |
Although, it's important to evaluate
various areas of the image and looking at
| | 02:21 |
the bottom of the image I might need to
go to right about there.
| | 02:25 |
Which is right about where I started so
it looks like the distortion correction
| | 02:29 |
is not going to be a major factor.
But I do think I need a bit more impact
| | 02:34 |
with that vertical correction, the
Vertical perspective slider.
| | 02:37 |
I'm going to drag it a little more to the
left and all the while paying attention
| | 02:42 |
to, in this case, especially the vertical
lines in the grid and trying to make sure
| | 02:46 |
that everything that should be vertical
is vertical.
| | 02:49 |
I can then adjust as needed the
Horizontal perspective correction, but as
| | 02:54 |
we saw previously I don't think I'm going
to need any adjustment there.
| | 02:58 |
So I'll leave that set to its value of
zero.
| | 03:01 |
The rotation option of course will rotate
the image, but since I've already applied
| | 03:05 |
the Upright correction, I don't think I
need any correction there.
| | 03:09 |
The scale value essentially allows me to
crop the image, but my personal
| | 03:13 |
preference is usually to reduce the value
of scales so I can see the entire image,
| | 03:18 |
and then I'll crop it later.
That allows me to choose exactly where I
| | 03:22 |
want to crop the image rather than just
zooming in essentially on the center of
| | 03:27 |
the photo.
Finally, we have the Aspect slider, and
| | 03:31 |
this allows us to adjust the aspect
ratio, essentialystretching the image
| | 03:35 |
upward or stretching the image sideways.
This might seem like an odd addition to
| | 03:41 |
the transform controls, but actually,
it's tremendously helpful when we need to
| | 03:46 |
apply a relatively strong vertical
perspective correction, the image gets
| | 03:50 |
squished a little bit.
Essentially, everything gets shortened a little.
| | 03:54 |
And so, we need to stretch the image out
to maintain the original appearance of
| | 03:58 |
the subject.
In this case, if I take the value for
| | 04:01 |
aspect down to 0, you can probably
appreciate that everything seems a little
| | 04:04 |
too squat.
Whereas, if I drag over to the right a
| | 04:07 |
little bit, I get a better appearance, a
taller appearance, in this case for the image.
| | 04:13 |
I'll go ahead and tone that down just a
little bit, but right about there looks
| | 04:16 |
to be pretty accurate, I think.
And of course, I can go back to all these
| | 04:20 |
sliders and fine-tune as needed trying to
make sure that everything is adding up to
| | 04:25 |
a good correction in terms of the overall
perspective of the scene.
| | 04:30 |
Once I've applied some distortion
correction I can also click the reanalyze
| | 04:33 |
link so that the image will be
reanalyzed.
| | 04:36 |
But in this case, that's actually skewed
things just a little bit, so I'll press
| | 04:40 |
Ctrl+Z on Windows or Command+Z on
Macintosh to undo that step.
| | 04:44 |
But at this point, I think I have a
pretty good result.
| | 04:46 |
Once again, it's very important to
analyze the overall image and relate it
| | 04:51 |
to the grid.
So for example I'll look at the crosses
| | 04:53 |
on top of the bell towers and see that
they seem to line up with the same spot.
| | 04:58 |
I'll make sure that all the vertical
lines in the image seem to be perfectly vertical.
| | 05:02 |
Paying particular attention to the edges
of the clock tower, for example, but with
| | 05:07 |
these corrections, I think we have a
pretty good result.
| | 05:10 |
So now I can continue applying the rest
of my adjustments and of course, probably
| | 05:14 |
crop the image as well.
I can do all of that, confident I have
| | 05:18 |
much improved perspective for this photo.
| | 05:20 |
| | Collapse this transcript |
| Compensating for lens vignetting| 00:02 |
When you want to compensate for lens
vignetting, or a darkening of the edges
| | 00:06 |
caused by light falloff, which is typical
with wide-angle lenses for example,
| | 00:09 |
you'll want to employ the Lens
Corrections adjustment.
| | 00:12 |
And in many cases, the automatic
adjustment for vignetting will be all you need.
| | 00:16 |
But sometimes, you might want to take
things a little bit further.
| | 00:19 |
Let's take a look at how we can exercise
some additional control over that lens
| | 00:22 |
vignetting correction.
I'll start by going to the Lens
| | 00:25 |
Corrections tab in Adobe Camera Raw, and
in this case, I need to use the profile
| | 00:30 |
tab so that I can access the lens profile
corrections option.
| | 00:34 |
I'll turn on the Enable Lens Profile
Corrections check box so that we can
| | 00:39 |
apply an adjustment to the image.
In this case, Adobe Camera Raw wasn't
| | 00:43 |
able to determine automatically the
profile that should be used, and so I
| | 00:47 |
will specify that the make of the camera
was Canon and that takes care of it actually.
| | 00:52 |
It was now able to determine from
metadata which particular lens was used.
| | 00:56 |
So in this case, it was just an issue of
not knowing which particular camera was
| | 01:00 |
used to capture the image.
And now I'll toggle the Enable Lens
| | 01:03 |
Profile Corrections check box.
And you can see in addition to the basic
| | 01:07 |
lens distortion correction, we have a
vignette correction being applied.
| | 01:11 |
Those corners and edges of the image are
getting lightened up a little bit.
| | 01:15 |
But if I decide that the adjustment is
too strong or perhaps not strong enough,
| | 01:19 |
I can also fine-tune the correction with
the vignetting slider.
| | 01:22 |
I can drag that slider over to the right
to brighten the edges of the image, or to
| | 01:27 |
the left to darken the edges of the
image.
| | 01:29 |
You'll notice that this is a relatively
subtle adjustment and that's because it's
| | 01:32 |
only attempting to compensate for the
behavior of the lens.
| | 01:36 |
In this case, I feel that the automatic
adjustment though, caused the edges to be
| | 01:40 |
a little bit too bright.
So I'm going to tone those down just a hair.
| | 01:44 |
Right about there looks pretty good.
But I can also take a little bit more
| | 01:47 |
control over that vignetting adjustment
if I'd like to.
| | 01:49 |
For that, I'll switch to the manual tab.
And then I'll scroll down and we'll find
| | 01:54 |
the lens vignetting controls, where we
have an amount slider and a mid point slider.
| | 01:58 |
The amount slider determines the
intensity of the effect.
| | 02:02 |
I can drag to the right to brighten, or
to the left to darken.
| | 02:05 |
I'll keep an exaggerated adjustment here
for just a moment, and then we can take a
| | 02:09 |
look at the mid point slider.
That allows us to bring that vignetting
| | 02:13 |
correction further in toward the midpoint
of the image, or not so far in to the
| | 02:17 |
midpoint of the image.
So we can fine tune both of the overall
| | 02:21 |
size of the adjustment, you might say, as
well as the strength of the adjustment.
| | 02:26 |
I think right about there is working
pretty well.
| | 02:28 |
There still is a little bit of evident
vignetting based on the adjustment I've
| | 02:31 |
applied, but I think in this case that's
okay.
| | 02:34 |
I wanted to tone it down but not
eliminate it altogether.
| | 02:37 |
But the point is, that while the
automatic adjustments can be very helpful
| | 02:41 |
indeed, sometimes you'll want to override
that adjustment and take a bit more
| | 02:45 |
control over the effect in the image.
| | 02:47 |
| | Collapse this transcript |
| Adding a film grain effect| 00:02 |
It seems to me that back in the days of
film photography, most photographers did
| | 00:06 |
everything they could to minimize the
appearance of film grain in their images.
| | 00:10 |
Using, for example, very slow speed films
whenever possible, so the grain structure
| | 00:15 |
would be at its minimum.
I, on the other hand, tended to enjoy
| | 00:19 |
shooting with very high speed films even
when I didn't need it, so that I could
| | 00:23 |
get a grainy and textured appearance in
my images.
| | 00:27 |
So I'm grateful for the option to add
film grain directly within Adobe Camera
| | 00:32 |
Raw when I'm processing my image.
To get started, I'll go to the Effects
| | 00:37 |
tab, and then you'll see that we have
some controls for Grain.
| | 00:41 |
To enable the Grain effect at all, we
need to increase the value for amount.
| | 00:46 |
And the more we increase the value, the
more film grain we'll see within the image.
| | 00:50 |
Of course the effect is relatively
subtle, so I'll go ahead and zoom in on
| | 00:54 |
the image so that we can see it a little
bit better.
| | 00:56 |
And then I'll reduce the value for amount
and increase the value for amount, so you
| | 01:00 |
can get a better sense of the effect.
We can also adjust the size and roughness
| | 01:05 |
for the Grain effect once we've increased
the value for amount.
| | 01:08 |
I'll go ahead and increase the value for
size, and you can see that the grain
| | 01:11 |
structure now gets larger.
Essentially we have larger clumps of
| | 01:15 |
grain, or that texture looks a little bit
more clustered.
| | 01:19 |
And then we can adjust roughness.
With a high value for roughness the grain
| | 01:23 |
appearance will be a little bit more
random, whereas, with a lower value for
| | 01:27 |
roughness, it will be a bit more uniform.
To me, a more random appearance works a
| | 01:32 |
little bit better, so I tend to use a
relatively high value for roughness, even
| | 01:36 |
if I'm going to use a relatively low
value for size and relatively low value
| | 01:41 |
for amount.
In most cases I'll want to evaluate the
| | 01:45 |
image at a 100% zoom setting so I get a
better feel for the texture that I'm
| | 01:50 |
adding with that film Grain effect.
I think in this case I might add a
| | 01:54 |
somewhat strong effect just to add an
element age for the photo.
| | 01:58 |
I'll go ahead and zoom out and you can
see that we've got this interesting
| | 02:01 |
texture, sort of organic texture working
throughout the photo.
| | 02:05 |
In this case, I might also tone down the
color just a little bit to make the image
| | 02:09 |
look a little bit older than it really
is.
| | 02:11 |
But I think the film Grain effect is kind
of a nice starting point.
| | 02:15 |
So as you can see the Grain effect is a
very simple one to apply, but it can
| | 02:19 |
really produce an interesting and quite
nice texture to an image.
| | 02:23 |
| | Collapse this transcript |
| Creative vignetting| 00:00 |
Vignetting is one of those interesting
things in photography where sometimes
| | 00:05 |
we're trying to avoid it, and sometimes
we want to add it to an image.
| | 00:09 |
When we'd prefer to avoid lens
vignetting, then we can use the Lens
| | 00:12 |
Correction option to tone down any
vignetting that does occur based on the
| | 00:16 |
behavior of the lens, but if we want to
add vignetting, we'll take a slightly
| | 00:19 |
different approach by adding an effect.
I'll start off by going to the Effects
| | 00:23 |
tab in Adobe Camera Raw and you'll see
that down at the bottom we have Post-Crop Vignetting.
| | 00:28 |
And it's important to realize that this
is post-crop vignetting, meaning whatever
| | 00:33 |
we apply as a vignette here will remain
intact even if we crop the image.
| | 00:38 |
In other words, where in the image that
vignetting occurs will vary based on our crop.
| | 00:43 |
By contrast when we correct for lens
vignetting with the Lens Correction tool
| | 00:47 |
it is not affected by cropping because it
is focused on the behavior of the lens.
| | 00:51 |
In other words, the original capture.
So for creative effect we always want to
| | 00:56 |
use post-crop vignetting.
We'll start off with the amount slider.
| | 01:00 |
If we drag to the right, we are
lightening the edges of the image, and if
| | 01:04 |
we drag to the left, we're darkening the
edges of the image.
| | 01:07 |
And of course, in most cases I would say
we're going to apply a darkening vignette
| | 01:11 |
to our images.
A vignette like this can really help
| | 01:14 |
frame up the image.
It can help keep the viewer inside of the
| | 01:17 |
image, so to speak.
So, their gaze doesn't wander off outside
| | 01:21 |
the photo.
But in some cases, especially with more
| | 01:23 |
ethereal images, you may want to have the
image sort of fade off at the edges and
| | 01:29 |
so you might want to apply a lightening
effect.
| | 01:31 |
I'll go ahead and drag that slider to the
left though so that we get a darkening
| | 01:35 |
vignette and I'm going to keep it
exaggerated so that we can better see the
| | 01:38 |
effect of the various other controls that
are available for vignetting.
| | 01:43 |
The midpoint determines how far into the
center of the image that vignetting will appear.
| | 01:47 |
If we drag over toward the right we will
only affect the very edges, perhaps even
| | 01:52 |
just the corners of the image.
And if we drag toward the left we'll
| | 01:56 |
bring that midpoint inward so that the
vignetting effects most of the image.
| | 02:00 |
Roundness, as the name implies,
determines how round versus elliptical
| | 02:06 |
that vignetting effect is, but if we take
the value further over toward the left,
| | 02:11 |
it becomes almost rectangular in shape
with rounded edges, of course, and that
| | 02:16 |
can actually be a rather interesting
effect for certain images.
| | 02:19 |
We can also adjust the feathering.
By default, there is some feathering
| | 02:23 |
applied, but we can increase the amount
of feathering so the transition between
| | 02:27 |
the darkened areas versus the rest of the
image, for example, are a little bit more subtle.
| | 02:31 |
We can also reduce the amount of
feathering, or even eliminate it altogether.
| | 02:36 |
If we want to have a very abrupt
transition between the areas that are
| | 02:40 |
being affected.
In this case darkened versus the rest of
| | 02:43 |
the image.
And of course we can get some very
| | 02:45 |
interesting effects by working with all
of these various sliders in conjunction
| | 02:49 |
with one another.
Adjusting the midpoint for example, in
| | 02:53 |
conjunction with the roundness slider.
In conjunction with the feather slider.
| | 02:56 |
So that we go from having a dark border
type of effect to something along the
| | 03:01 |
lines of what we might think of as more
of a true vignetting type of effect.
| | 03:07 |
We can also adjust the style for the
vignette.
| | 03:10 |
The default is Highlight Priority, which
means we'll preserve highlights within
| | 03:14 |
the image.
We can also prioritize color values
| | 03:17 |
within the image.
That can sometimes lead to relatively
| | 03:20 |
dingy colors.
So I tend not to like Color Priority too much.
| | 03:24 |
But for some images it may work well.
The Paint Overlay option is my least favorite.
| | 03:28 |
In most cases it just looks a little bit
too drab, and so almost exclusively I'll
| | 03:33 |
use the Highlight Priority option.
I'm going to bring the midpoint value
| | 03:37 |
downwards so that the vignette covers up
the sun area.
| | 03:41 |
And then we can explore what that
highlight priority is really doing.
| | 03:46 |
You'll notice, for example, that the sun
is not being darkened.
| | 03:49 |
And this is a more realistic type of
effect because very bright light sources
| | 03:53 |
are going to shine right through the
light drop-off that we'll see with wide
| | 03:58 |
angle lenses for example.
So even when you would get vignetting
| | 04:00 |
naturally because of the lens, very
bright areas will still be very bright.
| | 04:05 |
Well, I can also brighten those
highlights even more so that for example,
| | 04:09 |
the area around the sun receives no
vignetting at all, or at least very
| | 04:14 |
little vignetting.
In other words, how much do I want to
| | 04:17 |
retain those highlights?
In this case I'm not worried about
| | 04:20 |
protecting those highlights from the
vignette and in fact, I'm going to tone
| | 04:24 |
down the overall effect and move it
outward a little bit in the image and
| | 04:29 |
that sort of underscores one of the key
points with vignetting and that is that a
| | 04:33 |
little goes a long way.
It doesn't take much of an effect to have
| | 04:36 |
a strong impact on the image.
So when in doubt you might tone down the
| | 04:41 |
settings just a little bit, especially
the amount slider.
| | 04:43 |
I'll go ahead and turn off the preview
checkbox and turn it back on again and
| | 04:47 |
you can see that even though the vignette
effect seemed to be rather subtle, the
| | 04:52 |
impact on the image is rather strong.
And I would even say in this case maybe
| | 04:55 |
still a little bit too strong.
I might want to tone things down even further.
| | 04:59 |
But as you can see the post-crop
vignetting controls provides a good
| | 05:02 |
degree of flexibility, in terms of
applying a lightening or darkening effect
| | 05:07 |
to the edges of an image.
| | 05:08 |
| | Collapse this transcript |
| Camera calibration| 00:02 |
The primary emphasis of the camera
calibration adjustments in Adobe Camera
| | 00:06 |
Raw are such that you probably don't need
them, but there are some interesting
| | 00:11 |
creative possibilities there as well in
addition to the opportunity to simulate
| | 00:16 |
what you might otherwise expect to
achieve with a particular setting on your camera.
| | 00:19 |
Let me show you exactly what I mean.
We'll get started by going to the camera
| | 00:23 |
calibration tab in adobe Camera Raw.
Now, the primary focus of the camera
| | 00:28 |
calibration tab is to compensate for
inaccuracies in the overall
| | 00:33 |
interpretation of colors.
Now if you think you need to adjust these
| | 00:36 |
controls, it's suggesting that you feel
that the camera you're using is not
| | 00:41 |
rendering color accurately.
For example, it's interpreting red as
| | 00:45 |
being a little to orange or blue as being
a little bit to cyan.
| | 00:49 |
If you think that's the case I would
strongly encourage you to perform some
| | 00:53 |
additional tests.
Perhaps capture some established color
| | 00:57 |
targets under very controlled conditions.
As in most cases I find that these
| | 01:01 |
adjustments aren't really necessary.
But if you do find that there are some
| | 01:05 |
issues in terms of color interpretation
for your camera, you can adjust the Hue
| | 01:09 |
and Saturation for the red, green and
blue primary colors.
| | 01:13 |
That your camera is capturing.
So for example, I could take the red
| | 01:17 |
values and shift them to more of an
orange value or more of a sort of puply
| | 01:22 |
pink value and I can also adjust the
overall saturation.
| | 01:25 |
So if you felt that the reds were a
little too saturated and that they were a
| | 01:29 |
little bit shifted too much toward orange
we could apply compensation here.
| | 01:34 |
But again, that's generally not the case.
And so, in most cases, you won't need to
| | 01:37 |
worry about these controls.
Of course, you can also have some very
| | 01:41 |
interesting creative possibilities here,
if you'd like.
| | 01:45 |
But more often than not, I think these
controls are better left alone.
| | 01:48 |
I'll go ahead and reset the adjustments.
We can also adjust the color tint for
| | 01:53 |
shadow, so if you feel that the shadows
in your images are appearing too green or
| | 01:57 |
too magenta, we can compensate that way,
but again, I would take a look at other
| | 02:01 |
possibilites, including taking a look at
your overall color temperature
| | 02:05 |
adjustments before I would work here.
So that might lead you to believe that
| | 02:10 |
the camera calibration section can just
be completely ignored.
| | 02:13 |
But there are a couple other options that
you might be interested in here.
| | 02:16 |
First off, we have the process option.
There have been several iterations of
| | 02:21 |
Adobe Camera Raw and adobe Photoshop
Lightroom, and therefore adobe has
| | 02:25 |
developed several process versions based
on the various controls that are available.
| | 02:29 |
We have, in this case for example, 2003
process version, 2010, and 2012.
| | 02:36 |
You could switch to an older process
version if you want to interpret an image
| | 02:40 |
based on older adjustment criteria.
For example, if you had optimized an
| | 02:45 |
image in the past using specific settings
with a previous process version.
| | 02:49 |
But in most cases, you'll want to leave
the process versions set to the current
| | 02:53 |
version in this case 2012.
Another interesting option here is the
| | 02:57 |
camera profile set of controls.
You may be familiar with the various
| | 03:01 |
preset options available in your camera
to produce a different interpretation of
| | 03:06 |
the scene.
For example, the camera that this image
| | 03:09 |
was captured with offers faithful,
landscape, neutral, portrait and standard controls.
| | 03:15 |
The problem is that for Raw captures,
those settings will not apply.
| | 03:19 |
They only affect JPEG captures.
So if you want to achieve the same
| | 03:23 |
results with a raw capture, you can come
right here to the camera profile pop up
| | 03:28 |
and choose one of the available options.
So, for example, if I like the look of
| | 03:32 |
the landscape options or the neutral
option, I I can choose that right here
| | 03:37 |
and I'll get a result that matches what I
would have otherwise achieved with a JPEG
| | 03:42 |
captain using that set of controls in the
camera but with the added benefits of
| | 03:47 |
capturing in Raw.
In this particular case I think camera
| | 03:51 |
faithful maybe gives me a nice subtle
starting point.
| | 03:53 |
I might boost the colors a little more
later.
| | 03:55 |
But that looks to be a pretty good
starting point so I think I will begin
| | 03:58 |
there for my adjustments.
So while most of the settings in the
| | 04:02 |
camera callibration set of controls are
not going to be necessary for you, it's
| | 04:06 |
good to be familiar with them, to know
they exist and when you should versus
| | 04:10 |
should not use them, and to consider
ultilizing that camera profile option
| | 04:14 |
because it can be a very good starting
point for many images.
| | 04:17 |
| | 04:17 |
| | Collapse this transcript |
|
|
4. Focused AdjustmentsTargeted adjustments| 00:02 |
There are several adjustments in Adobe
Camera Raw that allow you to affect
| | 00:05 |
specific areas of the image.
For example, if we work with the HSL
| | 00:10 |
controls, the hue, saturation and
luminance adjustments, we can affect just
| | 00:15 |
the blues, for example.
Shifting the hue of only the blue values
| | 00:18 |
within the image.
As with most of the other controls within
| | 00:22 |
Adobe Camera Raw, these involve sliders.
We move a slider to the right, for
| | 00:26 |
example, to shift the blues more toward
purple.
| | 00:29 |
And we shift the slider to the left to
make the blues appear a little bit more cyan.
| | 00:34 |
But we can also work directly on the
image for these types of adjustments
| | 00:38 |
utilizing the Targeted Adjustment tool.
Let's take a look at that tool.
| | 00:43 |
I'll go ahead and click on the Targeted
Adjustment tool on the toolbar and by
| | 00:47 |
default I would be working with the
parametric tone curve.
| | 00:50 |
But I can also choose from a variety of
different options for the on image adjustment.
| | 00:56 |
I'll go ahead and click and hold my mouse
on the button for the Targeted Adjustment
| | 01:00 |
tool and you'll see that we have
parametric curve, hue, saturation,
| | 01:04 |
luminance and gray scale mix.
Let's take a look at hue for example,
| | 01:08 |
since we're already looking at the hue
sliders.
| | 01:11 |
If I move the sliders back and forth, of
course, I affect specific colors within
| | 01:15 |
the image but I can also work directly on
the image itself.
| | 01:19 |
So I'll point the mouse at the image,
again using the Targeted Adjustment tool,
| | 01:22 |
and I'll simply click.
That activates the Targeted Adjustment
| | 01:26 |
tool and essentially what's happened here
is that Adobe Camera Raw has sampled this
| | 01:31 |
portion of the image.
And of course this portion of the image
| | 01:34 |
happens to be blue and so it knows that
at the moment I want to adjust the blue
| | 01:39 |
values within the image.
And specifically adjust them with respect
| | 01:43 |
to hue.
If I then drag the mouse upward, I'm
| | 01:45 |
dragging the blues slider, in this case,
over towards the right.
| | 01:48 |
You'll notice that the purple slider also
gets affected just a little bit.
| | 01:53 |
And if I drag downward you'll see that
the slider moves to the left.
| | 01:56 |
So I can simply point to the image, click
and in this case, drag up or down in
| | 02:01 |
order to adjust the appearance, adjusting
the blues in this case.
| | 02:05 |
So maybe I want to shift those blues to
make them a little more cobalt.
| | 02:09 |
I could also point to a yellow area of
the image for example and then click and
| | 02:13 |
drag upward or downward.
In this case, I'm affecting both the
| | 02:17 |
yellows and the oranges based on the
specific color value that I clicked on.
| | 02:21 |
And I can fine tune the color as I see
fit.
| | 02:24 |
And as we've already see we have a
variety of different options available
| | 02:27 |
for this Targeted Adjustment tool.
I can affect the overall tonality of
| | 02:32 |
particular areas of the image.
You''ll notice that Adobe Camera Raw has
| | 02:35 |
automatically switched to the tone curve
option since I selected tone curve from
| | 02:39 |
the popup.
And now I'm affecting the darks in the
| | 02:42 |
photo since I initially clicked on a dark
pixel in the image.
| | 02:46 |
And we can also use the same capability
to apply a grey scale conversion.
| | 02:50 |
So I'll choose the grey scale mix option
for the Targeted Adjustment tool.
| | 02:54 |
You'll see that the image is
automatically converted to grey scale.
| | 02:58 |
The convert to grey scale checkbox is
turned on and now when I click and drag
| | 03:02 |
within the image, I'm adjusting the
luminance values for that particular color.
| | 03:07 |
So, for example, clicking on the sky and
dragging upward will brighten the blues,
| | 03:11 |
and dragging downward will darken the
blues.
| | 03:13 |
Similarly, I could click and drag on a
yellowish-orange area and brighten or
| | 03:18 |
darken those areas specifically.
So while the Targeted Adjustment tool
| | 03:23 |
doesn't provide any adjustment
capabilities per se that aren't available
| | 03:27 |
through the sliders, it does provide an
alternate way of working.
| | 03:30 |
And since we're working on adjusting the
appearance of our image it makes perfect
| | 03:34 |
sense to work directly on the image in
order to apply some of those adjustments.
| | 03:39 |
So when you want to adjust overall
tonality, adjust the hue, saturation or
| | 03:43 |
luminance of specific colors or create a
black and white interpretation of your photo.
| | 03:48 |
You might take a look at the Targeted
Adjustment tool as a more efficient and
| | 03:52 |
convenient way to work with your photos.
| | 03:53 |
| | Collapse this transcript |
| Spot removal| 00:02 |
Even if you're meticulous about keeping
your lenses and your camera clean, from
| | 00:06 |
time to time, you're sure to experience
some spotting in the image caused by
| | 00:11 |
water spots, dust spots, etc.
While Adobe Camera Raw doesn't offer
| | 00:16 |
cleanup tools that will allow you to
remove a wide variety of blemishes, when
| | 00:20 |
it comes to basic spot removal it
actually works remarkably well.
| | 00:24 |
Let's take a look at the use of the Spot
Removal Brush to clean up dust spots.
| | 00:28 |
You can see in this case that I have a
few dust spots.
| | 00:31 |
They're not terribly strong.
They're not especially obvious, but they
| | 00:35 |
are there and they're a bit distracting
and it's one of those things where as
| | 00:38 |
soon as you know they're there you just
can't stop looking at them.
| | 00:41 |
And worse there might be some spots that
you don't notice at first and then you
| | 00:44 |
apply some adjustments and they suddenly
stand out.
| | 00:48 |
I'll start by choosing the Spot Removal
Brush on the toolbar and you can see that
| | 00:53 |
that brings up a set of controls here.
But not that many controls.
| | 00:56 |
We can choose the type of spot removal
that we want to perform, heal versus
| | 01:01 |
clone, we can choose the size of the
removal area and we can also adjust opacity.
| | 01:06 |
In almost all cases I leave the opacity
set to 100 because I want to completely
| | 01:12 |
remove the blemish.
The size, I usually won't adjust here,
| | 01:15 |
instead working directly within the image
as we'll see in just a moment.
| | 01:19 |
I also almost always use the heal option
rather than the clone option.
| | 01:23 |
With the clone option we're literally
copying pixels exactly as they appear.
| | 01:28 |
Now for example in the sky that might
seem to be perfectly fine.
| | 01:32 |
If I copy pixels from one area of the sky
and cover up a blemish in another area of
| | 01:37 |
the sky, that seems like a perfectly good
solution.
| | 01:40 |
The problem is that even when a sky looks
uniform, it might not be.
| | 01:44 |
We'll have subtle variations in tone and
color and therefore utilizing that heal
| | 01:49 |
option is almost always the best choice.
I'll go ahead now and move my mouse out
| | 01:53 |
over the image.
You can see that I have a dashed circle
| | 01:56 |
indicating where I'll be affecting the
image.
| | 01:59 |
I can adjust the size using the left and
right square bracket keys on the keyboard.
| | 02:04 |
So instead of using the slider over on
the right side I'll use the left square
| | 02:08 |
bracket key to reduce the brush size and
the right square bracket key to increase
| | 02:11 |
the brush size.
I'll set that brush size to be just a
| | 02:14 |
little bit larger than the spot that I
want to clean up and then all I need to
| | 02:18 |
do is click on that spot.
Adobe Camera Raw will automatically
| | 02:22 |
choose a source area for the area that
I'm cleaning up.
| | 02:26 |
Green represents the source and red
represents the destination.
| | 02:30 |
You can think of it as start and finish,
for example.
| | 02:32 |
If necessary though, I can change the
location of that source to get a better result.
| | 02:38 |
In this case that's not necessary because
I'm getting a very good result for that
| | 02:42 |
cleaning but the point is that we can
adjust the source and destination as needed.
| | 02:47 |
We can even adjust the size of that brush
after the fact.
| | 02:50 |
I can simply drag on the edge of the
circle here in order to increase or
| | 02:54 |
decrease the size of the correction that
I'm applying.
| | 02:57 |
As you're working with the Spot Removal
Brush you may find that it's a little
| | 03:01 |
distracting having the overlays on the
image and so you can turn off the Show
| | 03:05 |
Overlay checkbox if you'd like.
So really, in many cases, cleaning up
| | 03:10 |
those dust spots simply amounts to
clicking on the dust spot itself, and it
| | 03:14 |
magically disappears.
The problem is sometimes, there are dust
| | 03:17 |
spots that you might not notice at first,
they can be a little bit subtle.
| | 03:21 |
But we have an option available that
makes it much easier to see those spots.
| | 03:25 |
It's called Visualize Spots.
I'll go ahead and turn on the Visualize
| | 03:29 |
Spots checkbox.
And now I can drag the slider one way or
| | 03:34 |
the other, in order to enhance the
overall contrast in the image,
| | 03:38 |
essentially enhancing edge contrast, so
that I can see spots.
| | 03:42 |
And in this case, at a maximum value I'm
able to see quite a few spots that I
| | 03:46 |
would have otherwise missed.
I'll go ahead and click on each of those
| | 03:50 |
areas of the image so that I can clean up
all of those individual spots.
| | 03:54 |
So even spots that I think I would have
probably otherwise missed altogether I'm
| | 03:59 |
able to clean up thanks to the
capabilities of the Spot Removal Brush.
| | 04:05 |
That looks to be pretty good.
I think a couple of additional items here.
| | 04:08 |
Now it is best to slide through the full
range, because in some cases spots will
| | 04:13 |
be more obvious at one setting versus
another.
| | 04:15 |
But in this case, the maximum value seems
to be working best as far as finding
| | 04:20 |
those spots.
I'll go ahead and turn off the Visualize
| | 04:23 |
Spots checkbox and now if I turn off the
preview, and turn it back on again.
| | 04:28 |
You may notice a few spots that we hadn't
caught initially but we're able to find
| | 04:32 |
thanks to that Visualize Spots option.
I'll go ahead and turn on the Show
| | 04:36 |
Overlay checkbox so we can sell all of
the various areas that we've cleaned up.
| | 04:41 |
And of course we can also fine tune
things after the fact.
| | 04:44 |
So if I want to click on this particular
Spot Removal for example.
| | 04:48 |
And then choose a different source of
pixels or adjust the size of that
| | 04:52 |
correction or even change the opacity or
the type setting for that particular
| | 04:57 |
clean up area.
All of those options are available, but
| | 05:00 |
at this point I think I have a pretty
good result as far as that image clean up.
| | 05:05 |
It's worth noting by the way, that if at
anytime I feel that one or more of these
| | 05:09 |
spot removal areas is just not working
out that well I can click on it in order
| | 05:13 |
to activate it and then press the delete
key on the keyboard to remove that
| | 05:17 |
particular cleanup.
Or I can click the Clear All button in
| | 05:20 |
order to remove all of those spot removal
areas, but in this case I think I'm
| | 05:25 |
getting a good result.
And so I'll leave all of them intact.
| | 05:28 |
And now I have a much tidier image than
when I started.
| | 05:32 |
| | Collapse this transcript |
| Red-eye removal| 00:02 |
Conceptually, it's easy to avoid red eye
in your photographs of people that
| | 00:05 |
utilize flash for illumination.
All you need to do is make sure that the
| | 00:10 |
flash is relatively far away from the
lens so that the light is not reflected
| | 00:14 |
from the back of the eye into the lens
creating that red eye effect.
| | 00:18 |
Of course, in practice sometimes it's
just not that easy.
| | 00:21 |
For example if we're using a camera that
has a built in fixed flash we're not able
| | 00:26 |
to move that flash around without moving
the lens around and so we're likely to
| | 00:30 |
end up with red eye.
Fortunately though it's very simple to
| | 00:34 |
correct red eye in Adobe Camera Raw.
I'll start off by zooming into the eyes
| | 00:38 |
here so that we can get a good look at
that red eye.
| | 00:40 |
And then I'll simply choose the Red Eye
Removal tool on the tool bar.
| | 00:45 |
You'll notice that we can adjust the
pupil size and the darkening amount, but
| | 00:48 |
we can also adjust those settings after
the fact so I won't worry about those at
| | 00:52 |
the moment.
I'll then move my mouse out over the
| | 00:55 |
image, and I need to draw a marquis, I
need to identify the area that exhibits
| | 00:59 |
red eye.
But not just the red eye.
| | 01:02 |
I need to also select an additional
portion of the image so that Adobe Camera
| | 01:06 |
Raw can more readily find this specific
area that needs to be corrected.
| | 01:10 |
So I'll simply click and drag to draw a
marquee, including the red eye, the iris,
| | 01:15 |
the white of the eye, and even some of
the face around the eye.
| | 01:18 |
When I release the mouse Adobe Camera Raw
will automatically detect the red eye and
| | 01:23 |
will correct it.
That correction is being applied with the
| | 01:26 |
settings over on the right here for pupil
size and darken.
| | 01:30 |
I'll go ahead and zoom in a bit more
closely on the eye here for example and
| | 01:35 |
then I'll turn off the show overlay
checkbox so that, that box disappears and
| | 01:39 |
we can see the correction a little more
clearly.
| | 01:41 |
And then I'll adjust pupil size first you
can see if I make the pupil size smaller
| | 01:45 |
then the correction is smaller.
And therefore some of the red around the
| | 01:49 |
edges is still visible, and if I drag
toward the right too far, then I'll start
| | 01:54 |
to darken up or lose color in the iris as
well.
| | 01:56 |
So if you see a little bit of color
fringing, you can certainly make an
| | 01:59 |
adjustment here, now just be careful that
you're not taking things too far in one
| | 02:03 |
direction or the other.
We can also adjust the strength of the
| | 02:07 |
darkening effect.
We can drag to the left to darken more,
| | 02:10 |
and drag to the right to darken less.
Obviously this can call for a very
| | 02:15 |
careful balance between darkening the
pupil a little bit, but not too much.
| | 02:20 |
Right about there, looks to be working
pretty well in this particular case.
| | 02:23 |
I'll then go ahead and pan over to the
other eye and, utilizing those same
| | 02:27 |
settings, and I can click and drag once
again, in order to identify that eye, and
| | 02:31 |
then the correction is applied there as
well.
| | 02:33 |
And as needed, I can adjust the pupil
size and the darkening amount as well.
| | 02:38 |
At anytime of course, you can turn on the
Show Overlay checkbox so that you can see
| | 02:43 |
an indication of where the correction was
applied and which specific correction is active.
| | 02:49 |
So, for example.
If I need to apply a little bit of an
| | 02:52 |
adjustment to my red eye correction, I
can click first on the specific eye that
| | 02:57 |
needs to be corrected and then adjust my
settings as needed, and if for any reason
| | 03:01 |
I want to completely remove the red eye
corrections here, I can simply click the
| | 03:06 |
clear all button on the right panel as
well.
| | 03:08 |
In most cases I think you'll find that
simply by identifying the areas within
| | 03:12 |
the image where the red eye exist, the
automatic correction will be all you need.
| | 03:16 |
But you do have the ability to fine-tune
the pupil size and darkening amount for
| | 03:21 |
that correction as needed.
| | 03:22 |
| | Collapse this transcript |
| The Graduated filter| 00:02 |
You may be familiar the use of a
graduated neutral density filter.
| | 00:06 |
This type of filter allows us to
essentially hold back the exposure for
| | 00:10 |
the sky for example, so that we can get a
more even result in the final image.
| | 00:15 |
With this scene, the sky is very bright
and the foreground is very dark, and so
| | 00:20 |
we might want to darken the sky without
affecting the foreground.
| | 00:23 |
Even better, we can take it beyond simple
exposure.
| | 00:27 |
With the gradient adjustment in Adobe
Camera Raw, we can apply a variety of
| | 00:31 |
adjustments to a specific area having
that adjustment taper off into the rest
| | 00:36 |
of the image.
Let's go ahead and apply a graduated
| | 00:39 |
adjustment to the image.
I'll start off by choosing the graduated
| | 00:42 |
filter tool on the toolbar and you can
see that I now have a set of controls
| | 00:47 |
that are available for for that graduated
filter.
| | 00:50 |
I'll go ahead and just drag within the
image.
| | 00:52 |
I can always change things later.
You'll see that I have some default
| | 00:56 |
settings based on a previous adjustment.
I can drag to define the distance between
| | 01:01 |
the area that's being affected and the
area not being affected, in other words,
| | 01:05 |
the range of transition.
I can also adjust the angle, so as I
| | 01:09 |
rotate here for example just dragging
left and right.
| | 01:12 |
You'll see that the transition shifts
over towards the left versus the right.
| | 01:16 |
I can also hold the shift key in order to
cause that gradient to snap so that I can
| | 01:21 |
align it more easily with specific
angles.
| | 01:24 |
In this case of course a perfectly
vertical gradient.
| | 01:27 |
So we can now see the direction of that
gradient as well as the starting point
| | 01:32 |
with green and the ending point with red.
So in this case, all of the pixels above
| | 01:37 |
this green dashed line will be affected
by my adjustment.
| | 01:40 |
All of the pixels below the red dashed
line.
| | 01:43 |
Will not be affected.
And in between, we'll have a smooth transition.
| | 01:47 |
I can then adjust the settings for the
image.
| | 01:50 |
So, for example, I want to darken the
image just a little bit.
| | 01:54 |
Increase contrast a little.
Perhaps warm things up a little bit.
| | 01:58 |
But again I'm focusing the adjustment on
essentially the top half of the image
| | 02:02 |
with a very smooth transition down below.
I'll bring back the Saturation adjustment
| | 02:07 |
just a little bit, and maybe play with
that Clarity adjustment.
| | 02:11 |
I might even darken up the shadows just a
little bit.
| | 02:15 |
There we go, that's looking pretty nice.
And perhaps even better I can switch back
| | 02:19 |
and forth between my adjustments and the
gradient itself.
| | 02:22 |
So if I decide that I want to reposition
this gradient I can drag either of the edges.
| | 02:27 |
The red or the green which determine the
beginning and ending of that gradient.
| | 02:32 |
I can drag those up or down in this case
maybe draggin the whole transition
| | 02:36 |
downward a little bit.
But not bringing it too far down into the
| | 02:40 |
Eiffel Tower because then we get a little
bit too obvious an effect.
| | 02:43 |
I could also rotate the gradient as
needed etcetera.
| | 02:46 |
So by adjusting the overall gradient, I'm
determining where in the image the
| | 02:51 |
adjustments are affecting, and then I can
also go back and fine tune my adjustments
| | 02:56 |
as needed as well.
At any time I can turn off.
| | 02:59 |
The show overlay check box if I want to
see the image without that overlay
| | 03:03 |
effect, I'll go ahead and toggle the
preview so we can see with four versus
| | 03:08 |
the after, and we've got a pretty nice
result, I think.
| | 03:12 |
Note by the way, that we can also add
additional gradient if we want to.
| | 03:15 |
Once I've added an initial gradient,
you'll see that I'm working in edit mode,
| | 03:19 |
but I can also choose new.
And then click and drag within the image
| | 03:24 |
to define an additional gradient.
I'll go ahead and turn on the Show
| | 03:28 |
Overlay option so that we can see that
gradient.
| | 03:30 |
And then I'll fine-tune the position.
Let's say that I need to apply a little
| | 03:34 |
bit more of an adjustment at the very top
of the image.
| | 03:37 |
Obviously, at the moment, the settings
are a little bit too strong, so I'll tone
| | 03:42 |
down, for example, the saturation.
Maybe tone down the clarity but maybe I
| | 03:46 |
want to darken the top portion of the
image just a little bit more.
| | 03:50 |
So you can see now I have 2 gradient
adjustments 1 affecting the very top of
| | 03:54 |
the image and 1 affecting more of the
image.
| | 03:56 |
I can switch back and forth between them,
simply by clicking on the control to make
| | 04:00 |
one active.
The one with the green and the red is the
| | 04:03 |
currently active gradient.
Meaning that is the gradient for which
| | 04:06 |
I'm refining the adjustment controls and
then the other gradient, the non active
| | 04:10 |
gradient is shown with white circles and
a dashed line.
| | 04:13 |
So I can switch back and forth as needed
and fine tune the gradient itself or the
| | 04:19 |
adjustment controls in order to finalize
the effect in the image.
| | 04:23 |
So, the ability to essentially mimic the
behavior of a graduated neutral density
| | 04:27 |
filter, but with a tremendous amount of
flexibility in terms of these specific
| | 04:31 |
adjustments we can apply.
| | 04:33 |
| | Collapse this transcript |
| The Radial filter| 00:02 |
Sometimes you may find that you want to
apply an adjustment similar to vignetting
| | 00:06 |
at least in concept but with a different
set of adjustments effecting that outer
| | 00:10 |
area of the image and when thats
something that you'd like to accomplish
| | 00:13 |
for an image you can use the radial
filter adjustment tool.
| | 00:17 |
I'll go ahead and click on the radial
filter tool and then you can see that I
| | 00:20 |
have a set of controls available.
This is a sub set set of the full
| | 00:24 |
collection of adjustment tools that are
available within Adobe Camera Raw.
| | 00:28 |
I'll get started by applying an
exaggerated adjustment.
| | 00:31 |
So, for example, applying a very strong
reduction and exposure.
| | 00:35 |
And then I will click within the image.
And what I'm going to do is to define the
| | 00:40 |
boundary area between the edge of the
image that will be affected by my
| | 00:44 |
adjustment, and the middle of the image
that will not be affected.
| | 00:47 |
So I'll go ahead and click from about the
center of the image and drag outward, and
| | 00:52 |
you can see that I'm defining an ellipse
that is growing outward from the point I
| | 00:56 |
initially clicked.
I can also, as needed, hold the Spacebar
| | 01:00 |
key while I'm still holding that mouse
button down, and then move the mouse in
| | 01:04 |
order to move that ellipse.
And of course I can release the Spacebar
| | 01:08 |
and then continue adjusting the size.
If I want to make a perfect circle, I can
| | 01:12 |
hold the shift key but in this case I
think I'll utilize an elliptical shape.
| | 01:16 |
Right about there seems to be pretty
good, I think.
| | 01:18 |
You can see that once I release the mouse
that ellipse is placed and of course we
| | 01:22 |
still have the ability to fine tune the
overall shape.
| | 01:25 |
So for example, I can make it taller or
less tall, I can make it wider or
| | 01:30 |
narrower and I can even drag the position
of that ellipse around as needed.
| | 01:35 |
Because I applied an exaggerated
adjustment before I started drawing this
| | 01:39 |
ellipse, of course it was very easy to
see exactly how I was affecting the image.
| | 01:43 |
But naturally, I don't want to apply this
strong an effect to the photo.
| | 01:46 |
So now I can come over to the right side
and adjust my settings.
| | 01:50 |
For example, bringing the exposure value
back up, maybe leaving just a little bit
| | 01:55 |
of a darkening effect there, for the
edges.
| | 01:57 |
Of course, I also have a saturation
adjustment applied here.
| | 02:00 |
I don't want that effect.
I might like to reduce the saturation for
| | 02:04 |
that outer area or maybe increase it just
a little bit, but in this case, I think
| | 02:08 |
I'll leave that set to its default value
of zero.
| | 02:10 |
But I can continue moving through these
various adjustments.
| | 02:13 |
Perhaps I want darken up just the shadows
in that area of the image outside of my
| | 02:17 |
ellipse for example.
I can apply any of these available
| | 02:20 |
adjustments as I see fit.
In this case I'll apply a very basic adjustment.
| | 02:25 |
If I want to I can also create a new
Radial Filter adjustment.
| | 02:28 |
I can click the New option, and then
click and drag within the image to define
| | 02:32 |
a new area that I will apply a radial
adjustment to.
| | 02:36 |
But of course in most cases I would apply
a single radial adjustment focused on the
| | 02:41 |
center of the image so that all of the
outer edges get effected.
| | 02:45 |
So with this additional radial filter
adjustment selected, I'll go ahead and
| | 02:49 |
press the delete key on the keyboard in
order to delete that adjustment.
| | 02:53 |
You'll notice that I have a Show Overlay
check box so I can show or hide the overlay.
| | 02:58 |
If a radial filter pin is not selected,
then of course, we'll only see the pin itself.
| | 03:02 |
We can also, though, click on that pin in
order to display the overall ellipse.
| | 03:07 |
And naturally, I can go back and forth,
adjusting the overall size and shape of
| | 03:11 |
my ellipse, and then coming back and fine
tuning the adjustments as needed.
| | 03:15 |
I think this is working pretty well, it's
essentially applying something of a
| | 03:18 |
vignetting effect for the image.
A subtle effect, but one I think is
| | 03:22 |
working pretty nicely, so I'll leave that
as it is, but as you can see, utilizing
| | 03:26 |
that radial feature adjustment is quite
simple.
| | 03:28 |
| | Collapse this transcript |
| The Adjustment Brush| 00:02 |
At times, you may want to apply an
adjustment to an image in Adobe Camera
| | 00:05 |
Raw only affecting a specific area of the
photo, and in those situations you can
| | 00:10 |
utilize the adjustment brush in order to
literally paint and adjustment into a
| | 00:15 |
specific area of the photo.
Let's take a look at a very basic example
| | 00:19 |
just to get a sense for how this tool
works.
| | 00:21 |
I'll start off by choosing the Adjustment
Brush from the Toolbar, and then I'll
| | 00:25 |
apply just an exaggerated adjustment.
I'll just tone down exposure
| | 00:29 |
significantly for example.
And then I'll move my mouse out over the
| | 00:33 |
image and I'll just reduce the brush size
here to create a relatively small brush stroke.
| | 00:37 |
And then I'll click and drag in order to
paint over the image.
| | 00:40 |
And you can see that I'm painting a
darkening effect over the image, because
| | 00:44 |
I adjusted the exposure.
I could also apply a variety of different
| | 00:48 |
adjustments all at the same time.
So for example, I'll paint a stroke over
| | 00:52 |
the golden pavilion here.
And it to gets darkened, but I could also
| | 00:56 |
increase contrast for example, or
increase clarity, I can bring the
| | 01:00 |
exposure back up a little bit.
You'll notice that all of the areas that
| | 01:03 |
I've painted are being effected
similarly.
| | 01:06 |
And I can go back into the image and
paint additional areas as well.
| | 01:09 |
And as we'll see in a moment we can also
create a new targeted adjustment.
| | 01:13 |
And adjustment area effecting a different
area of the photo.
| | 01:16 |
I'll go ahead and click the Clear All
button to remove the pin, and lets take a
| | 01:20 |
look at a more realistic example at how I
might work with this tool.
| | 01:24 |
I'll reset the clarity adjustment and the
contrast adjust, but I will maintain an
| | 01:29 |
exaggerated exposure adjustment.
And this is how I typically will work the
| | 01:33 |
Adjustment Brush tool, that is to apply
an extremely exaggerated adjustment, so
| | 01:39 |
that I can see very clearly where I'm
painting, and then I'll come back and
| | 01:42 |
fine tune the actual adjustment.
So for example, I could come into the
| | 01:46 |
image and paint into the sky, covering
all areas of the sky, so that I can apply
| | 01:52 |
a targeted adjustment in that sky.
As you can see though, it's a little bit
| | 01:56 |
tricky to paint in the sky and produce a
good result since the sky transitions
| | 02:01 |
into trees of course.
In cases where I just want to have a
| | 02:05 |
subtle effect on an area that is not very
clearly defined.
| | 02:09 |
Then I might as well just paint in this
fashion.
| | 02:11 |
But in most cases I find, that I do want
to paint an adjustment into a well
| | 02:16 |
defined area and therefore, I want to
utilize the automatic masking feature.
| | 02:21 |
So I'll go ahead and clear that
adjustment, and then I'm going to scroll
| | 02:24 |
down on my set of controls here and turn
on the Auto Mask check box.
| | 02:29 |
That will cause the adjustment brush to
automatically paint in the areas that I define.
| | 02:34 |
So for example, it can automatically
determine where the sky is.
| | 02:37 |
Let me show you how it's done, I'll start
off by moving my mouse out over the sky
| | 02:41 |
in this case.
And I'll adjust my brush size with the
| | 02:44 |
left and right square bracket keys, and
what I'm going to do is paint in the sky,
| | 02:48 |
just as I did before.
Once again with an exaggerated adjustment applied.
| | 02:52 |
But then, notice what happens when I
paint down toward the treeline.
| | 02:56 |
In fact, I can paint over the boundary
between the trees and the sky.
| | 03:01 |
I just need to make sure that the cross
hair at the center of my brush remains in
| | 03:06 |
the sky, in the area that I'm trying to
adjust.
| | 03:09 |
As long as I do that, Adobe Camera Raw
will automatically determine exactly
| | 03:14 |
where that transition is.
In other words, where the border is that
| | 03:17 |
separates the trees from the sky.
So I can paint carefully along that edge
| | 03:22 |
basically making sure that, that cross
hair stays in the sky, while the brush
| | 03:26 |
itself overlaps between the trees and the
sky.
| | 03:30 |
I'll come all the way over to the far end
of the image here, and once I've
| | 03:33 |
accomplished that of course, then I don't
need to be quite as careful, I can simply
| | 03:37 |
paint over the remainder of the sky.
I can also turn on the Show Mask option,
| | 03:42 |
so that I can see a little bit more
clearly where exactly I'm affecting the image.
| | 03:48 |
But of course, since I've applied an
exaggerated adjustment, that's relatively
| | 03:51 |
straightforward to see.
I'll go ahead and bring the exposure back up.
| | 03:55 |
Now that I've defined exactly where in
the image I want to adjust.
| | 03:59 |
I can also adjust the saturation for this
guide for example.
| | 04:02 |
I can shift the color of the sky
utilizing temperature and tint, and I can
| | 04:06 |
of course, apply a variety of other
adjustments as well.
| | 04:10 |
Notice, that these adjustments are a
subset of most adjustments that are available.
| | 04:14 |
But in most situations I think you'll
find these options provide everything you
| | 04:17 |
need for applying typical target
adjustments.
| | 04:21 |
We can also of course define an
additional area that we want to adjust.
| | 04:24 |
I'll click the New Option up at the set
of controls, and now I'll be creating a
| | 04:29 |
new pin or a new area of the image that
I'm going to adjust.
| | 04:33 |
I'll go ahead and reset some of these
controls and once again apply an
| | 04:37 |
exaggerated adjustment for exposure.
But in this case, I'm going to turn off
| | 04:41 |
the Auto Mask feature, because I just
want to adjust a specific area of the
| | 04:45 |
photo that's not all that well defined.
Notice, however, that if I were to paint
| | 04:50 |
at the moment my brush is a little too
large.
| | 04:52 |
But more importantly, the feathering is a
little bit too significant.
| | 04:56 |
The feathering is an area outside my
brushstroke where the adjustment will
| | 05:00 |
taper off, and it's represented by that
dash line.
| | 05:03 |
I can adjust the overall size of the
brush, of course.
| | 05:05 |
But in this case, I think I'm going to
need to reduce the amount of feathering.
| | 05:09 |
So that it's more appropriate for the
area that I'm painting.
| | 05:11 |
So, we can adjust the size and the
feathering.
| | 05:14 |
You can also adjust the flow that would
be related to an airbrush type of effect,
| | 05:19 |
and we can adjust the overall density of
the effect.
| | 05:22 |
So, if I wanted to have a strong effect
in one area of the image, and a slightly
| | 05:26 |
lesser effect in another area of the
image, I could adjust the density as I worked.
| | 05:31 |
In most cases, though, I tend to just
create a new pin when I want to adjust a
| | 05:34 |
different area in a different way.
So, with those settings established, I'll
| | 05:38 |
go ahead and paint into this area, for
example, and you can see the effect is
| | 05:41 |
far too strong.
But I'm going to tone down that
| | 05:44 |
adjustment, so that'll be okay in this
case I think.
| | 05:46 |
I'll bring the exposure back up just a
little bi, and lets assume that I'm happy
| | 05:51 |
with that adjustment.
Maybe I'll fine tune some of the other
| | 05:53 |
settings here, but I still have a little
bit too much of an effect going outside
| | 05:58 |
of this little island as it were, and so
I need to erase a portion there.
| | 06:03 |
I'll go ahead and choose the Erase
option.
| | 06:05 |
And then, I'll adjust my brush size as
needed, and I can erase portions of this
| | 06:10 |
targeted adjustment.
So that in this case, I'm only affecting
| | 06:13 |
the small island here for example.
But as you can see, it's relatively easy
| | 06:18 |
to apply a targeted adjustment with the
Adjustment Brush tool.
| | 06:21 |
I generally apply a little bit of an
exaggerated adjustment, and then paint
| | 06:25 |
into the image into the area that I want
to effect.
| | 06:27 |
And then I'll return and fine tune the
adjustments as needed.
| | 06:30 |
And of course, I can always go back and
fine tune the painting into the image itself.
| | 06:35 |
Either adding additional area to be
adjusted or even erasing from an existing area.
| | 06:39 |
And I can switch back and forth between
the pins as well, simply by clicking on
| | 06:43 |
that pin.
So, for example, if I want to go back to
| | 06:46 |
the sky to refine the adjustment or
refine the area that's being adjusted.
| | 06:51 |
I can simply click on that pin and then
refine as needed.
| | 06:54 |
So clearly, the Adjustment Brush tool
provides some rather sophisticated
| | 06:58 |
capabilities, when it comes to applying
adjustments that only effect specific
| | 07:02 |
areas of your image.
| | 07:03 |
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