IntroductionWelcome| 00:00 |
Hello, I'm Tim Grey.
For years, I've been encouraging
| | 00:07 |
photographers to make the most of their
digital photography by taking advantage
| | 00:10 |
of their camera's raw capture option.
When using the raw capture mode, you're
| | 00:15 |
maximizing the amount of information
gathered by the camera and therefore
| | 00:18 |
maximizing the potential of the final
image.
| | 00:21 |
In this course, I'll guide you through
the many powerful features for processing
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your raw captures using Adobe Camera Raw
which is included as part of Photoshop.
| | 00:29 |
I'll start off by giving you an overview
of Adobe Camera Raw and guiding you
| | 00:33 |
through the basic Operation and
Configuration Options.
| | 00:38 |
Next, we'll go step by step through all
of the basic Adjustments available to you
| | 00:41 |
for optimizing the appearance of your
photos in the Raw Conversion process.
| | 00:46 |
We'll then start exploring some of the
more advanced features, including image
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cleanup, targeted adjustments, cropping
and straightening, graduated adjustments,
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camera calibration, and much more.
Finally, we'll wrap up the workflow for
| | 00:58 |
processing your raw captures using Adobe
Camera Raw.
| | 01:02 |
Using Raw Capture helps ensure the best
results in your photography, and having a
| | 01:06 |
solid understanding of Adobe Camera Raw
will enable you to really make the most
| | 01:09 |
of every photo you work with in
Photoshop.
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So let's get started.
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1. Getting StartedAdobe Camera Raw overview| 00:02 |
When you capture an image with a camera
set to use the Raw Capture mode, your
| | 00:05 |
camera is not actually creating an image
file.
| | 00:08 |
Instead, it's storing a data file that
contains the actual information that was
| | 00:12 |
captured by your image sensor during the
exposure.
| | 00:16 |
Capturing in your camera's raw mode can
greatly improve the quailty of the final result.
| | 00:21 |
But it does require an extra step in your
workflow.
| | 00:24 |
Specifically, you must convert the raw
capture into actual pixel values.
| | 00:29 |
With some software, that sort of happens
behind the scenes.
| | 00:32 |
But with Photoshop, we have the
opportunity to fine tune the adjustments
| | 00:35 |
that are being applied during that raw
conversion process.
| | 00:39 |
And we do that through Adobe Camera Raw.
So when you open a Raw Capture, you'll
| | 00:43 |
see Adobe Camera Raw, which looks like
this.
| | 00:46 |
We have a nice preview of the image that
we've opened.
| | 00:49 |
We also have some tools up at the top
left that we can use to work with the photo.
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We have a Preview check box so we can
turn off or on the adjustments, as we see fit.
| | 00:57 |
We also have a Histogram to help us
evaluate the exposure and our adjustments.
| | 01:01 |
With some information about the exposure
shown below the Histogram.
| | 01:05 |
And then we have a series of controls,
and these are divided into sections,
| | 01:08 |
effectively, tabs with different controls
on each.
| | 01:12 |
And we can use all of those controls to
change the overall appearance of the
| | 01:15 |
photo, for example.
We also have some controls along the
| | 01:19 |
bottom of Adobe Camera Raw, that allow us
to adjust our output settings, for
| | 01:23 |
example, and actually open the converted
image in Photoshop.
| | 01:28 |
By paying careful attention to the
adjustments as you apply them in Adobe
| | 01:31 |
Camera Raw, you'll help ensure the best
starting point for your further
| | 01:34 |
adjustments within Photoshop.
And because there are so many adjustments
| | 01:39 |
within Adobe Camera Raw, for many images,
you might find that Adobe Camera Raw is
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all you really need to produce the best
photo.
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| Opening RAW captures| 00:02 |
The first step in working with the raw
capture in Photoshop via Adobe Camera
| | 00:05 |
Raw, is to actually open the raw file.
We can do that in a variety of ways.
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If you're already working in Photoshop,
you can simply go to the File menu, and
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choose Open.
You can then navigate to the folder
| | 00:17 |
location where the raw file is stored
that you want to work on and then chose
| | 00:20 |
that raw file and click the open button
and that will open that image in Adobe
| | 00:23 |
Camera Raw.
I'll go ahead and cancel in Adobe Camera Raw.
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And we can take a look at a couple other
options.
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We can also use the keyboard shortcut and
you'll find those keyboard shortcuts
| | 00:34 |
associated with the command on the menu.
So, here we can see, for example that
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Ctrl+O on the Windows platform, that
would be Cmd+O on the Macintosh platform,
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will also cause the File Open dialog to
appear.
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There's also another handy trick that you
can use to access the File Open dialog.
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As long as you don't have an image open,
you can simply double-click on the empty
| | 00:57 |
area within Photoshop and that will bring
up the open dialog.
| | 01:01 |
On the Macintosh platform, you do have to
have the application frame option turned
| | 01:05 |
on in the view menu in order to access
this feature.
| | 01:09 |
In addition, we can use Adobe Bridge to
open our raw captures.
| | 01:13 |
You can navigate to a particular folder
and browse the images in that folder.
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And this makes it much easier to navigate
among your various raw captures so that
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you can choose which one you'd like to
open in Photoshop.
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When you find the image you'd like to
work on in Photoshop you can simply
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double-click on it and it will open in
Adobe Camera Raw, so that you can work
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with the image in Photoshop.
So, you have several methods for being
| | 01:35 |
able to open your raw captures, but
ultimately what this really translates to
| | 01:39 |
is that opening a raw capture in
Photoshop is essentially the exact same
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as opening any other image file format
that's supported by Photoshop.
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The only real difference is when you open
a raw capture it will first be opened in
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Adobe Camera Raw for you.
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| Setting Camera Raw preferences| 00:02 |
You can pretty much just jump in and
start using Adobe camera raw as soon as
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you've installed Photoshop, and you're
ready to open a raw capture, but you may
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want to take a look at the preferences
available for Adobe camera raw before you
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get too deep into working with Adobe
camera raw.
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To access the preferences, we can simply
click the button for preferences up on
| | 00:20 |
the toolbar in Adobe camera raw.
That's the one that looks like a bullet list.
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I'll go ahead and click that button, and
that will bring up the Camera Raw
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preferences dialog.
Note, by the way, that the current
| | 00:31 |
version number of Adobe Camera Raw is
shown in the title bar, and that can be
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helpful, for example, for determining
which version you're currently using, so
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you'll know whether or not the latest
digital camera raw file formats are
| | 00:40 |
supported by your version of Adobe Camera
Raw.
| | 00:45 |
The general section, as the name implies,
contains a couple of settings that apply
| | 00:49 |
to your overall use of Adobe Camera Raw.
The first is the save image settings in option.
| | 00:55 |
And here, you can choose whether you want
to save all of the adjustment settings
| | 00:59 |
for your raw captures in the Camera Raw
database or in a side car XMP file.
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While you might feel that XMP sidecar
files, which are separate files from your
| | 01:08 |
raw captures that will stay in the same
folder.
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Might create a little bit of clutter.
I actually recommend leaving this option
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set as it is.
That way the settings for your raw
| | 01:17 |
captures will be contained right with the
original image.
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Rather than a central database, that only
Adobe Camera Raw can access.
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The next option is, apply sharpening 2.
And here, we essentially have an option
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to disable sharpening in Adobe Camera
RAW.
| | 01:32 |
If you have the All Images option
selected, then the sharpening you apply
| | 01:35 |
in Adobe Camera RAW will apply to all
photographs that you process.
| | 01:40 |
If you have the preview images only
option selected, you'll see the effect of
| | 01:43 |
sharpening in the preview, but that
sharpening will not be applied when the
| | 01:47 |
image is converted into actual pixel
values.
| | 01:51 |
Using the preview images only option can
actually be a little confusing because if
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you've applied sharpening and you see
that sharpening in the preview, you won't
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actually have the sharpening effect in
the final image when you open it in Photoshop.
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So my recommendation is to leave this
option set to All Images, and then, just
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simply adjust the sharpening as needed,
even if that means reducing the
| | 02:09 |
sharpening down to zero.
Next, we have a set of checkboxes,
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related to some of the ways we can
process our images.
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The Apply auto tone adjustments, if you
have that option turned on, will
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automatically apply adjustments to the
overall tonality of your photos based on
| | 02:25 |
Adobe Camera Raw's analysis of your
photo.
| | 02:29 |
That essentially means that for every
photo it will behave as though you
| | 02:32 |
clicked the Auto button for the
adjustments.
| | 02:35 |
I prefer to leave this option turned off,
applying my own adjustments directly to
| | 02:38 |
the image.
However, I do like to have the option set
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to automatically apply a grey scale mix
when converting to gray scale.
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In other words, instead of having each of
the sliders for the gray scale conversion
| | 02:49 |
at their neutral values.
Adobe Camera Raw will apply a basic
| | 02:53 |
adjustment, which usually give you a
pretty good starting point for for that
| | 02:57 |
gray scale version of you image.
The next 2 check boxes allow you to have
| | 03:01 |
specific settings by camera serial number
or by ISO setting.
| | 03:05 |
This can be helpful if your managing
images that were captured with 2
| | 03:08 |
different cameras for example maybe you
have two different photographers and you
| | 03:12 |
want to process the images in different
ways or you may want to apply different
| | 03:16 |
noise reduction for example based on
different ISO settings.
| | 03:21 |
By turning on these check boxes the
default values that you save in Adobe
| | 03:24 |
Camera Raw will be specific to the serial
number of your camera or ISO setting
| | 03:28 |
depending on which option is applicable.
Next we have the camera RAW cache section.
| | 03:35 |
Increasing the size of the cache for
Adobe Camera RAW can help improve
| | 03:38 |
performance if you'll be opening the same
image repeatedly, but if you're only
| | 03:41 |
opening an image once and then not
returning to it in Adobe Camera RAW, then
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it really won't make any difference as
far as performance.
| | 03:50 |
You generally won't need to worry about
the Purge Cache button, but if you do run
| | 03:53 |
into problems with adobe camera raw, that
is one good trouble shooting step that
| | 03:56 |
you might try.
You can also specify a particular
| | 03:59 |
location for the cache.
The only real reason to change the
| | 04:02 |
location of the cache would be to take
advantage of a faster hard drive, or one
| | 04:05 |
that simply has more space available, for
example.
| | 04:09 |
There are also some settings that relate
only to the DMG file format, the digital
| | 04:12 |
mega div that was developed by Adobe.
We have the option to ignore XMP side
| | 04:16 |
cart files for those DMG files.
And sometimes this would be an issue
| | 04:21 |
because you don't need a side cart file
for DMG files.
| | 04:25 |
Because DNG images are able to have that
metadata stored inside of them.
| | 04:29 |
Whereas, Adobe Camera Raw will not add
adjustment information into the metadata
| | 04:33 |
for your actual raw captures.
You can also turn on an option to have
| | 04:38 |
Adobe Camera Raw automatically update the
embedded JPEG preview for your DNG files.
| | 04:44 |
So if you're using the DNG file format,
you might want to consider each of these options.
| | 04:49 |
If you do enable the option to update the
embedded JPEG preview for DNG files, you
| | 04:53 |
can also specify a medium-size or
full-size.
| | 04:56 |
The medium-size is generally more than
adequate, since this is only a preview
| | 05:00 |
image, not the full image itself.
But since I'm not working with DNG file
| | 05:05 |
at all, I'll go ahead and turn off both
of those checkboxes.
| | 05:08 |
Finally we have some options related to
the handling of JPG and TIFF files.
| | 05:13 |
Adobe camera raw allows you to take
advantage of its various adjustments, not
| | 05:16 |
just for raw captures but also for JPEG
and TIFF images.
| | 05:21 |
For both of these file formats you have
the option to disable support so that
| | 05:24 |
those types of files will never be opened
in adobe camera raw.
| | 05:27 |
You can also choose the option to only
open JPEG or TIFF images that have
| | 05:31 |
previously been opened in adobe camera
raw, or you can automatically open all
| | 05:35 |
supported JPEG or TIFF images.
Generally speaking, I don't use Adobe
| | 05:41 |
Camera Raw for JPEG or TIFF images, so I
leave this option set to "automatically
| | 05:45 |
open JPEGs with settings," so that only
JPEGs or TIFFs, as the case may be, will
| | 05:49 |
be opened if they've already been opened
previously in Adobe Camera Raw, and
| | 05:52 |
therefore have settings associated with
them.
| | 05:58 |
So as you can see, there aren't too many
preferences options that relate
| | 06:01 |
specifically to Adobe Camera Raw.
But some of them may be applicable to you
| | 06:05 |
in your particular workflow.
Once you have these settings as you'd
| | 06:08 |
like them, you can simply click the OK
button in order to apply those changes.
| | 06:12 |
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| Checking for updates| 00:02 |
When you utilize a RAW capture option
with your digital camera, the result is a
| | 00:05 |
RAW file.
But that's not a single file type.
| | 00:09 |
It's just a category of file types, and
each camera can have its own specific and
| | 00:13 |
proprietary RAW file format.
That means that Adobe Camera Raw needs to
| | 00:18 |
be updated on a rather regular basis, in
order to provide support for the latest
| | 00:22 |
digital cameras.
If you purchase a brand new camera, a
| | 00:26 |
model that was just recently released;
then you might find that captures from
| | 00:29 |
that camera are not supported initially
with Adobe Camera Raw.
| | 00:33 |
But you can be assured there will likely
be an update very shortly thereafter,
| | 00:37 |
that will provide support for that
particular raw file format.
| | 00:41 |
It's very easy to update Adobe Camera
Raw, to the latest version, to make sure
| | 00:45 |
you have support for the latest raw file
formats, as well as any other updates
| | 00:48 |
that might be included.
To do so, you can simply go into
| | 00:52 |
Photoshop, and from the help menu Choose
Updates.
| | 00:56 |
That will bring up a dialog and
Photoshop will check for updates that are
| | 00:59 |
available for your system including
updates to Adobe Camera Raw.
| | 01:04 |
You can see here that my system is
completely up to date, so I don't need to
| | 01:07 |
download any updates.
But if there were a new version of Adobe
| | 01:10 |
Camera Raw available, I would certainly
want to download and install it, which
| | 01:13 |
can be done automatically directly from
the Application Manager here.
| | 01:18 |
You'll certainly want to make sure to
update Adobe Camera Raw if you get a new
| | 01:20 |
camera that is not supported by your
existing version of Adobe Camera Raw.
| | 01:24 |
But it's also a good idea to check for
updates periodically anyway just so that
| | 01:28 |
you have the latest version with all the
newest features and capabilities.
| | 01:32 |
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| Zooming and panning| 00:02 |
When I'm working on applying adjustments
in Adobe Camera Raw, I generally prefer
| | 00:05 |
to view the entire image all at once.
That allows me to get a pretty good sense
| | 00:09 |
of how the adjustments are affecting the
image in its entirety.
| | 00:13 |
But it can be very helpful to zoom in on
portions of the image to evaluate things
| | 00:16 |
such as sharpness.
Or even how the adjustments are affecting
| | 00:20 |
specific portions of the photo.
By default, the Zoom tool is active in
| | 00:25 |
Adobe Camera Raw.
You can change to other tools on the
| | 00:28 |
toolbar, but with the Zoom tool you can
click on an area of the image in order to
| | 00:31 |
zoom in.
You can also hold the Alt key on Windows
| | 00:36 |
or the Option key on Macintosh and then
click in order to zoom out.
| | 00:40 |
As you can see, this causes you to zoom
in or out at fixed intervals.
| | 00:44 |
If you want to zoom in on a specific area
of the image, you can Click and Drag to
| | 00:47 |
draw a marquee.
When you release the mouse, that portion
| | 00:51 |
of the image will fill the available
space.
| | 00:54 |
So, you're zoomed in to a small portion
of the photo, for example.
| | 00:57 |
And here, you can see, zooming in, that
it's a good thing I evaluated the image
| | 01:00 |
more closely because the barn is out of
focus.
| | 01:04 |
And that's an important detail of this
particular photo, I'd rather it be in
| | 01:07 |
sharp focus.
Once you've zoomed in, you also have a
| | 01:10 |
Hand tool available.
And if you choose that tool, you can
| | 01:13 |
click and drag to move the image around.
So, even though you're zoomed in, you can
| | 01:18 |
still pan around different areas of the
photo, checking for sharpness and other
| | 01:21 |
details within the photo.
If you'd like to zoom out so that the
| | 01:26 |
image fills the available space, the Fit
Image view, you can double-click on the
| | 01:29 |
Hand tool button on the toolbar.
And if you want to go to a 100% zoom,
| | 01:34 |
which is the best zoom setting for
evaluating sharpness, for example, you
| | 01:37 |
can double-click on the Zoom tool.
In addition, there is zoom controls at
| | 01:42 |
the bottom of the Preview area.
You can click a popup and choose a
| | 01:46 |
particular zoom setting for example,
going to 100% or fitting the image in the view.
| | 01:51 |
You can also click the Plus or Minus
buttons to zoom in or out.
| | 01:56 |
And the same keyboard shortcuts that work
in Photoshop overall, also work within
| | 01:59 |
Adobe Camera Raw.
So, if you hold the spacebar key, you
| | 02:02 |
can Click and Drag to pan around the
image.
| | 02:05 |
And if you hold the Ctrl and spacebar
keys on Windows, or the Cmd and spacebar
| | 02:09 |
keys on Macintosh, you'll get the Zoom
tool.
| | 02:12 |
Even if you have a different tool
activated.
| | 02:15 |
So, for example, if I'm using the Hand
tool but I then want to zoom in just a
| | 02:18 |
little bit more, I can hold the Ctrl and
spacebar keys on Windows or the Cmd and
| | 02:21 |
spacebar keys on Macintosh.
And then, Click and Drag to draw a
| | 02:26 |
marquee for example, to zoom in on a
particular detail.
| | 02:29 |
We can also press Ctrl+Minus on Windows
or Cmd+Minus on Macintosh to zoom out,
| | 02:34 |
and Ctrl+Plus on Windows or Cmd+Plus on
Macintosh to zoom in.
| | 02:39 |
And Ctrl+0 on Windows or Cmd+0 on
Macintosh will cause the image to be
| | 02:43 |
re-sized so that it fits the available
space.
| | 02:48 |
So, as you can see, there are quite a few
options for adjusting the zoom scale for
| | 02:51 |
an image or panning around the photo.
So that you can evaluate specific areas
| | 02:55 |
as you're optimizing your settings to
produce the best result.
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| Histogram evaluation| 00:01 |
You may find that evaluating the
histogram for a particular photographic
| | 00:04 |
image can be very helpful both in
understanding the exposure for the photo
| | 00:07 |
and making decisions about the
adjustments you may want to apply.
| | 00:12 |
I'll go ahead and Open an image in the in
Adobe Camera Raw.
| | 00:15 |
You'll notice initially I'll get a
warning symbol in the top right corner of
| | 00:18 |
the Preview.
A triangle with an exclamation point on
| | 00:22 |
it, it quickly disappears.
That warning sign indicates that the
| | 00:25 |
current preview does not reflect all
adjustments.
| | 00:29 |
It's based on cached data, once that
warning sign disappears the image has
| | 00:33 |
been updated, but that also means that
the histogram is temporarily not
| | 00:36 |
completely accurate.
In most cases that won't cause any real
| | 00:41 |
issue as far as evaluating the histogram.
But it's good to be aware of this issue, nevertheless.
| | 00:47 |
The histogram display shows us the
distribution of tonal values within the
| | 00:50 |
photo, so that you can evaluate exposure,
for example, and determine if anything is clipped.
| | 00:56 |
If any detail's been lost in the
highlights or shadows.
| | 00:59 |
Note that we also have some colors
visible in the histogram.
| | 01:02 |
And that is showing us the distribution
of tonal values on a per channel basis.
| | 01:07 |
So we can see where the red channel is,
where the green channel is, and where the
| | 01:10 |
blue channel is, for example.
And the mixed colors indicate where there
| | 01:14 |
is overlap among the channels.
With white representing tonal values that
| | 01:17 |
have all three color channels represented
there.
| | 01:21 |
So we can get a better sense of, for
example, if we're losing detail in only
| | 01:24 |
the red channel versus the other colors
within the photo.
| | 01:28 |
Evaluating the histogram initially might
give you some guidance as far as what
| | 01:31 |
sorts of adjustments you'll want to apply
and you can also watch the histogram
| | 01:34 |
while you're working.
For example, I'll adjust the white point
| | 01:39 |
and we can see that we start clipping
some detail based on that histogram display.
| | 01:44 |
It's getting cut off over on the right
hand side.
| | 01:46 |
Where as the left side is not.
The left side representing the black
| | 01:50 |
values in the image and the right side
representing white with a full
| | 01:52 |
distribution of tonal values in between.
If I increase the value for blacks,
| | 01:57 |
you'll see that now the darkest value in
the image is really not that close to
| | 02:00 |
black, and reducing blacks you can see
that I'll start clipping detail in the
| | 02:04 |
shadows of the image as well.
So watching that histogram enables you to
| | 02:09 |
get a pretty good sense of the
adjustments that need to be applied, and
| | 02:12 |
the adjustments that have been applied.
It's a good evaluation tool for overall
| | 02:17 |
tonality in particular.
We also have a clipping preview option
| | 02:21 |
available with the histogram.
So you can see in this case I'm clipping
| | 02:25 |
both shadows and highlights by virtue of
the fact that the histogram is
| | 02:28 |
essentially cut off at the edges of the
display.
| | 02:31 |
But if I click the buttons at the top
left and top right of the histogram
| | 02:34 |
display, I'll get a clipping preview over
the image itself.
| | 02:39 |
Blue represents areas where the shadow
detail has been lost and red represents
| | 02:43 |
areas where highlight detail has been
lost.
| | 02:46 |
So generally speaking when you're
applying your adjustments you'll want to
| | 02:49 |
make sure you have no clipping or maybe
just a little bit of clipping and usually
| | 02:53 |
it's more important to avoid clipping for
the highlights.
| | 02:57 |
So I might have some clipping in the
shadows so that I get a more contrasty
| | 03:00 |
image for example but usually I won't
want to have any clipping in the highlights.
| | 03:06 |
So we can evaluate that based on the
clipping preview or based on the
| | 03:08 |
histogram display itself.
In most cases, I use the histogram as a
| | 03:13 |
quick reference, to let me know if I've
lost any detail in the highlights or
| | 03:16 |
shadows, based on the initial capture.
But it can also be helpful to evaluate
| | 03:21 |
the histogram as you're working on the
image, both for getting a better sense of
| | 03:24 |
the overall tonal distribution, and
perhaps more importantly, checking for clipping.
| | 03:30 |
Naturally you'll spend most of your time
looking at the image itself as you apply
| | 03:33 |
your adjustments, but it is a good idea
to take periodic look at that histogram
| | 03:36 |
just to get a better sense of what's
really going on with your photo.
| | 03:41 |
| | Collapse this transcript |
| Evaluating with previews| 00:02 |
It seems to me that many photographers,
including myself, have a tendency to work
| | 00:05 |
on their images, looking at the image,
applying adjustments but then never going
| | 00:09 |
back and seeing what the image looked
like before.
| | 00:13 |
In other words we're only evaluating our
results based on the current appearance
| | 00:16 |
of the image.
But it can be very helpful to take a
| | 00:19 |
before and after view as you're working
on the image, to help you make decisions
| | 00:22 |
about how you might refine your
adjustments.
| | 00:27 |
I'll go ahead and apply some adjustments
here.
| | 00:28 |
Don't worry about exactly what I'm doing.
Let's just focus on the notion of that
| | 00:32 |
before and after view.
I'll go ahead and make a relatively
| | 00:35 |
dramatic change in appearance for the
photo.
| | 00:38 |
I'm not focused on trying to make this
image look better, I'm just making it
| | 00:41 |
look different.
So, that's certainly a big difference
| | 00:45 |
from the original, at least based on my
memory.
| | 00:48 |
But rather than just evaluating this
final result, I can look at the before
| | 00:52 |
version of the image very easily by
turning off the Preview checkbox.
| | 00:57 |
With the Preview checkbox turned off,
we're seeing the image as it was
| | 01:00 |
initially interpreted by Adobe Camera
Raw, with no adjustments applied.
| | 01:04 |
We can then turn on the Preview checkbox
again, to see the after version.
| | 01:08 |
And the way I'll typically work is to
point my mouse at that checkbox and then
| | 01:12 |
focus my attention on the image.
And click to turn off the preview and
| | 01:16 |
click to turn it on again.
This allows me to go back and forth
| | 01:19 |
between the original image, and the image
with all of the adjustments applied.
| | 01:23 |
And that way I can get a better context
for how strong an adjustment I've
| | 01:26 |
applied, and how much I like the result
for example, so that I can go back and
| | 01:29 |
then fine tune the overall adjustments.
So that one simple little checkbox, might
| | 01:35 |
not catch your notice all the time, but
it's really a good one to keep in mind,
| | 01:38 |
and to put to use, to better evaluate the
results your getting with your digital photos.
| | 01:43 |
| | Collapse this transcript |
| Snapshots| 00:02 |
More often than not, I have a pretty good
sense of what I envision the final
| | 00:05 |
photograph looking like, as soon as I
take the picture in the first place.
| | 00:09 |
But sometimes I'm not entirely sure what
I really want to do with an image.
| | 00:13 |
And I'm not really sure what I want to
do, as far as the raw conversion in Adobe
| | 00:16 |
Camera Raw.
In those types of situations, in
| | 00:19 |
particular, I'll often use snap shots in
order to record certain versions of the
| | 00:23 |
image while I'm working.
For example, let's start off with a basic adjustment.
| | 00:29 |
Now, don't worry too much about exactly
which adjustments I'm applying here.
| | 00:32 |
I just want you to get a better sense of
how snapshots can be used.
| | 00:36 |
I'll go ahead and increase contrast a
little bit and I'll increase clarity a
| | 00:39 |
little bit, as well as Vibrance.
And maybe I'll warm up the image just a
| | 00:44 |
little bit as well.
I want to save these settings, so that I
| | 00:47 |
can come back to this version of the
image later if I decide I don't like some
| | 00:50 |
of the other things I've done.
I'll go ahead and switch to the Snapshots
| | 00:55 |
panel, and then at the bottom of the
Snapshots panel, I click on the Create
| | 00:58 |
New Snapshot button, the blank sheet of
paper icon, and then I can type a new
| | 01:01 |
name for this snapshot.
We'll just call this Normal Adjustments,
| | 01:07 |
since this is just a very basic
adjustment to the overall contrast and
| | 01:10 |
color in the photo.
I'll go ahead and click OK and that
| | 01:14 |
snapshot is saved.
Now, let's assume that I'm contemplating
| | 01:18 |
a more creative interpretation of the
photo.
| | 01:20 |
I'll go ahead and switch back to my basic
adjustments, and perhaps, I'll add a
| | 01:24 |
little bit more clarity in this
particular case.
| | 01:27 |
And then I can go through the various
other adjustments and apply some specific
| | 01:30 |
changes, maybe even make the image black
and white.
| | 01:34 |
I'll go ahead and fine-tune some of the
color values here, brightening up the
| | 01:37 |
oranges and maybe brightening up the
greens, to help bring that foliage up
| | 01:41 |
just a little bit.
And overall, just changing the appearance
| | 01:45 |
of the image.
Well, this is certainly a big change from
| | 01:48 |
my previous adjustment, so I could, at
this point, go to my Snapshots panel and
| | 01:51 |
add a new snapshot.
And this time, I'll call it Black And
| | 01:55 |
White, since this is a black and white
interpretation of the photo.
| | 01:59 |
And I could continue in this manner, for
example, going into Split Toning, and
| | 02:02 |
applying an adjustment there.
Perhaps, having the highlights be a
| | 02:06 |
little toward yellow, and the shadows a
little bit toward orange.
| | 02:10 |
And there we go.
And I'll call this something of a Sepia effect.
| | 02:14 |
So I'll go to Snapshots once again and
create a new snapshot.
| | 02:17 |
I'll just call the Sepia.
And I'll click OK.
| | 02:20 |
So now, I have several snapshots to
choose from.
| | 02:23 |
So at any time, I can switch back and
forth between these versions of this
| | 02:27 |
specific image.
I can go see my Normal Adjustment, I
| | 02:31 |
could see my Black And White adjustment,
or my Sepia adjustment.
| | 02:35 |
And whichever one I choose, then becomes
the basis of the image itself.
| | 02:39 |
I can of course then continue to
fine-tune the overall image as I see fit
| | 02:43 |
based on that snapshot.
So, I can certainly apply additional
| | 02:47 |
changes, but at any time, I can go back
to a particular version of the image.
| | 02:53 |
In this case, I think I like the Normal
Adjustment best, so I'll leave that as it is.
| | 02:57 |
But I can always comeback to these
snapshots if I want to in order to
| | 02:59 |
convert the image with a different
appearance for example.
| | 03:03 |
| | Collapse this transcript |
| Presets| 00:02 |
In addition to using all of the various
sliders and other Controls available to
| | 00:05 |
you in Adobe Camera Raw, you can also use
Presets to establish specific settings
| | 00:09 |
for a photo.
Now, I certainly don't encourage you to
| | 00:13 |
Apply the exact same Adjustments to every
single image, but in many cases a Preset
| | 00:17 |
can give you a very good starting point
for certain images.
| | 00:22 |
This is a little bit of an abstract
photo.
| | 00:24 |
It's just waves, but it was captured at a
relatively slow shutter speed so there's
| | 00:28 |
some blur that makes it hopefully a
little bit itneresting, and I'd like to
| | 00:31 |
apply a creative adjustment to this
image, but then save the settings for
| | 00:35 |
that adjustment so that I can use it on
other images as well.
| | 00:41 |
I'll go ahead and just apply some
relatively arbitrary adjustments.
| | 00:44 |
Don't worry so much about the specific
adjustments I'm applying.
| | 00:47 |
We just want to make sure that we're
creating a preset that actually has adjustments.
| | 00:51 |
So, I'm going to increase the clarity,
for example, rather dramatically in this case.
| | 00:55 |
I'll also increase vibrance a relatively
strong amount.
| | 00:59 |
An perhaps I'll increase the contrast,
perhaps a lot for this image, creating
| | 01:03 |
something of almost a graphical
interpretation of the photo.
| | 01:08 |
Let's assume that we're happy with those
adjustments an that we think this is a
| | 01:11 |
creative effect, that I might want to
apply to other images in the future.
| | 01:16 |
I can use a preset for that purpose.
I'll go ahead and switch to the presets
| | 01:20 |
tab, and then I'll click on the Create
New Preset button, the blank sheet of
| | 01:23 |
paper icon down at the bottom of that
presets panel.
| | 01:27 |
This will bring up a new preset dialog,
and I can give the preset a name.
| | 01:32 |
I'll just call this one contrasty
vibrance, since that's the basic effect.
| | 01:36 |
And I can choose which settings I want to
save as part of this preset.
| | 01:42 |
So if I'm only adding to an effect to an
image, for example if I just want to have
| | 01:46 |
a preset That Adds a Color Tint via Split
Toning.
| | 01:51 |
I can Add only that Option by having only
that Check Box turned On.
| | 01:56 |
In this case, I think I'll save all of
the settings, but be aware that I can
| | 01:59 |
pick and choose among which particular
adjustments I want to include as part of
| | 02:02 |
this preset.
And that will determine which specific
| | 02:06 |
adjustments actually get applied to an
image when you use a preset.
| | 02:10 |
So I'll leave all of the check boxes
turned on.
| | 02:12 |
Notice that I can also choose to apply
Automatic Settings to my images as well.
| | 02:18 |
Those automatic adjustments would be
customized for each image based on the
| | 02:21 |
way Adobe Camera Raw processes the
images.
| | 02:24 |
I'll go ahead and click Ok, and my new
preset is created.
| | 02:28 |
I'll go ahead and reset this particular
image by holding the Alt key on Windows
| | 02:32 |
or the Option key on Macintosh and then
clicking the button that says Reset, the
| | 02:35 |
button that said Cancel before I held the
Alter Option key.
| | 02:40 |
And now I'm back to my original starting
point and we can see just how easy it is
| | 02:44 |
to apply a preset.
So lets assume we just opened this image.
| | 02:48 |
Wej're looking at the basic adjustment
options.
| | 02:50 |
If I switch to the presets tab, I can
then simply click on contrast devibrance
| | 02:54 |
in this case, and that will allow me to
apply that preset to the current image.
| | 03:00 |
So, very easy to Create Presets and very
easy to put them to use and they can
| | 03:03 |
often provide an easy way to have a
consistent look for a series of images,
| | 03:07 |
or to get a good starting point for a
particular adjustment that you have in mind.
| | 03:13 |
| | Collapse this transcript |
| Resetting adjustments| 00:02 |
Every now and then you might decide that
you not especially happy with the
| | 00:05 |
adjustments you've applied in adobe
camera raw.
| | 00:08 |
I'll go ahead and apply some arbitrary
adjustments here for example I'll shift
| | 00:12 |
the color temperature around and adjust
exposure and contrast maybe even shift
| | 00:16 |
the clarity.
As you can see I'm basically just making
| | 00:20 |
a mess of the image, in most cases you
obviously wouldn't apply adjustments that
| | 00:23 |
were this strong.
And generally speaking, if you weren't
| | 00:27 |
happy with some of the adjustments, you
could simply go back and reset them.
| | 00:30 |
For example, double-clicking on a slider
will cause it to go back to its default value.
| | 00:35 |
And so, it's not terribly difficult to
undo or change specific adjustments.
| | 00:40 |
However sometimes you might just want a
fresh start.
| | 00:44 |
And you might assume that you then have
to click the cancel button and reopen the
| | 00:47 |
image in order to start over.
However, you can also reset all of the
| | 00:52 |
adjustments in Adobe Camera Raw back to
their default values.
| | 00:56 |
To do so, simply hold the Alt key on
Windows or the Option key on Macintosh.
| | 01:01 |
You'll notice when I do so, that the
Cancel button changes to a Reset button.
| | 01:06 |
I'll release the Alt or Option key so
that you can see it starts off as Cancel but.
| | 01:10 |
But when I press or hold the alter option
key again, that button becomes reset.
| | 01:14 |
So, while holding the the Alt or Option
key, I can simply click that button in
| | 01:18 |
order to reset all of the settings in
Adobe Camera Raw back the their default.
| | 01:23 |
So, giving me the image, essentially, as
it came out of the camera.
| | 01:27 |
So I can start over in fine tuning the
adjustments that I'd like to apply.
| | 01:30 |
| | Collapse this transcript |
| Workflow options| 00:02 |
Once you've applied adjustments to your
image in Adobe Camera Raw, you're not
| | 00:05 |
quite yet ready to simply open or save
the image.
| | 00:09 |
You'll want to take a look at the
workflow options before you convert a photo.
| | 00:13 |
Those options are sticky, which means
once you've established particular
| | 00:16 |
settings, they will be the default
settings until you change them.
| | 00:21 |
The workflow options are found below the
preview area.
| | 00:24 |
You can see a text summary here.
And it's actually a link.
| | 00:27 |
If you click on that link the workflow
options dialog will appear.
| | 00:31 |
The fist option is the color space.
And I recommend setting this to the same
| | 00:35 |
color space that you use as your working
space in Photo Shop.
| | 00:39 |
Generally speaking Pro Photo RGB is the
best working space because it's the
| | 00:43 |
largest working space.
There's a huge range of colors possible
| | 00:47 |
for Pro Photo RGB.
And so its a good general purpose working space.
| | 00:52 |
I do strongly reccommend though that if
your working in pro photo RGB that you
| | 00:56 |
always work in the 16-bit per channel
mode to help reduce the risk of posterization.
| | 01:02 |
Another good option is Adobe RGB.
This is especially helpful when you're
| | 01:06 |
printing images, but it's again a very
good all purpose color space with a
| | 01:09 |
relatively wide color gamut not nearly as
large as Pro Photo RGB but still a good
| | 01:13 |
large color gamut.
You could also use Color Match RGB or
| | 01:18 |
SRGB, but these are the smaller gamut
color spaces, and not the options that I
| | 01:22 |
recommend for most photographers.
That said, some photographers do have a
| | 01:27 |
reason to use an SRGB workflow, such as
if they're exclusively printing images
| | 01:30 |
with a service that revolves around the
SRGB color space.
| | 01:35 |
The key is to simply set this option
based on your working space in photoshop,
| | 01:39 |
so that additional conversion is not
necessary once the raw capture is
| | 01:42 |
converted and actually opened in
photoshop.
| | 01:46 |
I'll go ahead and change the option here
to prophoto RGB.
| | 01:50 |
Next we have the bit depth and we have
options for 8 bits per channel or 16 bits
| | 01:54 |
per channel.
I highly recommend that you use the 16
| | 01:57 |
bit per channel option.
This will cause your file sizes to double
| | 02:01 |
compared to an eight bit per channel
image, but it helps ensure you have the
| | 02:04 |
maximum level of detail and quality in
your photos, and helps to make sure that
| | 02:07 |
you don't have posterization in the final
result.
| | 02:12 |
Most digital cameras convert data based
on either 12 bits per channel, 14 bits
| | 02:16 |
per channel, or 16 bits per channel.
But any of those options that are greater
| | 02:20 |
than 8 bits per channel, should be worked
on in a 16 bit per channel work flow.
| | 02:24 |
So I certainly encourage taking advantage
of that option Next, we have the size option.
| | 02:29 |
Here we can reduce the size or increase
the size of the image during the raw conversion.
| | 02:35 |
I generally leave this option set to the
native size for the camera, using the
| | 02:38 |
resize options in Photoshop to prepare
the image for specific output.
| | 02:43 |
So I'll leave the original as it were at
its native size and then only resize a
| | 02:47 |
copy of the image that I'm preparing for
some sort of output, such as printing or
| | 02:50 |
sharing on a website.
The resolution setting is purely a matter
| | 02:56 |
of convenience.
This just saves you from having to change
| | 02:58 |
the setting later when you prepare an
image for print.
| | 03:01 |
It will not affect the number pixels or
anything related to the overall image quality.
| | 03:06 |
It's simply a meta data value, The
default is 240 because I typically print
| | 03:10 |
to photo ink jet printers.
I use 360 as my default setting for resoluation.
| | 03:15 |
That's 360 pixels per inch, which is the
resolution that most printers are
| | 03:19 |
rendering data at these days.
We also have an option to sharpen the image.
| | 03:25 |
An here we can choose what type of output
we're preparing.
| | 03:27 |
Screen, such as for a monitor or digital
projector, or either glossy paper or
| | 03:31 |
matte paper for printed images.
If we choose one of the options, we can
| | 03:36 |
also specify low, standard, or high, for
example.
| | 03:39 |
But I generally prefer not to sharpen at
this stage of the workflow.
| | 03:42 |
I might apply some sharpening in Adobe
Camera Raw.
| | 03:45 |
But this output sharpening I'll save for
when I'm actually preparing the final
| | 03:48 |
image for its output.
So I'll go ahead and set the sharpen four
| | 03:52 |
option to None, and then finally we have
a check box that allows us to convert the
| | 03:56 |
image and create a smart object that
provides some level of flexibility.
| | 04:01 |
In the case of a raw capture, it
primarily means that we'll be able to
| | 04:04 |
double-click on the image on the layers
panel to bring up the Adobe Camera Raw
| | 04:07 |
dialog and fine tune our raw conversion
settings after the fact.
| | 04:12 |
However, using smart objects in this way
can create some problems in terms of the
| | 04:16 |
overall work flow if you're using layers
to apply things such as image cleanup,
| | 04:19 |
and so I prefer not to work with smart
objects in this context.
| | 04:24 |
So I'll leave that checkbox turned off,
and then I can click okay to accept those changes.
| | 04:29 |
And you can see the changes are reflected
in the summary down below the image.
| | 04:33 |
So these settings will become the default
For all images that I open with Adobe
| | 04:37 |
Camera Raw.
| | 04:38 |
| | Collapse this transcript |
| Cancel, Save, Done, or Open| 00:02 |
In Photoshop, with most dialogs, you have
an OK button and a Cancel button.
| | 00:06 |
In Adobe Camera Raw, there are a couple
of other buttons.
| | 00:09 |
And so, it's not always clear exactly
which task you want to perform.
| | 00:13 |
Let's take a look at these options, so
that you'll understand what's available
| | 00:16 |
to you and which option you might want to
take advantage of for your images.
| | 00:20 |
I'll go ahead and just apply some
arbitrary adjustments here.
| | 00:23 |
I'll just adjust exposure and contrast in
this case.
| | 00:26 |
I'm not trying to make the image look
better, just different.
| | 00:29 |
And then we'll take a look at the buttons
and the bottom of Adobe Camera Raw.
| | 00:32 |
We have Open Image, Cancel, Done, and
Save Image.
| | 00:36 |
The Cancel button is fairly
straightforward.
| | 00:38 |
If I click Cancel, the image will not be
opened and the current changes to the
| | 00:42 |
settings will not be preserved.
So, I'll click Cancel and then I'll open
| | 00:46 |
up that image again, and we'll see that
we're right back where we started from.
| | 00:51 |
The adjustments I applied were not saved.
So in essence, Cancel means pretend like
| | 00:55 |
I never opened this image at all.
The Open Image button, of course, is
| | 01:00 |
fairly easy to understand.
I'll go ahead and adjust the exposure and
| | 01:04 |
contrast once again with some arbitrary
effect.
| | 01:07 |
Here, this is obviously a very poor
adjustment, but we can see an obvious
| | 01:10 |
change and that's what's important at the
moment.
| | 01:13 |
I'll then go ahead and click the Open
Image button, and the image will be
| | 01:16 |
processed and will be opened within
Photoshop, so that I can start working on
| | 01:19 |
additional changes, for example, outside
of the context of Adobe Camera Raw.
| | 01:26 |
I'll go ahead and close this image
without saving it.
| | 01:29 |
And yet, even though I'm not saving this
image, the settings that I used to create
| | 01:33 |
that version of the image were indeed
saved.
| | 01:36 |
I'll go ahead and open the image one more
time.
| | 01:38 |
And we can see that, sure enough, those
changes have been applied.
| | 01:43 |
Sometimes you might want to apply changes
to the appearance of an image in Adobe
| | 01:47 |
Camera Raw but then you don't want to
actually open the photo in Photoshop.
| | 01:52 |
For example, you might be done for the
day, you want to preserve your changes,
| | 01:54 |
but you're not going to work with the
final result in Photoshop right now.
| | 01:58 |
In that case, you can use the done
button.
| | 02:01 |
I'll go ahead and apply an obvious change
to the image.
| | 02:04 |
I'll just make the image very blue with
the temperature adjustment and then I'll
| | 02:07 |
click Done.
And what that means is that I don't want
| | 02:11 |
to open the image in Photoshop right now
but I do want to preserve my changes.
| | 02:16 |
So I'll click Done and you'll see the
image does not open.
| | 02:20 |
I'll open it again and then we will
notice that the changes have been saved.
| | 02:24 |
So I preserved the adjustments but I
didn't open the actual image in Photoshop.
| | 02:30 |
I'll go ahead and shift the color
temperature to a warmer tone.
| | 02:33 |
And now we can take a look at that final
button.
| | 02:36 |
The Save Image button.
And what this means is you want to save
| | 02:39 |
the result.
You're going to save your settings so the
| | 02:42 |
next time you open the image, the changes
will be reflected.
| | 02:46 |
But you also want to save a derivative
image.
| | 02:49 |
Keep in mind that even though we're
applying a variety of adjustments to our
| | 02:52 |
raw captures, we're not actually changing
the original raw capture.
| | 02:56 |
We're just saving settings related to
that original raw capture.
| | 03:00 |
But when we save the image, we won't be
saving it back as a RAW file, but rather
| | 03:04 |
in some sort of image file format, such
as, a TIFF image, a Photoshop document or
| | 03:08 |
a JPEG.
If you want to save a derivative image
| | 03:12 |
with all of your settings intact and
preserve these changes for future
| | 03:16 |
adjustments, if you decide to convert the
RAW capture again, you can click the Save
| | 03:20 |
Image button.
That will bring up a Save Options dialog.
| | 03:25 |
You can choose a destination.
I generally save the image in the same location.
| | 03:30 |
But you can also specify a new location,
for example, saving directly to the Desktop.
| | 03:35 |
We can also choose a file naming
structure.
| | 03:38 |
The default is to essentially keep the
exact same filename.
| | 03:41 |
So in this case the file was called Rainy
Day and the only thing that has changed
| | 03:44 |
is the filename extension, which we'll
see in just a moment.
| | 03:49 |
But I could also change the filename if I
want to, using a variety of different
| | 03:52 |
options or even typing in custom text.
In this case, I'll leave the file name as
| | 03:57 |
it is.
I can also change the filename extension,
| | 04:00 |
which also means that we'll change the
file format.
| | 04:03 |
So if, for example, I want to save this
image as a Photoshop PSD file, I can
| | 04:07 |
choose the PSD filename extension.
Notice that the format automatically
| | 04:12 |
changes to reflect the Photoshop file
format and then I can adjust the settings
| | 04:16 |
for that particular file format.
In the case of a Photoshop document, for
| | 04:21 |
example, I can choose which metadata I
want to include in that file.
| | 04:24 |
And if I've cropped the image, I can
choose to preserve cropped pixels,
| | 04:27 |
whereas, for other file formats, I'll
have different options.
| | 04:31 |
For example, with JPEG, I can specify the
quality level.
| | 04:35 |
In this case, I'll save the image as a
Photoshop document, so that I can work in
| | 04:39 |
a layer-based workflow.
And with those settings established, I
| | 04:43 |
can simply click the Save button.
Notice by the way that when we save an
| | 04:47 |
image in this way, we don't close Adobe
Camera Raw.
| | 04:51 |
So I could also open the image if I
wanted to or cancel at this point.
| | 04:55 |
But in most cases, if I've used the Save
Image option, then I'll click the Done
| | 04:58 |
button in order to close Adobe Camera Raw
and the RAW image with it while
| | 05:02 |
preserving all of the settings as I've
established them.
| | 05:07 |
So you can see there are quite a few
options available to you in terms of
| | 05:10 |
processing your raw captures in Adobe
Camera Raw.
| | 05:14 |
In most cases you'll probably find that
you use the Open Image option in order to
| | 05:17 |
open the raw capture in Photoshop.
But in some cases, you might certainly
| | 05:22 |
take advantage of the options that are
available.
| | 05:25 |
| | Collapse this transcript |
| Processing multiple images| 00:02 |
Most of the time, I work on a single
image at any given time.
| | 00:05 |
And that includes within Photoshop or in
Adobe Camera RAW.
| | 00:09 |
I like to focus my attention on a single
image at any given moment.
| | 00:14 |
But sometimes, I might want to work on
more than one image at a time and that's
| | 00:17 |
possible in Adobe Camera RAW.
This provides a number of benefits and
| | 00:21 |
might just give you some workflow
efficiency, because you need to process
| | 00:24 |
several images, perhaps in completely
different ways, but at the same
| | 00:27 |
approximate time.
But in situations where images where
| | 00:32 |
captured under similar conditions, you
might actually want to apply almost
| | 00:35 |
identical if not exactly identical
adjustments to both of those images.
| | 00:40 |
I'll go ahead, and open two images, I
have Shells 1 and Shells 2.
| | 00:44 |
They were both captured under the exact
same conditions.
| | 00:48 |
So I'll click the first image and hold
the Ctrl key on Windows or Command key on
| | 00:52 |
Macintosh while clicking on the second
image in order to select both of them.
| | 00:57 |
I'll then go ahead and click the Open
button and that will open both images in
| | 01:01 |
Adobe Camera RAW.
And as you can see, I have thumbnails for
| | 01:04 |
each of the images in a Filmstrip over on
the left.
| | 01:08 |
So I can switch between these images for
example by clicking on the thumbnail.
| | 01:13 |
If I want to apply adjustments that
affect both of these images equally, I
| | 01:17 |
can click the Select All button in order
to select both of these images.
| | 01:21 |
Notice that the image that was selected
before I clicked Select All is the
| | 01:24 |
currently active image, so that's the one
I'm looking at in terms of evaluating my adjustments.
| | 01:30 |
I'm going to apply an exaggerated
adjustment.
| | 01:33 |
I'll just shift the tint toward magenta.
And we can see that the thumbnails for
| | 01:37 |
both images have been updated.
So I'm applying adjustments to both
| | 01:41 |
images based on an evaluation of a single
image.
| | 01:45 |
If I want to fine-tune any of the
adjustments for one of the images, I can
| | 01:48 |
certainly do that as well.
I'll bring the tint back to a more
| | 01:52 |
appropriate level, and then perhaps, I'll
increase the Contrast, but maybe I want
| | 01:56 |
to adjust certain settings for one image
more than the other.
| | 02:01 |
I'll go ahead and click on the first
image for example, and let's assume that
| | 02:04 |
for this one, I want a little bit more
Clarity.
| | 02:07 |
I'll exaggerate the Clarity so that we
can see the difference in the thumbnail.
| | 02:11 |
And notice that the second image does not
have that Clarity adjustment applied to it.
| | 02:16 |
So I can Select All and then apply
adjustments that affect both images in
| | 02:19 |
this case or all of the images that I
opened with Adobe Camera RAW.
| | 02:23 |
But then, I can also click on an
individual image.
| | 02:26 |
If I decide that the adjustments I've
applied to this image I want to apply to
| | 02:29 |
all of the images that are currently
being processed in Adobe Camera RAW, I
| | 02:32 |
can do that, too.
I'll make the adjustment a little bit
| | 02:36 |
more dramatic here.
I'll just increase Saturation, so we see
| | 02:38 |
an obvious change.
And notice that the thumbnail for the
| | 02:41 |
first image reflects that adjustment, but
the thumbnail for the second image does not.
| | 02:46 |
And that's because I applied the
adjustment with only one image selected.
| | 02:50 |
With this image, the image that I've
adjusted, presumably with adjustments I
| | 02:53 |
actually want, in this case obviously,
they're just exaggerated adjustments.
| | 02:58 |
I'll go ahead and click the Select All
button, and then, I'll click synchronize.
| | 03:02 |
This will bring up the synchronize
dialog, I can then pick and choose which
| | 03:06 |
particular adjustments I want to apply to
all of the selected images.
| | 03:11 |
I'll go ahead and leave this set to the
default values, which is most of the
| | 03:14 |
adjustments being applied.
I could certainly turn off any particular
| | 03:18 |
adjustments if I wanted to though.
I'll then go ahead and click OK.
| | 03:22 |
And you can see that the second image is
now updated to reflect those adjustments.
| | 03:27 |
And just as we can process multiple
images, we can also of course, Save or
| | 03:31 |
Open multiple images.
You'll want to make sure that you first
| | 03:35 |
click Select All so that all of the
images are selected, and then for
| | 03:37 |
example, you could select Open Images,
rather than Open Image.
| | 03:41 |
You'll notice that the button changes to
the plural form since we have multiple
| | 03:45 |
images selected, but I could also simply
click on one of the images and an Open
| | 03:48 |
only that photo for example.
In this case, I think I'd like to work on
| | 03:53 |
all of the images in Photoshop.
So I'll click Select All and then Open
| | 03:56 |
Images, and both of these images will
then be processed an Open in Photoshop.
| | 04:02 |
So you can see now for example that both
images have been opened.
| | 04:05 |
Of course, these adjustments in Adobe
Camera RAW are not in the least what I
| | 04:08 |
actually want to do to these images.
Those were just exaggerated adjustments
| | 04:13 |
so you could better see what's going on.
But the point is, that both of those
| | 04:17 |
images can be processed in a similar
manner and then opened in Photoshop.
| | 04:21 |
So by taking advantage of the option to
open multiple RAW captures at once, you
| | 04:25 |
can Synchronize your adjustments across
multiple images or fine-tune them
| | 04:29 |
individually, but processing more
efficiently with multiple images at once.
| | 04:34 |
| | Collapse this transcript |
|
|
2. Basic AdjustmentsImage rotation| 00:02 |
Digital cameras include a senor so that
the camera can determine the orientation
| | 00:05 |
from which you captured an image.
For example, the camera knows whether the
| | 00:10 |
image was captured in the landscape or
horizontal orientation or if the camera
| | 00:13 |
was rotated to a vertical or portrait
orientation.
| | 00:17 |
However, in some cases the camera might
be confused or perhaps for a particular
| | 00:21 |
subject, it just works better to use a
different orientation.
| | 00:25 |
This image was captured looking straight
up.
| | 00:28 |
I was laying on my back looking up at the
trees, and so the camera might have had a
| | 00:31 |
difficult time figuring out which way to
rotate the image.
| | 00:35 |
That orientation information is written
into the metadata for the image by the
| | 00:39 |
camera, but we can rotate the image in 90
degree increments if need be.
| | 00:44 |
There are two buttons for rotating the
image up on the toolbar, one for rotating
| | 00:48 |
the image counter clockwise or to the
left, and one for rotating the image
| | 00:51 |
clockwise or to the right.
And so we can evaluate the image in
| | 00:56 |
different orientations to decide what
works best.
| | 00:59 |
In this case, I think rotating the image
180 degrees might work better because it
| | 01:03 |
just feels more natural to have that
sunburst down in the bottom left corner
| | 01:06 |
rather than the top right.
In some cases, of course, the orientation
| | 01:11 |
is critical to the photo.
We need the horizon to be oriented
| | 01:14 |
properly, for example.
But sometimes it's a purely arbitrary
| | 01:17 |
decision, you can just decide what seems
to look better best from your perspective.
| | 01:22 |
Obviously, these buttons are very simple
to use and while you might not need them
| | 01:25 |
for most images, every now and then,
you'll want to rotate the image or at
| | 01:28 |
least experiment with rotation to see
what might work best for particular photograph.
| | 01:35 |
| | Collapse this transcript |
| Cropping and straightening| 00:02 |
When a photograph includes a line, such
as a horizon, that should be either
| | 00:05 |
perfectly horizontal or perfectly
vertical, it can be important to make
| | 00:08 |
sure that the image is rotated just right
so that line is where it should be.
| | 00:14 |
In this photograph you can see, for
example, that the horizon is a little bit crooked.
| | 00:19 |
It's higher over on the left than it is
on the right.
| | 00:21 |
Now of course, normally I would never
capture an image where the horizon line
| | 00:24 |
wasn't perfectly horizontal, but in this
case I captured a sample image at a
| | 00:28 |
slightly askew orientation, so that I
could show you how to straighten it if
| | 00:31 |
you were ever to run across this problem.
There are actually two options for
| | 00:37 |
rotating the image.
We can use the Crop tool to rotate the
| | 00:40 |
image, or we can use the Straighten tool.
We'll start off with the Straighten tool.
| | 00:45 |
Il'l go ahead and click on that button in
order to activate the Straighten tool.
| | 00:49 |
And now I can simply click and drag
across the horizon, or whatever line in
| | 00:53 |
the image should be perfectly horizontal
or vertical.
| | 00:56 |
I generally try to drag a relatively long
line, just because that helps make it a
| | 01:00 |
little bit easier to find the right angle
for that line.
| | 01:04 |
You can see that I have this line aligned
with the horizon and that it's going a
| | 01:07 |
little bit downhill toward the right.
It's higher over on the left than it is
| | 01:12 |
on the right.
Once I have that alignment correct, I can
| | 01:15 |
release the mouse and the rotation will
be applied.
| | 01:18 |
But notice that I've essentially just
been switched into the Crop View.
| | 01:22 |
The Crop View has been rotated.
I don't see that effect in the image just
| | 01:26 |
yet, but I can see how that rotation is
going to be applied.
| | 01:30 |
So with the rotation applied, now that
I'm working with the Crop tool, I can
| | 01:32 |
fine-tune the crop.
If I wanted to tighten up the top of the
| | 01:36 |
image, for example, or perhaps pull in
the left side just a little bit.
| | 01:40 |
In this case, I think I'd like to keep as
much of the image as possible.
| | 01:44 |
I'm only cropping so that I can
straighten out that horizon.
| | 01:47 |
So I'll go ahead and fine-tune each of
those edges.
| | 01:51 |
Note, by the way, that the corners cannot
go outside the actual image area.
| | 01:55 |
So you don't need to worry about that the
way you might within Photoshop.
| | 01:59 |
Camera Raw keeps the bounds of that crop
box inside the image at all times.
| | 02:04 |
If, for any reason, you're not happy with
the rotation, if you feel that you didn't
| | 02:07 |
straighten things out properly, you can
hold the Ctrl key on Windows, or Cmd key
| | 02:10 |
on Macintosh, while working with the Crop
tool, in order to access that Straighten
| | 02:14 |
tool again.
Or you could also switch back to the
| | 02:18 |
straighten tool.
Once you're happy with the adjustment
| | 02:21 |
that you've applied with the Straighten
and Crop tools, you can then switch to
| | 02:24 |
one of the other tools.
For example, the Hand tool, and then the
| | 02:27 |
preview will be updated to reflect the
actual cropping and rotation.
| | 02:31 |
So now we can see that that horizon is
perfectly straight and with very little
| | 02:35 |
effort, thanks to the Straighten and Crop
tools in Adobe Camera Raw.
| | 02:39 |
| | Collapse this transcript |
| White balance adjustments| 00:02 |
The light that illuminates the subjects
we photograph has a color element to it.
| | 00:05 |
Sometimes that's a very desirable color
element, such as the warm glow of
| | 00:09 |
late-afternoon light.
And sometimes it's not quite as
| | 00:12 |
desirable, such as cooler light found in
shady conditions, for example.
| | 00:16 |
In any event, our camera tries to
compensate for the color of the light
| | 00:19 |
itself in order to produce a neutral
result.
| | 00:23 |
But we can adjust for that lighting after
the fact during the raw conversion process.
| | 00:29 |
The adjustments that allow us to
compensate for the color of the light are
| | 00:31 |
generally referred to as white balance
adjustments or color temperature adjustments.
| | 00:36 |
And there's several ways we can go about
these adjustments to improve the accuracy
| | 00:39 |
or overall aesthetic appeal of our
photographs.
| | 00:43 |
The first is to use a White Balance
Preset.
| | 00:46 |
We have a popup in the basic adjustment
section that includes the same preset
| | 00:49 |
names that you'll find on your camera.
So, for example, if the image was
| | 00:54 |
photographed under cloudy conditions,
there's a good chance that using the
| | 00:57 |
Cloudy preset will produce a more
accurate or more pleasing result.
| | 01:01 |
Taking a relatively cool appearance in
the image, something along the lines of a
| | 01:05 |
blue or cyan, for example, and shifting
it toward more of sort of a yellowish tone.
| | 01:10 |
Note by the way, that the auto option
here is not the same as automatic on your camera.
| | 01:15 |
It's the same in concept but you won't
neccesarily get the same result.
| | 01:18 |
Auto on your camera means the camera is
evaluating the scene and trying to
| | 01:21 |
determine an appropriate compensation for
the color of the light.
| | 01:25 |
Auto here means that we're going to allow
Adobe Camera Raw to evaluate the image
| | 01:30 |
and try to apply a compensation.
In most cases, I just leave the white
| | 01:35 |
balance option set to As Shot, meaning I
want the colors to be interpreted as the
| | 01:38 |
camera interpreted them, and then I'll
fine tune from there.
| | 01:44 |
That fine-tuning is done with the
temperature and tint sliders.
| | 01:47 |
The temperature slider allows us to shift
between a blue appearance and a yellow appearance.
| | 01:52 |
So, roughly, a cooler or warmer
appearance in the photo.
| | 01:55 |
And this is both corrective and creative
in my mind.
| | 01:59 |
We can correct for an image that is too
cool by making it warmer.
| | 02:03 |
But we can also take an image that looks
relatively accurate and make it, for
| | 02:07 |
example, more warm than it actually
appeared.
| | 02:10 |
Obviously you don't want to take things
too far, but you can increase the warmth
| | 02:13 |
of the scene beyond what it actually was
in order to improve the aesthetic.
| | 02:19 |
The tint slider allows us to shift
between green and magenta, and generally
| | 02:23 |
speaking, this is purely a corrective
adjustment.
| | 02:26 |
You usually don't want to add a green or
magenta tint to your image, whereas you
| | 02:30 |
might want to cool off an image toward
blue or warm it up toward yellow.
| | 02:36 |
With both of these sliders we can use the
mouse to move the slider back and forth
| | 02:40 |
but once we've made an initial adjustment
we can also use the up and down arrow
| | 02:43 |
keys to increase or decrease the value.
And if we hold the Shift key we'll
| | 02:49 |
increase or decrease in larger steps.
So this makes it a little bit easier to
| | 02:53 |
be precise.
So typically I'll get started moving the
| | 02:57 |
sliders with the mouse fine tune using
the up and down arrow keys on the keyboard.
| | 03:02 |
In addition to the white balance popup
and the temperature and tint sliders we
| | 03:05 |
also have a White Balance tool.
This is an eyedropper and we can click in
| | 03:10 |
the image In order to set a particular
area to neutral.
| | 03:13 |
For example if I click on a green area I
would expect a relatively magenta result.
| | 03:18 |
If I click on an area that's relatively
yellow I would expect a relatively blue
| | 03:22 |
result, because we're applying an
opposite color as compensation.
| | 03:26 |
The challenge here is that we then need
to be able to find an area of the photo
| | 03:30 |
that is neutral or should be neutral.
In other words we need to find some spot
| | 03:35 |
in the image that we actually want to
have appear gray.
| | 03:38 |
The challenge is that in most cases,
something that is grey in real life we
| | 03:42 |
probably don't want to have actually
appear as grey in the photo.
| | 03:46 |
We'd rather have it be a little bit warm
for example.
| | 03:48 |
So if you use the White Balance tool in
order to adjust the overall color in the
| | 03:52 |
image, you'll probably still want to go
back to the temperature and tint sliders
| | 03:55 |
in order to fine-tune the result.
And because I'm going to end up using
| | 04:00 |
these sliders in any event in order to
fine-tune the color in the image, in most
| | 04:04 |
cases, I simply start with the
temperature and tint sliders, sometimes
| | 04:06 |
going back and forth between the two
until I feel that I have the color dialed
| | 04:09 |
in exactly as I want it.
| | 04:13 |
| | Collapse this transcript |
| Basic tonal adjustments| 00:02 |
In photography, we need to pay careful
attention to exposure.
| | 00:05 |
And so very often, the tonal adjustments
that we apply to an image after the
| | 00:08 |
capture tend to be very important.
Adobe Camera RAW includes a variety of
| | 00:13 |
adjustments that allow us to very
precisely control the overall tonal
| | 00:17 |
values within a photo.
The sliders that we'll use to adjust
| | 00:21 |
basic tonality in the image include
Exposure, Contrast, Highlights, Shadows,
| | 00:26 |
Whites, and Blacks.
Exposure, as the name implies, affects
| | 00:30 |
overall luminance, but the emphasis is on
the white point.
| | 00:33 |
So, as I increase Exposure, you'll notice
that we get a stronger effect into the
| | 00:37 |
bright areas of the image rather than the
dark areas.
| | 00:40 |
So, you can generally think of exposure
as simply establishing the white point
| | 00:44 |
within the photo.
And in fact, we can hold the Alt key on
| | 00:47 |
Windows or the Option key on Macintosh to
see when we're starting to experience
| | 00:51 |
clipping or loss of highlight detail
while we're adjusting exposure.
| | 00:57 |
Obviously, we'll need to evaluate the
image all by itself without that clipping
| | 01:01 |
preview, so that we get a better sense of
whether or not the adjustment we've
| | 01:04 |
applied is a good one.
Just because we've brightened the brights
| | 01:09 |
until just before the point that they
start to clip, doesn't mean that's a good adjustment.
| | 01:14 |
And so while you might use the Clipping
Preview to help you establish a basic
| | 01:17 |
exposure setting, you'll need to
fine-tune evaluating the image all by itself.
| | 01:22 |
The Contrast slider of course is
relatively straightforward.
| | 01:25 |
Dragging to the right increases Contrast,
darkening up the shadows and brightening
| | 01:29 |
up the highlights.
And reducing Contrast will cause the
| | 01:32 |
image to get a little bit more muddy,
with less of a tonal range overall.
| | 01:36 |
In most cases, we like to increase
Contrast at least a little bit, but you
| | 01:39 |
need to be careful not to increase it so
much that you start to lose detail or the
| | 01:42 |
image starts to look a little bit
artificial.
| | 01:46 |
Where the real control comes in are the
Highlights, Shadows, Whites, and Blacks adjustments.
| | 01:51 |
These allow you to adjust the brightest
and darkest areas independent of each other.
| | 01:56 |
The Highlights and Shadows affect a
relatively broad range of total values in
| | 01:59 |
the image, and the Whites and Blacks
affect a relatively narrow range.
| | 02:04 |
So, for example, if I increase the value
for Whites, you'll see that for the most
| | 02:07 |
part, I'm really just affecting the
clouds, the brightest area of the photo.
| | 02:12 |
And as I reduce White, so you see that
we're darkening primarily just the clouds.
| | 02:17 |
I'll leave that value set to zero.
And then adjust Highlights and you can
| | 02:20 |
see here we get a broader range of the
image being affected.
| | 02:24 |
Similarly, we can adjust blacks and we'll
see that only the darkest areas of the
| | 02:27 |
image are being effected, mostly the
shadows in the buildings.
| | 02:32 |
Whereas if we adjust Shadows, we're
effecting a much broader range,
| | 02:35 |
essentially the entirety of each building
in this particular photo.
| | 02:40 |
What that means is that we're able to
adjust bright and dark areas of the image independently.
| | 02:43 |
And essentially, establish white and
black points with the Whites and Blacks sliders.
| | 02:48 |
And then determine the level of detail we
want to see in the highlights and shadows
| | 02:52 |
using the Highlights and Shadow sliders.
I'm going to reset the control, so that I
| | 02:57 |
can start over now that we have an
understanding of what each of these
| | 03:00 |
sliders do.
And so, I'll hold the Alt key on Windows
| | 03:03 |
or the Option key on Macintosh to change
the Cancel button to a Reset button, and
| | 03:06 |
then I'll click that button so that the
controls are reset.
| | 03:11 |
In this image I think that overall
exposure is just fine, so I'll leave that
| | 03:14 |
Exposure slider where it is.
I would like to increase Contrast, just a
| | 03:17 |
little bit, a very small amount.
So, I'll increase the Contrast slider.
| | 03:21 |
Next, I'll take a look at the whites and
the blacks.
| | 03:24 |
I'll hold the Alt key on Windows or the
Option key on Macintosh, while adjusting
| | 03:28 |
the Whites value.
And I'll increase it until I start see
| | 03:31 |
clipping with that Clipping Preview.
I'll then release the Alt or Option key,
| | 03:35 |
and evaluate the overall image.
In this case, maybe toning down those
| | 03:39 |
brights just a little bit.
This gives me a relatively strong white
| | 03:44 |
point, in other words, I have some bright
areas of the image that are nearly white,
| | 03:47 |
but I think I'd like to increase the
level of detail in those clouds.
| | 03:51 |
So I'm going to adjust the Highlight
slider downward just a little bit in
| | 03:55 |
order to improve the texture in those
clouds.
| | 03:59 |
Then I can move on to the Blacks and
Shadows.
| | 04:01 |
I'll start off by establishing a black
point.
| | 04:03 |
Once again, holding the Alt key on
Windows or Option key on Macintosh.
| | 04:07 |
And in this case, increasing the value
for Blacks so that we don't lose quite as
| | 04:11 |
much detail in those dark shadows.
I can then work with the Shadow slider in
| | 04:16 |
order to affect overall detail in the
shadows.
| | 04:18 |
And I think I'd like to open up just a
little bit of detail in this case.
| | 04:22 |
I'm happy with that overall adjustment,
but the key thing to keep in mind is that
| | 04:25 |
we do have this high degree of control.
I can darken up those Shadows if I want
| | 04:29 |
to create more density or perhaps even
create a silhouette type of effect.
| | 04:33 |
Or I can increase the value of Shadows in
order to open up more of that shadow
| | 04:36 |
detail, sort of like the effect you might
get with a Fill Flash.
| | 04:41 |
So, I'm able to fine-tune not just the
overall tonality, but the actual level of
| | 04:44 |
detail I'm able to see in various areas
of the image, using the sliders to affect
| | 04:48 |
tonality in a photo.
| | 04:51 |
| | Collapse this transcript |
| Presence adjustments| 00:02 |
The last three sliders in the basic
adjustments of Adobe Camera Raw are
| | 00:05 |
Clarity, Vibrance and Saturation.
Combined these three controls are often
| | 00:10 |
referred to as the Presence adjustments.
Because they influence the overall
| | 00:14 |
presence of the subject in your photo.
All three of them can be very helpful in
| | 00:18 |
their own right.
In some ways the clarity adjustment can
| | 00:21 |
be thought of as sharpening.
It's not exactly the same as sharpening,
| | 00:25 |
but it's a very similar concept.
I usually think of it more as a haze reducer.
| | 00:30 |
It helps to bring out the details that's
already there with an effect, that's
| | 00:33 |
again, quite similar to sharpening.
if you increase the value for clarity
| | 00:37 |
you'll see a little bit more contrast,
more detail will be readily apparent.
| | 00:42 |
Things just generally have a little bit
more snap, and if we reduce the value for
| | 00:45 |
clarity, then things will start to look a
little more hazy.
| | 00:49 |
A little painterly almost, and the effect
can be quite nice for things such as
| | 00:53 |
flower photographs or portraits.
In this case, I'd like to bring out a
| | 00:57 |
little more of the detail.
So I'll increase clarity just a little bit.
| | 01:01 |
You don't generally have to worry too
much about taking clarity too far.
| | 01:05 |
Obviously, you don't want the image to
look artificial and weird.
| | 01:09 |
But in terms of sharpening halos, that's
not a concern in most cases with clarity.
| | 01:13 |
So you can usually just focus your
attention on the image, and choose a
| | 01:16 |
value that seems to work well.
Vibrance and saturation are very similar
| | 01:21 |
to each other, both allow you to increase
or decrease the intensity of color within
| | 01:25 |
the photo.
The difference is that saturation affects
| | 01:30 |
all colors evenly, whereas vibrance
focuses its attention on increasing
| | 01:34 |
saturation for the colors that are not
that vibrant in the first place, or
| | 01:37 |
decreasing saturation for the colors that
already have a lot of saturation.
| | 01:44 |
So, for example, if I increase vibrance
We'll start to see some of the more
| | 01:47 |
subtle colors start to come up.
Whereas the colors that were already
| | 01:52 |
relatively saturated are not getting
enhanced further.
| | 01:55 |
Or at least not quite as much.
By contrast, increasing saturation can
| | 01:58 |
quickly lead to colors that look a little
bit too strong, a little artificial.
| | 02:03 |
And that's because saturation is
affecting all colors in the image.
| | 02:07 |
It's not being intelligent about how it
affects the color.
| | 02:09 |
With both vibrance and saturation, we can
also reduce the intensity of colors in
| | 02:14 |
the photo, effectively producing a more
gray scale version.
| | 02:19 |
Even taking the colors so far as to have
a genuine black and white version of the photo.
| | 02:24 |
That's not usually the best way to
achieve a black and white result.
| | 02:27 |
But you can indeed, reduce saturation
overall, and have an interesting effect
| | 02:31 |
in the image.
But of course, we tend to like having
| | 02:34 |
strong colors, or relatively strong
colors in our photos.
| | 02:38 |
And so very often, you'll probably find
that you want to increase vibrance a
| | 02:41 |
little bit.
In general, I recommend adjusting
| | 02:44 |
vibrance first.
And then adding a saturation adjustment,
| | 02:48 |
if you feel the overall image needs a
little bit of a boost.
| | 02:52 |
In other words, focus the attention on
the colors that aren't all that saturated
| | 02:55 |
to bring them up a bit.
And then, as needed, increase saturation
| | 02:59 |
for all colors in the photo.
So typically, the vibrance adjustment
| | 03:03 |
will be a little bit stronger.
Than the saturation adjustment combines,
| | 03:07 |
the clarity, vibrance, and saturation
adjustments really allow you to add a
| | 03:10 |
nice touch to many of your photographic
images.
| | 03:14 |
| | Collapse this transcript |
| Tone curve adjustments| 00:02 |
For many images, the basic adjustments
provide most of what you need to produce
| | 00:05 |
a good result, but in some cases, you
might want to go a little bit further and
| | 00:08 |
take advantage of some of the other
adjustment options.
| | 00:13 |
For example, the tonal adjustments found
in the basic section are usually
| | 00:16 |
sufficient for optimizing the overall
tonality of your photos.
| | 00:20 |
But we also have a tone curve available,
which provides a little bit more control.
| | 00:25 |
I'll go to the Tone Curve panel, and by
default, we're working in Parametric mode.
| | 00:29 |
And that means that we can adjust the
overall highlights, lights, darks and shadows.
| | 00:34 |
So we can apply Tonal Adjustments to
individual ranges of tonality.
| | 00:38 |
The highlights, which are the brightest
portion, the lights, which are bright
| | 00:42 |
down to midtone values, the darks, which
are midtone down to dark values, and
| | 00:46 |
shadows, which are the darkest values.
So we're dividing ranges of luminance
| | 00:52 |
values, of brightness values, into four
sections and then adjusting each individually.
| | 00:57 |
Keep in mind, there is considerable
overlap between highlights and lights, as
| | 01:01 |
well as between darks and shadows.
You can also see very clearly on the tone
| | 01:06 |
curve itself what area of the image is
being effected.
| | 01:09 |
So we can see that the brighter half of
the image is getting a relatively strong
| | 01:13 |
adjustment, since white is over on the
right side, and black is over on the left
| | 01:16 |
side, with an even distribution of tonal
values in between.
| | 01:21 |
Similarly if I darken the darks, you'll
see that we get a darkening of the tone
| | 01:25 |
curve in the darkest values, roughly
middle tone down to black.
| | 01:30 |
Taking things a step further, we can also
adjust the definition of each of our
| | 01:33 |
ranges of tonal values.
To make things a little bit simpler here,
| | 01:38 |
I'll reset each of my adjustments by
double-clicking on the slider handle, and
| | 01:41 |
then I'm only going to affect the dark.
So, I'll go ahead and darken up the
| | 01:46 |
darks, and you can see exactly which
range of tonal values are being affected.
| | 01:50 |
We can also change the definition of each
of these tonal ranges effectively.
| | 01:54 |
For example, if I increase the brightness
of the darks, you'll see that the darker
| | 01:57 |
areas of the image are being brightened.
But I can shift the definition of darks.
| | 02:03 |
Having it include brighter values or only
darker values by adjusting each of the
| | 02:07 |
sliders down below the histogram.
I'll go ahead and shift the shadows.
| | 02:11 |
In this case, lightening up the shadows.
And you can see that only the darkest
| | 02:15 |
portions of the image are being affected.
But if I drag the left most slider over
| | 02:19 |
to the right you can see that I can
increase the range of values being
| | 02:22 |
effected or I can reduce the range by
dragging that slider to the left.
| | 02:27 |
So you can see I can focus on just the
darkest areas or a relatively broad range
| | 02:30 |
of tonal values with the parametric tone
curve.
| | 02:34 |
I'll go ahead and reset these controls.
And then we can switch to the point curve
| | 02:38 |
and here, we have even more control over
the adjustment we're applying to the image.
| | 02:43 |
There are several presets, so we can have
a linear adjustment which means no
| | 02:47 |
adjustment at all.
We can apply medium contrast, or strong
| | 02:50 |
contrast but we can also adjust the tone
curve directly.
| | 02:54 |
I'll go ahead and switch back to linear
and then I might darken down the shadows
| | 02:57 |
and brighten up the highlights in order
to increase contrast for the overall photo.
| | 03:03 |
I can fine tune the overall tonality with
significant control allowing me to
| | 03:07 |
maximize detail in certain areas, improve
contrast etc.
| | 03:13 |
We can even effect overall color by
switching to one of the color channels,
| | 03:16 |
I'll switch to red for example, and now I
can shift between red and cyan.
| | 03:21 |
So if I want to add a little bit of a
cooling effect to the image, I could
| | 03:23 |
certainly do that with a high degree of
control, having a different effect in the
| | 03:26 |
shadows versus the highlights for
example.
| | 03:30 |
Generally speaking when I'm working with
the tone curve, I'll use the point option
| | 03:34 |
and I'll work in the RGB channel so that
I'm affecting overall tonality for the photo.
| | 03:39 |
Obviously, the basic operation of the
tone curve is very similar to the tonal
| | 03:42 |
adjustments in the Basics section, but
you can exercise a little bit more
| | 03:45 |
control with the tone curve.
So, for images were that nuance really
| | 03:50 |
makes a big difference, I think you'll
find that working with the point option
| | 03:53 |
for the tone curve really allows you to
fine tune the overall tonality.
| | 03:58 |
The overall contrast and brightness
values in your photo.
| | 04:01 |
| | Collapse this transcript |
| Image sharpening| 00:02 |
Even with the very best photographic
techniques, you'll generally need to
| | 00:05 |
sharpen most, if not all of your digital
photos.
| | 00:08 |
And that's because there's a certain
degree of sharpness lost just by the
| | 00:11 |
digital capture process.
That includes issues such as the analog
| | 00:15 |
to digital conversion, as well as the
filters that are included in the front of
| | 00:19 |
most image sensors.
Adobe camera raw allows you to apply
| | 00:23 |
sharpening, which is aimed at
compensating for the lost of sharpness in
| | 00:26 |
the original capture.
So, this is not your final output
| | 00:30 |
sharpening, but rather making the image
looks its best from the original starting point.
| | 00:35 |
I'll go ahead and switch to the detail
page of adjustments and that's where
| | 00:38 |
we'll find the sharpening adjustments.
These include amount, radius, detail, and masking.
| | 00:46 |
Amount is pretty straight-forward, it's
simply determines the intensity of the
| | 00:49 |
sharpening effect.
I'll go ahead and increase the amount all
| | 00:53 |
the way to its maximum, so that we can
get a better sense of the effect.
| | 00:57 |
But it's also important to evaluate
sharpening based on a 100% view of the image.
| | 01:02 |
If you have the image zoomed out, so that
you can see the entirety of it, then your
| | 01:05 |
not really getting the best look at the
individual pixels.
| | 01:09 |
So, I'll go ahead and increase the zoom
to 100%, and then I'll use the hand tool
| | 01:12 |
to pan to an area that I think will be a
good portion of the image to evaluate for sharpness.
| | 01:18 |
So, you can see I have a relatively
strong degree of sharpening, since the
| | 01:21 |
amount is set to its maximum, but I can
also adjust the size of the sharpening effect.
| | 01:26 |
In other words, how far out from contrast
edges, will the contrast be enhanced, in
| | 01:30 |
order to create the effect of a sharper
image?
| | 01:34 |
I'll increase this to its maximum, and
you can get a little bit of a sense, that
| | 01:37 |
now we have larger areas of contrast,
along the texture in the photo.
| | 01:42 |
The Detail slider allows us to determine
how much contrast must exist in the image
| | 01:46 |
in order for that area to be considered
an edge, and therefore have sharpening
| | 01:50 |
applied to it.
If I increase the detail value, you'll
| | 01:54 |
see that more areas of the photo get
sharpened.
| | 01:57 |
And if I decrease the detail slider
value, you'll see that less of the image
| | 02:01 |
is getting sharpened.
I'll go ahead and increase this to its
| | 02:04 |
maximum value, so that we can get a
better sense of the masking option.
| | 02:08 |
Masking allows us to focus the
sharpening, only on the highest contrast
| | 02:12 |
areas of the photo.
This is often referred to as edge
| | 02:15 |
sharpening for example, which is the
effect we're achieving with a relatively
| | 02:19 |
high masking value.
In addition, to just understanding the
| | 02:24 |
basic concept behind each of these
sliders, there's also a preview option
| | 02:27 |
that makes it even easier to evaluate the
effect and determine the best adjustment
| | 02:30 |
to use for each of these sliders.
And that call for holding the Alt key for
| | 02:36 |
on Windows or the Opt key on Macintosh
while adjusting each of these sliders.
| | 02:41 |
For the amount slider, that will cause
the image to be shifted into a gray scale
| | 02:44 |
version, a black and white image, so that
you can get a better sense of the
| | 02:47 |
luminance changes that are being caused
by the sharpening effect.
| | 02:53 |
For radius, that will give us an embossed
look at the image, so that we can
| | 02:56 |
actually see where in the image is
getting more contrast.
| | 03:01 |
Areas that are middle-grey are not
getting any sharpening effect at all, and
| | 03:04 |
areas that are black or white are being
sharpened.
| | 03:07 |
So, you can see that we can increase the
size of the radius or decrease it In
| | 03:11 |
order to adjust the area being effected
by sharpening.
| | 03:15 |
In other words, how far out from each
edge are we actually planning to
| | 03:18 |
sharpening effect.
I'll go ahead and keep this a little bit
| | 03:21 |
exaggerated, so that we can better see
what's going on with the other sliders
| | 03:25 |
with detail, I hold the Alt or Opt key
once again, and then at a maximum value
| | 03:28 |
you can see that every nook and cranny is
getting some sharpening effect, whereas
| | 03:32 |
by decreasing the value we are now
focusing just on the highest contrast
| | 03:35 |
areas within the photo.
And finally, masking allows us to focus
| | 03:43 |
the sharpening effect on either the
entire image or just the high contrast
| | 03:47 |
edges within the photo.
Areas that are white are being sharpen.
| | 03:52 |
Areas that are black are not being
sharpen.
| | 03:55 |
And areas that are a shade of grey are
being sharpen to some degree, but not
| | 03:57 |
quite as much as those that are white.
So, with the Preview Option, your able to
| | 04:02 |
really get a better sense of the overall
effect, which can help you make a
| | 04:05 |
decision about each of these sliders.
In this case, I'd like to enhance a lot
| | 04:10 |
of detail, so I'll leave masking at a low
value.
| | 04:13 |
But I'll bring detail up to a relatively
high value, that will cause most of the
| | 04:17 |
image to get some sharpening effect.
Of course, I don't need a large radius.
| | 04:22 |
I have very fine detail here, and so I
want the area of contrast enhancement to
| | 04:26 |
also be relatively small.
And then of course, I don't want too much
| | 04:30 |
of a sharpening effect, so I'll fine-tune
the amount value.
| | 04:34 |
Generally speaking, with images that
contain a high degree of detail, you'll
| | 04:38 |
want to use a relatively low radius and a
relatively high amount setting.
| | 04:43 |
For images that don't have a lot of fine
detail, that rather have relatively
| | 04:46 |
smooth transitions between contrast
areas, you'll use a relatively high
| | 04:50 |
radius value but a relatively low amount.
And then detail and masking are largely a
| | 04:56 |
matter of personal preference, in terms
of how much detail you want to enhance
| | 04:59 |
within the photo.
In some cases, for example, you'll want
| | 05:03 |
to use a relatively low detail and
possibly high masking value if you're
| | 05:06 |
trying to avoid accentuating noise, or if
you want to retain smooth areas, such as
| | 05:10 |
open sky.
Keep in mind, that these sharpening
| | 05:14 |
adjustments are intended to compensate
for the loss of sharpness that occurs
| | 05:17 |
naturally with a digital capture.
So, you are not really trying to achieve
| | 05:21 |
an image that's ready to print
necessarily, you're just compensating for
| | 05:24 |
that initial softness with a digital
photo.
| | 05:27 |
| | 05:27 |
| | Collapse this transcript |
| Noise reduction| 00:02 |
In the context of a digital photo, noise
is random variations in tonal or color
| | 00:05 |
values on a pixel by pixel basis.
There are a variety of factors that
| | 00:10 |
contribute to noise in a digital photo,
but for the most part we can think of
| | 00:13 |
increasing the ISO setting as being the
largest culprit.
| | 00:18 |
The higher that ISO setting, the more
amplification that's being applied to the
| | 00:22 |
signal and therefore we're going to end
up with noise.
| | 00:25 |
I'll go ahead and zoom into a 100% scale
and then use the Hand tool to pan around
| | 00:29 |
the image, and you can see quite clearly,
that we have quite a bit of noise in this photo.
| | 00:36 |
I'll switch to the detail page, and here
we can apply noise reduction.
| | 00:41 |
By default, Adobe Camera Raw actually
applies some level of color noise
| | 00:44 |
reduction, and so it might not always be
readily apparent that an image needs some work.
| | 00:49 |
I've started with a value of zero here so
that we can better see the noise in the
| | 00:52 |
photo itself.
I prefer to start with color noise reduction.
| | 00:56 |
So I'll increase the value for color
noise reduction, and then reduce the
| | 00:59 |
color detail slider to zero while I work.
And the reason for that is that I want to
| | 01:04 |
use the minimum amount of color noise
reduction that's necessary in order to
| | 01:07 |
minimize the appearance of color noise in
the photo.
| | 01:11 |
If I reduce the value, you'll start to
see some of that color noise reappear,
| | 01:14 |
but if I increase the value, you'll see
that it goes away.
| | 01:18 |
And generally speaking, you'll end up
with the best overall quality in your
| | 01:21 |
photos if you use only as much color
noise reduction as you need.
| | 01:26 |
Increasing color noise reduction too much
will cause various areas of the image to
| | 01:29 |
lose some level of saturation.
So right about there seems to be a good
| | 01:33 |
adjustment for color noise reduction.
I can then also increase the Color Detail
| | 01:38 |
slider in order to bring back some of the
saturation and texture in color areas of
| | 01:42 |
the photo.
Taking this value too high can cause some
| | 01:46 |
of that noise artifacting to reappear.
So generally speaking, once again, you
| | 01:50 |
won't want to use too strong an
adjustment.
| | 01:54 |
Once you're happy with the overall
settings for your color noise reduction,
| | 01:57 |
then you can move on to the luminance
noise reduction.
| | 02:00 |
And here, we'll increase the value for
luminance in order to even out the
| | 02:04 |
variations in tonal value for the pixels.
If you take this too far, you'll end up
| | 02:09 |
with an image with no detail at all.
This can sometimes be interesting for an
| | 02:13 |
artistic effect, but when it comes to a
typical photographic image you'll want to
| | 02:16 |
be very careful with luminance.
Just like the color noise reduction
| | 02:21 |
option, we'll want to use only enough to
minimize the appearance of noise in the
| | 02:24 |
image, without losing too much detail or
sharpness.
| | 02:28 |
We can then increase the luminance detail
slider or decrease it as needed.
| | 02:32 |
And once, again, this is adding localized
detail, localized contrast in the image,
| | 02:36 |
in order to try to bring back some of the
detail that was lost, by applying the
| | 02:39 |
luminance noise reduction in the first
place.
| | 02:44 |
And finally, we can increase overall
contrast in the image, so that we're
| | 02:48 |
really bringing back the original
appearance as it were.
| | 02:52 |
We're essentially giving up detail in the
image by applying color and luminance
| | 02:56 |
noise reduction, but then using these
additional sliders to try to bring back
| | 02:59 |
as much of that detail as possible
without bringing back the noise.
| | 03:05 |
It's a good idea to pan around various
areas of the photo to get a better sense
| | 03:08 |
of the quality of your adjustment.
In particular, you should focus your
| | 03:13 |
attention on shadow areas.
The darkest areas of the photo are those
| | 03:16 |
that are most likely going to show the
noise in the first place.
| | 03:20 |
And in fact sometimes, I'll even apply an
arbitrary and temporary brightness
| | 03:24 |
adjustment, simply shifting the exposure
value upward, for example, so that I can
| | 03:27 |
get a better look into those shadows and
see just how problematic the noise is.
| | 03:33 |
And use that as a way to evaluate the
overall adjustment that I apply to
| | 03:37 |
minimize the noise in the photo.
And of course, one you've fine tuned the
| | 03:42 |
noise reduction sliders, and are happy
with the result you can go back and
| | 03:45 |
remove the adjustment that you added just
for the sake of reviewing those shadow areas.
| | 03:50 |
In this case, I think I have a good
result.
| | 03:53 |
I'll pan around some other portions of
the photo just to make sure.
| | 03:57 |
But it looks like I've done a good job of
minimizing noise in the photo without
| | 04:00 |
sacrificing too much detail.
| | 04:02 |
| | Collapse this transcript |
|
|
3. Advanced AdjustmentsHSL adjustments| 00:02 |
When the primary reason you photograph
the particular subject was the color,
| | 00:05 |
there's a very good chance that you're
going to really want to fine tune the
| | 00:08 |
colors in the photo, in order to produce
the best results possible.
| | 00:13 |
The HSL, or Hue, Saturation and Luminance
adjustments allow you to do exactly that.
| | 00:20 |
Fine-tuning the Hue, Saturation and
Luminance on a per color basis.
| | 00:25 |
Let's take a look at these adjustments.
I'll switch to the HSL greyscale section
| | 00:29 |
of adjustments.
And then, I can take a look at Hue,
| | 00:32 |
Saturation and Luminance sliders.
You'll notice that for Hue, Saturation
| | 00:35 |
and Luminance, we have sliders for each
of the basic colors.
| | 00:38 |
We've got reds, oranges, yellows, greens,
aquas, blues, purples, and magentas.
| | 00:43 |
So, a considerable amount of control that
we can exercise.
| | 00:49 |
Let's start off by taking a look at the
yellows, for example.
| | 00:55 |
I can shift the Hue for the yellows more
toward green or more toward orange.
| | 01:00 |
So, I can really fine-tune the color of
specific areas within the image based on
| | 01:04 |
color value.
I can also adjust Saturation for the yellow.
| | 01:09 |
So, making just the yellows more vibrant
or less vibrant, even making the yellows
| | 01:12 |
appear as a shade of grey.
And I can adjust the Luminance where the
| | 01:17 |
brightness value just for the yellows.
So, I can darken the yellows or brighten them.
| | 01:22 |
With Luminance, in particular, you'll
usually want to apply a relatively modest adjustment.
| | 01:27 |
You won't want to take it too far in
either direction as that can start to
| | 01:30 |
create a, sort of, muddy appearance in
the image.
| | 01:33 |
And each of the adjustments, Hue,
Saturation, Luminance applied to all of
| | 01:37 |
the individual colors.
So for example, the sky looks like it's
| | 01:41 |
probably partly aqua ,and partly blue.
So, we can shift the Luminance for aqua,
| | 01:45 |
that's not having too much of an effect.
But we can also shift for blue which is
| | 01:49 |
having a stronger effect as you can see.
So maybe I'll darken the blues, and
| | 01:53 |
perhaps I'll increase Saturation for the
blues just a little bit.
| | 01:57 |
And I could also shift the color value
for the blues, a little bit more toward
| | 02:01 |
the purples and magentas, or a little bit
more toward the cyans and greens.
| | 02:06 |
So, I can fine-tune the overall color
value, the Hue, the overall intensity of
| | 02:10 |
the color, the Saturation.
And the overall Brightness or the
| | 02:14 |
Luminance, and I can do so on a color by
color basis in the photo.
| | 02:18 |
| | Collapse this transcript |
| Grayscale conversion| 00:02 |
I find that I tend to like black and
white images, and so it's fairly common
| | 00:05 |
for me to take a color photograph, and
convert it to black and white.
| | 00:10 |
And Adobe Camera Raw includes the ability
to create a black an white interpretation
| | 00:13 |
of any photo.
In most cases, if I'm going to convert an
| | 00:17 |
image to black and white, then I'll start
with a black and white adjustment rather
| | 00:20 |
than applying basic tonal adjustments
first, for example.
| | 00:24 |
And so I'll switch to the HSL option.
This includes both HSL or hue,
| | 00:28 |
saturation, and luminance, as well as
grayscale adjustments.
| | 00:33 |
And the first step in actually creating a
black and white image, is to turn on the
| | 00:36 |
Convert to Grayscale checkbox.
This will convert the image to black and
| | 00:41 |
white, so we'll no longer see any color
but we can then adjust the Luminance
| | 00:44 |
values of individual color values within
the photo.
| | 00:49 |
For example, the sky is probably largely
blue, perhaps a little bit of aqua, and
| | 00:52 |
so shifting the blue slider to the right
will brighten the blue areas.
| | 00:57 |
And moving the slider to the left will
darken the blue areas, again, mostly the sky.
| | 01:01 |
The airplane had a fair amount of yellow
in it.
| | 01:04 |
So, increasing the value for yellow will
brighten up portions of the airplane and
| | 01:07 |
reducing the value for yellow will darken
up portions of the airplane, as well as
| | 01:11 |
some of the greens in the background that
contain a fair amount of yellow.
| | 01:17 |
I can also adjust those greens
independently.
| | 01:19 |
So I'll just go ahead and shift those
left and right, for example.
| | 01:23 |
And I can continue taking the look at all
of the sliders to see what sort of effect
| | 01:26 |
each of them has on the overall image and
deciding how I want to interpret the
| | 01:29 |
photograph, how to interpret that
grayscale conversion.
| | 01:34 |
In most cases, I'll start with relatively
modest adjustments.
| | 01:38 |
So, I won't take things too far for any
of the adjustments here in the conversion
| | 01:41 |
to black and white photo.
And in particular, I want to keep in mind
| | 01:46 |
that I'll still be able to apply a
variety of overall tonal adjustments to
| | 01:49 |
the image.
But by working with each of the
| | 01:53 |
individual sliders, lightening and
darkening the specific areas of the photo
| | 01:56 |
based on their original color value, you
have quite a bit of flexibility.
| | 02:01 |
In interpreting a color photograph into a
black and white version.
| | 02:04 |
| | Collapse this transcript |
| Split toning| 00:02 |
I consider split toning to be one of the
more interesting adjustments in Adobe
| | 00:05 |
Camera Raw.
It allows us to add a color influence to
| | 00:08 |
the highlights and the shadows
individually for a photo.
| | 00:12 |
Let's take a look at how it works.
I'll switch to the split toning pane, and
| | 00:16 |
then I'll increase saturation for both
highlights and shadows.
| | 00:22 |
Because split toning is all about adding
color to a photo with a saturation of
| | 00:25 |
zero for highlights and shadows, you
won't see any effect at all.
| | 00:29 |
So just by increasing saturation, we'll
start to see some effect.
| | 00:33 |
But you can probably appreciate that for
most color photographs, adding color to
| | 00:36 |
the highlights and shadows is not really
going to produce all that great a result.
| | 00:41 |
In most cases, I'll only use split toning
with a black-and-white image.
| | 00:46 |
So I'll switch to the HSL and gray scale
page, and then turn on the convert to
| | 00:49 |
gray scale check box.
I can fine tune the tonal values for each
| | 00:53 |
color throughout the image, and in this
case I think image looks fine as it is.
| | 00:58 |
So, I'll go back to split toning and now
I can fine tune the settings.
| | 01:02 |
I'll go ahead and keep the adjustments
exaggerated here for a moment.
| | 01:06 |
I'll increase the value of saturation,
and then I'm going to shift the hue, and
| | 01:09 |
the idea here is that we're able to
achieve a particular color for the
| | 01:13 |
highlights and a different color for the
shadows.
| | 01:17 |
I can also shift the balance, in other
words, defining, do I want most of the
| | 01:20 |
image to be considered highlights, or
most of the image to be considered shadows?
| | 01:26 |
In this case, I think I'll shift the
balance so that we get a little bit more
| | 01:29 |
of the highlight color, so we get a
little more of that yellowish tone.
| | 01:32 |
I'll go ahead and fine tune the color,
and maybe increase the saturation just a
| | 01:36 |
little bit.
Bear in mind that for highlights, you're
| | 01:39 |
going to tend not to see as much of the
color simply because those areas appear a
| | 01:42 |
little bit more washed out.
There's not as much density, and
| | 01:46 |
therefore the color is not going to be as
obvious.
| | 01:49 |
I think Ill shift the hue just a little
bit for the shadows as well and then
| | 01:52 |
reduce the saturation for that portion of
the image.
| | 01:56 |
So now we have just a little bit of red,
I'm going to shift the balance a little
| | 01:59 |
more towards the shadows.
We get just a little bit of a warm
| | 02:03 |
reddish tone in the dark areas and more
of a yellowish type of tone in the highlights.
| | 02:08 |
Keep in mind by the way, that you could
certainly use the exact same hue an
| | 02:12 |
perhaps even the same saturation, for
both highlights and shadows, if you want
| | 02:15 |
an even color value throughout the photo.
For example, producing a sepia tone type
| | 02:21 |
of effect.
But very often I find that I like to have
| | 02:24 |
one color value for the highlights, an
another for the shadows.
| | 02:27 |
Perhaps a warmer tone for the highlights,
an a cool tone for the shadows for
| | 02:30 |
example, an then adjusting saturation
overall For with the highlights and the
| | 02:34 |
shadows individually, so that you get a
better effect.
| | 02:39 |
So while the split toning adjustment
might seem a little bit unusual, if you
| | 02:42 |
experiment around with some of your
images, I think you'll find that you can
| | 02:44 |
produce a very nice effect in a wide
variety of situations.
| | 02:48 |
| | Collapse this transcript |
| Profile-based lens corrections| 00:02 |
I enjoy using a wide angle lens to get a
unique perspective on a scene, but
| | 00:05 |
sometimes I'm not crazy about the
distortion that tends to result from
| | 00:09 |
using a very wide angle lens.
In this case, for example, I was using a
| | 00:14 |
10 millimeter focal length.
Now, this is on a camera with a focal
| | 00:18 |
length multiplier or a cropping factor of
1.6.
| | 00:22 |
So the field of view is really more like
a 16 millimeter focal length on a typical
| | 00:25 |
35 millimeter format digital camera.
Never the less I would like to compensate
| | 00:30 |
for some of the distortion, and in this
case, letting Adobe Camera Raw do all of
| | 00:34 |
the work for me.
I'll go ahead and switch to the lens
| | 00:37 |
corrections page of adjustments, and I'm
going to use the profile tab.
| | 00:42 |
This is where we can apply automatic, or
mostly automatic adjustments, to
| | 00:46 |
compensate for the behavior of the lens.
I'll go ahead an turn on the enable lens
| | 00:51 |
profile corrections, an if I toggle that
check-box off, an then on, you can see a
| | 00:54 |
very clear change in the image.
We're getting some of that distortion removed.
| | 01:00 |
We have a Setup pop-up where we can save
or utilize existing saved settings, but
| | 01:04 |
generally speaking I'll just leave the
default value.
| | 01:09 |
Notice under Lens Profile the camera
make, the lens that was used, and the
| | 01:12 |
particular profile for that combination
were established automatically, and
| | 01:16 |
that's based on the metadata that's
contained within the photo itself.
| | 01:22 |
We can then fine tune the distortion.
I'll go ahead and increase distortion and
| | 01:25 |
reduce distortion.
And this determines how much distortion
| | 01:28 |
correction is being applied to the image.
The default value is 100, but you can go
| | 01:33 |
above or below that value if you'd like.
And you can also lighten or darken the
| | 01:37 |
edges of the image.
The default value of 100 causes the lens
| | 01:41 |
to be compensated for, based on the
behavior of that lens.
| | 01:46 |
But you can take that a little bit
further to brighten the corners of the image.
| | 01:49 |
Or take it down to darken the corners of
the image.
| | 01:52 |
In this case, I'll leave it at its
neutral value.
| | 01:54 |
And we also have an automatic chromatic
aberration correction.
| | 01:58 |
I'll go ahead and zoom in on a portion of
the image.
| | 02:01 |
And you can see that we have some
chromatic aberrations, some color halos
| | 02:04 |
along high contrast edges.
When I turn on the remove chromatic
| | 02:09 |
aberration check box, you can see that
those aberrations are removed
| | 02:12 |
automatically, very very impressive.
And so with just a couple of clicks and
| | 02:17 |
perhaps a little bit of adjustment to a
couple of sliders we are able to correct
| | 02:20 |
for a variety of perspective distortion
caused by wide angle lenses.
| | 02:26 |
Or just about any other lens.
Obviously, things will be a little bit
| | 02:29 |
more prominent with wide angle in terms
of that distortion, but the profile-based
| | 02:33 |
lens corrections are able to compensate
for the behavior of virtually any lens at all.
| | 02:38 |
| | Collapse this transcript |
| Image transformation| 00:02 |
Adobe Camera Raw includes some
adjustments for lens correction but
| | 00:05 |
sometimes the issue you have, that you
might otherwise think of as those types
| | 00:08 |
of corrections is not because of the
behavior of the lens but the behavior of
| | 00:12 |
the photographer.
In other words your perspective relative
| | 00:17 |
to the subject causes some distortion.
Here, for example, we have a window where
| | 00:21 |
the top of the window is much narrower
than the bottom.
| | 00:25 |
And that's simply a matter of the
position of the photographer relative to
| | 00:28 |
the scene.
I'll go ahead and switch to the Lens
| | 00:31 |
Corrections panel.
And I'll turn on the Enable Lens Profile
| | 00:34 |
Corrections check box under the Profile
tab.
| | 00:38 |
That will cause an automatic compensation
based on the specific lens that was used.
| | 00:43 |
And turning that check box off and then
on.
| | 00:45 |
You'll see that there's quite a bit of an
adjustment being made.
| | 00:48 |
For this image.
In large part, because it was captured
| | 00:50 |
with such a wide angle lens, which has a
little bit more distortion.
| | 00:54 |
But that doesn't correct for the overall
perspective problem that we have here.
| | 00:58 |
I'll turn on the chromatic aberration
correction adjustment, just to make sure
| | 01:01 |
that that's optimized in the image.
But then I'll switch to the Manual tab.
| | 01:06 |
And here was can fine-tune a variety of
transformation adjustments.
| | 01:10 |
Distortion allows us to compensate for
barrel versus pin cushion distortion.
| | 01:15 |
That was pretty much taken care of with
the automatic profile adjustment, so I'll
| | 01:18 |
leave that at neutral.
I think it's perfectly fine as it is.
| | 01:22 |
But I certainly want to adjust vertical
perspective.
| | 01:26 |
This allows me to effectively lean the
photo away from the viewer or toward the
| | 01:29 |
viewer, and if we get it just right we
can achieve a corrected image where the
| | 01:33 |
window does not look like it's skewed.
I can also adjust horizontal perspective.
| | 01:40 |
In this case, I think just a tiny little
bit of an adjustment might be in order.
| | 01:44 |
Perhaps right around there, looks to be
pretty square.
| | 01:48 |
I can rotate the image as needed.
Now for rotation, I would tend to use the
| | 01:52 |
straighten tool in conjunction with the
crop tool directly here in Adobe Camera
| | 01:56 |
Raw, but I can also use this option if
I'd like.
| | 02:00 |
And finally, I can adjust the scale.
So I can increase the scale or decrease
| | 02:04 |
the scale and this is really aimed at
removing or cropping the portions of the
| | 02:08 |
image that no longer fit into a
rectangular aspect ratio.
| | 02:13 |
I might adjust the scale a little bit but
in most cases I'll save most of that work
| | 02:17 |
for the crop tool.
So I can continue fine tuning the overall
| | 02:21 |
appearance of the photo.
Shifting these sliders until it seems we
| | 02:25 |
have everything aligned the way I'd like
it.
| | 02:29 |
And right about there looks pretty good,
maybe a little bit more, there we go.
| | 02:35 |
That's looking pretty close to accurate,
and if nothing else this is giving me a
| | 02:38 |
much better starting point for
fine-tuning the overall transformation of
| | 02:41 |
the image in Photoshop.
I can always take things a little bit
| | 02:45 |
further there, but the closer I can get
it to perfect at this stage of the work
| | 02:48 |
flow, the better.
I'll go ahead an switch to the crop tool,
| | 02:53 |
an then I'll click and drag to draw a
basic crop within the photo.
| | 02:57 |
Note by the way that I'm having to crop
rather significantly.
| | 03:01 |
And when you're taking pictures with a
wide angle lens for example, you'll want
| | 03:04 |
to allow room in order to apply that
correction.
| | 03:09 |
If I'd captured a very tight image of
this window, for example, then I wouldn't
| | 03:13 |
have the room available to actually crop
in, to achieve the result I'm looking for.
| | 03:18 |
And sometimes, cropping in a little
closer will also make it clear that your
| | 03:21 |
adjustment was not quite perfect.
For example, I think I'd need to apply a
| | 03:26 |
little bit stronger vertical adjustment
for the perspective here.
| | 03:30 |
And that looks much better.
And now I can just bring the crop box in
| | 03:35 |
just a little bit, and fine tune overall.
So looks like I'm going to have a minor
| | 03:39 |
adjustment that I'll need to apply after
the fact, with the transformation
| | 03:42 |
adjustments in Photoshop.
But this has gotten me very very close to
| | 03:47 |
a perfect result with just a few
movements of a handful of sliders here in
| | 03:50 |
the lens corrections adjustments.
| | 03:53 |
| | Collapse this transcript |
| Adding a film-grain effect| 00:02 |
If you've ever done film photography in
addition to digital photography, then you
| | 00:05 |
can probably appreciate that generally
speaking we tried to avoid film grain in
| | 00:09 |
our film photographs.
And yet sometimes that film grain effect
| | 00:14 |
can be very pleasing from an aesthetic
stand point, and so you might actually
| | 00:18 |
want to add the effect into a digital
photo.
| | 00:22 |
We can add a film grain effect with Adobe
Camera Raw very, very easily.
| | 00:25 |
I'll switch to the effects panel, and we
have here a grain section.
| | 00:30 |
I'll go ahead and increase the amount
significantly so that we can get a better
| | 00:33 |
sense of the other adjustments.
I'm also going to switch to a 100% zoom
| | 00:37 |
setting, and then I'll use the Hand tool
to pan around the image just a little bit.
| | 00:42 |
Now this obviously is a bit too much
grain.
| | 00:45 |
But having the amount up at 100% will
make it easier for us to see the size
| | 00:48 |
adjustment, so we can take the size down
to a smaller value so we have a very fine
| | 00:51 |
grain structure.
Or we can increase the size of that grain
| | 00:56 |
to make a relatively large grain
structure.
| | 01:00 |
We can also adjust the roughness of that
grain structure, so essentially getting
| | 01:04 |
more contrast blended throughout versus a
little bit more even contrast.
| | 01:10 |
Of course, with the amount set to the
maximum value of 100, the overall effect
| | 01:13 |
is quite strong.
A little bit too much, I'd say.
| | 01:16 |
So, I'll go ahead and reduce the amount
down to a more appropriate level.
| | 01:20 |
I just want to add an interesting and
organic texture to the image.
| | 01:24 |
I can then adjust size as needed.
And for my taste, I'll tend to use a
| | 01:28 |
relatively high value for size.
Because if I'm going to add that film
| | 01:32 |
grain effect I want to make sure that it
looks like organic film grain, not like noise.
| | 01:38 |
And with a smaller value we'll have a
tendency for the image to look noisy
| | 01:41 |
rather than as though it had an
intentional grain effect.
| | 01:46 |
And then roughness is just a matter of
personal preference, but I tend to like a
| | 01:49 |
relatively high roughness value.
I'll then go ahead an reduce the amount a
| | 01:53 |
little bit more.
I just want a nice texture in the image.
| | 01:57 |
I don't want to take things too far.
Right around there it looks pretty good.
| | 02:01 |
So I'll go ahead and zoom out.
Of course, zoomed out at this level
| | 02:04 |
you're not going to see the effect quite
as strongly, but it does give you a
| | 02:06 |
pretty good flavor for the overall
appearance of that film grain.
| | 02:11 |
So, as much as you might have avoided
film grain back in the film photography
| | 02:15 |
days, sometimes it can be a very nice
effect.
| | 02:18 |
I find that I generally prefer adding
film grain to images that do not have a
| | 02:21 |
lot of texture and detail.
Images that have open areas, open sky for
| | 02:26 |
example, generally I think work a little
bit better with a film grain effect.
| | 02:31 |
But by playing around a little bit with
the three sliders that allow you to
| | 02:34 |
control the addition of a grain effect, I
think you might find that you really
| | 02:37 |
appreciate the effect for certain images.
| | 02:40 |
| | Collapse this transcript |
| Vignetting| 00:00 |
Vignetting is a darkening of the edges of
the image, mostly the corners of an image
| | 00:05 |
caused by light falloff.
It's most common with a wide-angle lens
| | 00:10 |
because of the extreme angles involved
with a wide-angle lens.
| | 00:14 |
But we can also add a vignetting effect
to an image if you would like.
| | 00:18 |
Now, keep in mind there are two types of
vignetting adjustments within Adobe
| | 00:21 |
Camera Raw.
The first is corrective and that's found
| | 00:24 |
under Lens Corrections in the manual
section where we can adjust for lens vignetting.
| | 00:30 |
Keep in mind that this is specifically
for lens vignetting, meaning you're
| | 00:33 |
compensating for the behavior of the lens
and that means that it's always going to
| | 00:37 |
operate around the edges of the
photograph.
| | 00:41 |
What that translates into is that if you
crop the image, you won't have an even
| | 00:44 |
vignetting effect if you are using this
lens vignetting.
| | 00:48 |
So the lens corrections vignetting
options are strictly for correcting the
| | 00:51 |
image, for correcting the behavior of the
lens.
| | 00:55 |
If you want to add a creative vignetting
effect, and then you'll want to witch to
| | 00:58 |
the effects panel.
Here we have the post-crop vignetting option.
| | 01:04 |
So, again, this is for vignetting in a
creative way and it will apply to the
| | 01:07 |
image after you've cropped it.
So if you change the cropping, the
| | 01:11 |
vignetting will change as well, so that
the vignette is always even for the photo.
| | 01:16 |
We can start off by adjusting Amount.
Moving that slider to the right will
| | 01:20 |
cause a lightening of the edges of the
image and moving it to the left will
| | 01:23 |
darken the edges.
Most often, I'll add a darkening vignette
| | 01:27 |
when I want to vignette.
But in this case, I think, a lightening
| | 01:30 |
vignette might actually work quite
nicely.
| | 01:33 |
I'll go ahead and increase the value
significantly so we can get a better
| | 01:36 |
sense of the other adjustments.
The midpoint slider allows us to shift
| | 01:40 |
the vignette outward, toward the edges of
the photo or inward, so that it affects
| | 01:43 |
more of the overall photo.
The roundness, as the name implies will
| | 01:49 |
cause that vignette to be more of a
circular shape versus an elliptical and
| | 01:52 |
finally rectangular shape.
And feathering determines how much
| | 01:57 |
transition there will be for that
vignetting effect.
| | 02:00 |
So we can actually get something of
poster type of effect, to a little bit of
| | 02:03 |
a border around the photo by using a very
low setting for feather.
| | 02:08 |
I'll go a head and make some adjustments
here.
| | 02:10 |
I'll increase the amount of feathering
because in most cases I want that
| | 02:13 |
vignette to fade very smoothly into the
photo.
| | 02:16 |
I'll increase roundness just a little bit
to get more of an elliptical shape.
| | 02:19 |
And I'll shift the mid point outward, so
that we're affecting just the edges of
| | 02:22 |
the photo.
We can then take a look at the style
| | 02:26 |
option, highlight priority will preserve
highlight values in the photo.
| | 02:30 |
So that, for example, the vignetting does
not darken or lighten those highlights.
| | 02:35 |
Color priority will prioritize the color
values, so that the vignetting won't
| | 02:38 |
alter the base level color in the areas
that are being affected and the paint
| | 02:42 |
overlay will quite literally just place
black or white over the image.
| | 02:47 |
I find that in most cases I prefer the
highlight priority option.
| | 02:51 |
So I'll leave that set as it is.
Once I've fine-tuned the other
| | 02:54 |
adjustments, then ill go ahead and reduce
the vignetting amount.
| | 02:58 |
In this case, I just want a subtle
lightening of the edges just so the photo
| | 03:02 |
sort of seems to fade off a little bit.
If you use a darkening vignetting, which
| | 03:06 |
is perhaps more common, then you can also
adjust the intensity of highlights.
| | 03:11 |
I'll go ahead and exaggerate the
darkening.
| | 03:13 |
And then as we increase the highlights
value, you'll see more of those
| | 03:16 |
highlights showing through the vignette.
In effect, cancelling out the vignette
| | 03:21 |
for the brightest areas of the image.
That looks to be a pretty good adjustment.
| | 03:25 |
But I'll bring the amount back upward.
In most cases, the ideal vignetting
| | 03:29 |
affect is one where you don't really
notice right away.
| | 03:33 |
It doesn't look vignetted, until you turn
off the preview and realize just what a
| | 03:37 |
strong effect you've actually had.
So in most cases, less in more.
| | 03:42 |
It's much better to have a fairly subtle
vignetting effect, than a strong one.
| | 03:46 |
That said, in some cases, a very strong
vignette can be quite effective.
| | 03:51 |
The key is to understand how each of
these controls work, so that you can
| | 03:54 |
achieve the results you're happiest with
for each of your photos.
| | 03:58 |
| | Collapse this transcript |
| Camera calibration| 00:02 |
I continue to be impressed, at how
accurately most digital cameras are able
| | 00:05 |
to render a scene, and also how
accurately Adobe Camera Raw is able to
| | 00:08 |
translate the information from our RAW
captures.
| | 00:12 |
But at times, you might want to fine tune
the behavior of Adobe Camera Raw, as it
| | 00:16 |
relates to your particular camera model.
Let's take a look at the Camera
| | 00:21 |
Calibration Options, which allow you to
make some adjustments to the way the
| | 00:24 |
colors are interpreted in your photos.
I'll go ahead and switch to the Camera
| | 00:29 |
Calibration panel, and we can take a look
at the various options that are available.
| | 00:33 |
First we have Process.
And this relates to the Process version,
| | 00:37 |
that Adobe Camera Raw will use to
interpret your photos.
| | 00:41 |
In other words, when was the software
written, that will be used to interpret
| | 00:44 |
color values in your photos.
The original version is 2003, there was
| | 00:48 |
an update in 2010, and the current
version is 2012.
| | 00:52 |
Under most circumstances, I always
encourage you to use the latest Process
| | 00:56 |
version, because that will generally
result in the highest image quality.
| | 01:00 |
However in some workflows, you might need
to match a previous Conversion
| | 01:03 |
Adjustment, for example, and then you
might choose an older Process version.
| | 01:08 |
I'll leave mine set to 2012.
We can then take a look at Camera Profile.
| | 01:12 |
And here we can essentially choose
between previous versions of Adobe Camera
| | 01:16 |
Raw, the Adobe standard profile, or
specific profiles, based on your camera.
| | 01:22 |
You might recognize these names as
matching options, that are available on
| | 01:25 |
the menu in your camera itself.
And these options allow you to match the
| | 01:30 |
camera's interpretation.
Those in-camera adjustments, do not apply
| | 01:35 |
to RAW captures.
They're really there just for JPG captures.
| | 01:39 |
But with these Camera Profile options,
we're able to essentially mimic the
| | 01:42 |
result you might get with a JPEG capture
in-camera, applying some of the
| | 01:45 |
adjustments there, but with the benefits,
in terms of quality and color fidelity,
| | 01:49 |
of a RAW capture.
So, for example, if I switch to
| | 01:53 |
Landscape, you'll see that we get a
little bit more saturation in the colors.
| | 01:57 |
If I switch to Portrait, you'll see that
things are a little bit more muted.
| | 02:01 |
These, again, match exactly what you
would expect with a JPG capture for your
| | 02:05 |
camera, but with a benefit of RAW.
I'll go ahead and just use Adobe
| | 02:10 |
Standard, and then we can take a look at
the more sophisticated controls for
| | 02:13 |
adjusting Color, based on the behavior of
your camera.
| | 02:18 |
Now I'll be the first to tell you, that
for most photographers, you'll never need
| | 02:21 |
to use these sliders.
The camera produces accurate color data,
| | 02:25 |
and Adobe Camera Raw translates that data
accurately, and so you don't need to
| | 02:29 |
change, for example, the color of red.
But if you find that the color is
| | 02:34 |
consistently not quite right, this does
give you the option to fix that.
| | 02:39 |
The Shadows option, allows you to shift
the balance in Shadows in darker values,
| | 02:43 |
between magenta and green.
So you can sort of think of that as a
| | 02:47 |
color tint, sort of like a color
temperature adjustment, that is specific
| | 02:50 |
to Shadows.
The Primary options, Red primary, Green
| | 02:54 |
primary and Blue primary, allow you to
effectively change the color of red,
| | 02:59 |
green or blue as it's being interpreted.
You can shift the Hue for red, so, for
| | 03:05 |
example, red will be interpreted as more
orange or more magenta.
| | 03:10 |
And you can also adjust the Saturation.
So, for example, if your camera were
| | 03:13 |
consistently producing reds that are far
too saturated, and that's not an exposure
| | 03:17 |
issue, it was an issue with the camera,
you could adjust the Saturation for reds.
| | 03:23 |
For example, tone down the reds just a
little bit.
| | 03:26 |
And of course, we have the same controls
available for green and blue.
| | 03:30 |
But in most cases, you are not likely to
have an issue that requires these adjustments.
| | 03:35 |
If anything, it probably means that you
need to look at your White Balance
| | 03:39 |
Settings, your Exposure Settings or your
overall Processing.
| | 03:42 |
But in some cases, you may find that some
of these adjustments are necessary.
| | 03:46 |
When it is though, you want to use very
minimal adjustments.
| | 03:49 |
It doesn't take much of a change to
produce a significant difference in the photo.
| | 03:55 |
If you do want to change these values,
the approach that I recommend, is to
| | 03:58 |
first Open an image, as I have done here,
but then reset the controls for that image.
| | 04:04 |
So I'll hold the Alt key on Windows, or
the Option key on Macintosh, so that the
| | 04:07 |
Cancel button becomes a Reset button.
I'll go ahead and click that button.
| | 04:12 |
Now all of the adjustments in Adobe
Camera Raw, have been reset to their defaults.
| | 04:16 |
I can then make an adjustment.
So let's assume that I need to
| | 04:19 |
de-saturate the reds just a little bit,
and maybe shift them toward orange, ever
| | 04:22 |
so slightly.
If I feel that that's an appropriate
| | 04:26 |
correction, I can then make that the
default for Adobe Camera Raw.
| | 04:30 |
I'll go ahead and click the menu button,
and choose Save New Camera Raw Defaults,
| | 04:34 |
and these will be the default options.
Note, by the way, that you can specify
| | 04:39 |
that these defaults should be specific to
each individual camera in Preferences.
| | 04:44 |
So, if I go to Preferences, you can see
that I can make the defaults specific to
| | 04:48 |
a camera serial number, so that the
defaults that I've Saved will only apply
| | 04:51 |
to this specific camera.
And when it comes to Camera Calibration,
| | 04:55 |
that option certainly makes a lot of
sense.
| | 04:59 |
But again, in most cases, you won't need
to adjust your primaries, but you may
| | 05:02 |
very well want to take advantage of the
Camera Profile Option, and in some
| | 05:05 |
situations, you may need the Process
Option.
| | 05:09 |
For most photographers the Camera
Calibration Options, are not going to be
| | 05:13 |
necessary, but I do like knowing that
they're here for advanced uses, should I
| | 05:16 |
ever need them.
| | 05:18 |
| | Collapse this transcript |
|
|
4. Focused AdjustmentsOn-image adjustments| 00:00 |
For certain adjustments, Adobe Camera Raw
allows you to work directly on the image.
| | 00:05 |
And that can be helpful in a variety of
situations, where you're really focusing
| | 00:09 |
on specific color values or tonal values
within the photo.
| | 00:13 |
Let's take a look at the option to work
directly on the image.
| | 00:17 |
On the toolbar, I'll go ahead and click
on the On Image adjustment, and we'll see
| | 00:21 |
a pop-up menu with a variety of options
available to us.
| | 00:26 |
These include the Parametric Curve, the
Hue adjustment, Saturation adjustment,
| | 00:30 |
Luminance adjustment, and Grayscale mix
or a black and white conversion.
| | 00:35 |
With Parametric Curve, we're able to
adjust the luminance values for specific
| | 00:39 |
tonal range within the image.
In other words, we're working with the
| | 00:43 |
tone curve with the Parametric option.
But we don't need to use the sliders or
| | 00:47 |
the curve itself, in order to make
adjustments.
| | 00:50 |
We can point directly at the image.
Let's assume, for example, that I'd like
| | 00:53 |
to lighten up the shadows.
I can click on a shadow area and then
| | 00:57 |
drag upward.
And you can see that the shadows are
| | 01:00 |
being adjusted.
The shadow slider is being manipulated
| | 01:02 |
based on the way that I'm moving the
mouse.
| | 01:05 |
So I'm darkening by dragging downward.
And brightening by dragging upward.
| | 01:10 |
I can also go click on a brighter area
and then I'll click and drag and now you
| | 01:13 |
can see, for example, that it is the
highlights that are being effected as I
| | 01:16 |
drag up or down to brighten or darken the
image.
| | 01:22 |
For the hue adjustment, we can affect
specific color ranges.
| | 01:25 |
So now if I click on the image, I'll be
adjusting a specific hue range.
| | 01:30 |
In other words, a color range.
So if I click on the yellow and drag
| | 01:32 |
upward, you can see I'm shifting it
toward green.
| | 01:35 |
And dragging downward shifts that more
towards orange.
| | 01:39 |
If I click on the ground over here, we'll
get some of the blues affected.
| | 01:42 |
Now those areas are not as saturated as
the benches, but we are affecting the
| | 01:46 |
blues and purples in the image, it's just
not quite as strong an effect.
| | 01:50 |
And we also can adjust saturation in much
the same way.
| | 01:54 |
Once again, focusing the adjustment on a
specific range of colors and identifying
| | 01:58 |
that range simply by clicking on an
object within the photo and then dragging
| | 02:01 |
up or down.
And then we'll take a look at Luminance,
| | 02:07 |
where we can drag up or down to lighten
or darken specific color ranges within
| | 02:10 |
the photo.
And then finally, we can take a look at
| | 02:14 |
the Grayscale mix option.
I'll go ahead an reset the adjustments to
| | 02:18 |
get back to our original color values, by
holding the Alt key on Windows or Option
| | 02:21 |
key on Macintosh, to change the Cancel
button into a Reset button.
| | 02:27 |
So that I can reset all of the controls,
and then I'll choose the Grayscale mix option.
| | 02:32 |
And now I can click on the image to
adjust the luminance of specific colors
| | 02:35 |
just by clicking and dragging.
This is an especially helpful option
| | 02:40 |
because when you're working with a
grayscale version of your image, you
| | 02:43 |
might not remember exactly what color
every object was.
| | 02:47 |
So if you don't remember what color the
benches are in this case for example.
| | 02:51 |
It doesn't matter.
You can just click on the bench and drag
| | 02:53 |
downward to darken the benches or upward
to brighten the benches.
| | 02:57 |
What you're really doing, of course, is
identifying the color.
| | 03:00 |
When you click in a particular area,
Adobe Camera Raw takes a look at the
| | 03:03 |
image and identifies the dominant color
in that area, and then it adjusts the
| | 03:06 |
appropriate sliders.
So, here we have benches that are
| | 03:10 |
primarily yellow with a little bit of
orange and so dragging up or down you can
| | 03:14 |
see that the yellows and oranges sliders
are being affected.
| | 03:19 |
And if I click on the ground over here,
we'll get a little bit of lightening and
| | 03:22 |
darkening effect.
Again, those are mostly neutral areas, so
| | 03:25 |
the blues that are there just reflecting
the sky are very, very subtle.
| | 03:30 |
But we do get a little bit of lightening
and darkening effect in those areas.
| | 03:34 |
I find that working directly on the image
simply makes a lot more sense.
| | 03:39 |
In some cases, it's especially helpful,
such as when you're working on a black
| | 03:42 |
and white interpretation of the photo,
but in all cases, it can often be a much
| | 03:45 |
more convenient way to work.
And a way that makes more sense, since we
| | 03:49 |
tend to be focused on the photographic
image in the first place anyhow.
| | 03:52 |
| | Collapse this transcript |
| Spot removal| 00:02 |
Adobe Camera Raw includes a basic spot
removal feature that can be very helpful
| | 00:05 |
in a variety of situations.
Of course, most of the time, when you
| | 00:09 |
think of spot removal, you're probably
thinking of dust spots or other
| | 00:12 |
contaminants that are on the image sensor
itself.
| | 00:16 |
And those are certainly blemishes that we
would want to resolve, but we can also
| | 00:19 |
take things a step further.
And one of the things that I like to do
| | 00:23 |
with my photographs is try to remove as
many distractions as possible.
| | 00:27 |
In this photo, for example, I don't like
some of the glare that I'm seeing in the background.
| | 00:32 |
We've got some bright reflections in the
background, as well as some shells or rocks.
| | 00:37 |
And they're just visually distracting,
they pull my attention away from this
| | 00:40 |
oyster catcher just a little bit.
And so I'd like to remove some of those spots.
| | 00:44 |
I'll go ahead and choose the Spot Removal
brush.
| | 00:46 |
And then I can move my mouse out over the
image and adjust the brush size as
| | 00:50 |
needed, so that I can start cleaning up
various spots.
| | 00:54 |
The Left Square Bracket key will reduce
the brush size, and the Right Square
| | 00:57 |
Bracket key will increase the brush size.
We can also use the Radius slider, but I
| | 01:02 |
find the keyboard shortcut just a little
bit more convenient, since we're able to
| | 01:05 |
see the change in size as we work.
In most cases, I work with the Heal
| | 01:10 |
option rather than the Clone option.
The Clone option will copy pixels exactly
| | 01:15 |
as they are from the source to the
destination.
| | 01:18 |
With the Heal option set, those pixels
will be blended into the destination so
| | 01:22 |
that they match better in terms of
overall tone and color.
| | 01:26 |
So most of the time, the Heal option
works best.
| | 01:29 |
Every now and then you might need to use
the Clone option first and then the Heal
| | 01:32 |
option to add some blending.
I'll leave these set to the Heal option.
| | 01:37 |
I also almost always have the Opacity set
to 100.
| | 01:40 |
In some situations, but not that often, I
might want to tone down a blemish rather
| | 01:44 |
than remove it all together.
But the majority of the time, I want the
| | 01:48 |
blemish gone entirely.
And so I'll leave that Opacity up at 100.
| | 01:53 |
I'll go ahead and adjust my radius
setting and then out on to the image,
| | 01:57 |
I'll click on the first blemish that I
want to get rid of.
| | 02:00 |
And that's all I have to do, is simply
click on the blemish.
| | 02:04 |
The red area, red for stop, means the
finish as it were.
| | 02:08 |
That's the area that I'm cleaning up.
Green, for go or start, is my source of pixels.
| | 02:12 |
So I can adjust the source to match the
destination as needed but when I click on
| | 02:16 |
a blemish Adobe Camera Raw will attempt
to identify automatically an appropriate source.
| | 02:22 |
Just to illustrate the capabilities here,
I'll go ahead and drag this source out to
| | 02:26 |
a different portion of the photo and you
can see we can add the eye in the waves,
| | 02:30 |
for example.
So here's my source and there is my destination.
| | 02:35 |
I can also resize both the source and
destination simply by dragging on the
| | 02:39 |
edge of the circle itself.
But in this case of course, I just want
| | 02:43 |
to replace a portion of the wave with
another portion of the wave to remove
| | 02:46 |
that bright blemish.
I'll then go ahead, and click on
| | 02:49 |
additional areas.
And for the most part, we can usually
| | 02:53 |
just simply click on blemishes.
We might need to adjust the size of the
| | 02:56 |
brush a little bit from time to time
either by dragging on the circle or using
| | 03:00 |
the Left and Right Square Bracket keys.
But by and large, all we need to do is
| | 03:05 |
click and allow Adobe Camera Raw to
perform that cleanup automatically.
| | 03:09 |
I think I will also get rid of this
relatively large and little bit darker
| | 03:13 |
shell in the foreground.
I'll increase my Brush size and click to
| | 03:17 |
set the source.
Now one of the things you need to keep an
| | 03:20 |
eye on when you're cleaning up an image
like this is duplication.
| | 03:23 |
You can see that I have the same texture
here as I do here.
| | 03:27 |
I'm replacing this texture with texture
nearby.
| | 03:30 |
And there's some very obvious
duplication.
| | 03:32 |
So for this correction, I'll drag that
source over to the other side of the image.
| | 03:37 |
Finding a better match for that source
that won't be such an obvious duplication
| | 03:41 |
in the photo.
I can continue fine-tuning that as I see fit.
| | 03:45 |
In this case, I want to make sure that I
am using an area of the image as the
| | 03:48 |
source that is similar in terms of focus
as well.
| | 03:52 |
I have a relatively narrow depth of field
here.
| | 03:54 |
And so, I want to make sure that the
focus is matching from source to destination.
| | 03:59 |
It looks to be pretty good.
I can turn off the overlays to get rid of
| | 04:02 |
all those circles so that I can better
evaluate the results.
| | 04:06 |
And here I can see I've got an obvious
problem on one of my cleanup areas.
| | 04:10 |
I'll go ahead and turn on those overlays
so I can see what's going on.
| | 04:14 |
And in this case, I think the source is
just a little bit too close to the bird,
| | 04:17 |
so I'll drag that over to a different
area.
| | 04:19 |
And that looks much better.
I'll go ahead and turn off those overlays
| | 04:22 |
once again, and I can also turn off the
preview.
| | 04:26 |
And then turn it back on to see the
before and after, so that I can better
| | 04:29 |
evaluate the overall result.
So, it's easier to see the corrections
| | 04:33 |
with the overlays turned off, when you're
not actually working on the image.
| | 04:37 |
And then you can toggle back and forth
preview off and on, so that you can see
| | 04:40 |
the image before the clean up and after
and check to make sure that all of that
| | 04:43 |
clean up work of that was done well.
But as you can see, Adobe Camera Raw
| | 04:48 |
makes it very easy to perform basic
cleanup work to remove blemishes, dust
| | 04:52 |
spots, and other problems from your
images.
| | 04:55 |
| | Collapse this transcript |
| Red-eye removal| 00:02 |
Red eye is an issue that primarily
effects digital captures from compact cameras.
| | 00:06 |
And that's because on smaller cameras,
the flash is set relatively close to the
| | 00:10 |
lens, and therefore the light from the
flash will bounce off of the subjects
| | 00:13 |
eyes and almost directly into the lens.
But even with a digital SLR, it's
| | 00:18 |
possible to get red eye it.
If you're using a built in flash, for example.
| | 00:23 |
Or even with a hot shoe mounted flash if
it's not far enough away from the lens axis.
| | 00:28 |
I'll go ahead and zoom in on this photo,
and you can see that we've got a pretty
| | 00:31 |
serious case of red-eye.
Fortunately, in adobe camera raw, it's
| | 00:35 |
remarkably easy to correct red-eye.
I'll go ahead and choose the Red Eye
| | 00:40 |
Removal tool from the toolbar.
You can see that we have some adjustment
| | 00:44 |
settings that relate to the red eye
removal, but we don't need to worry about
| | 00:46 |
those right now.
Instead, I'll simply click and drag to
| | 00:51 |
draw a marquee over the eye.
And I want to include the pupil, the
| | 00:55 |
iris, the entire eye, and a little bit of
the face, because that will make it
| | 00:59 |
easier for Adobe Camera Raw to identify
the red eye.
| | 01:03 |
When I release the mouse, you can see
that the red eye is identified and
| | 01:07 |
corrected completely automatically.
I'll go ahead and select the other eye as well.
| | 01:12 |
And we can see that the red eye is
corrected there also automatically.
| | 01:17 |
I'll turn off the show overlay checkbox
so that we can see the actual effect
| | 01:20 |
without those boxes.
And then we can fine tune the pupil size
| | 01:24 |
and the darken settings.
So I'll increase and then decrease the
| | 01:28 |
pupil size for example, or increase and
then decrease the degree of darkening.
| | 01:33 |
So, for example, by reducing darkening
you can see that I have a lighter pupil
| | 01:36 |
in the right eye, the subject's left eye,
and if I incraese the value for
| | 01:39 |
darkening, that pupil is darkened.
So I can adjust individually each of the
| | 01:45 |
eyes in order to fine-tune the effect.
In many cases, for example, you might
| | 01:50 |
find that you need more of an effect, for
example more darkening in one eye versus
| | 01:53 |
the other.
I'll go ahead and reset that eye.
| | 01:57 |
I can also then click on the other eye to
activate it, and now I'm able to work on
| | 02:00 |
that eye independently.
So, we can fine tune each eye
| | 02:04 |
individually to get things to match up,
but in most cases, I find that the
| | 02:08 |
Automatic Correction is all I need.
So by simply drawing a marquee over each
| | 02:14 |
eye to identify where the red eye is,
Adobe Camera Raw takes care of everything else.
| | 02:19 |
| | Collapse this transcript |
| The Adjustment Brush| 00:02 |
As you're working on optimizing the
appearance of your photos in Adobe Camera
| | 00:04 |
Raw, sometimes you might find that you
want to apply an adjustment that affects
| | 00:07 |
a specific area of the image.
The Adjustment Brush allows you to do
| | 00:12 |
exactly that.
You can paint an adjustment into a
| | 00:16 |
specific area of the photo.
For this image, I'd like to add a little
| | 00:21 |
bit of contrast to the sky, for example.
So, I'll go ahead and choose the
| | 00:25 |
Adjustment Brush from the toolbar and
then I can work to fine-tune my settings.
| | 00:30 |
Generally speaking, I prefer to apply an
exaggerated adjustment when I'm initially
| | 00:34 |
defining a particular area, to make it
easier to see exactly where I'm affecting
| | 00:37 |
the image, and to make sure that I'm
affecting only the areas that I want to.
| | 00:43 |
I'll go ahead and scroll down so that we
can see the Brush options.
| | 00:48 |
So I'll start with an exaggerated
Exposure adjustment.
| | 00:51 |
I'll just darken the image significantly.
Note that the image is not changing at
| | 00:55 |
all though because this is an Adjustment
Brush tool and so I need to paint the
| | 00:58 |
effect into the image.
I'll scroll down so that we can see the
| | 01:03 |
Brush options.
You can see that I have a Size, a
| | 01:06 |
Feather, Flow, and Density option as well
as a couple of checkboxes.
| | 01:11 |
But just to get a sense of the overall
behavior of the brush, I'll go ahead and
| | 01:14 |
just click and drag in the image and you
can see that I'm darkening a particular area.
| | 01:19 |
In this case, just an arbitrary stroke
through the sky.
| | 01:22 |
I'll press Ctrl+Z on Windows or Cmd+Z on
Macintosh to undo that change, and then
| | 01:26 |
we can fine tune our Brush settings.
I'll reduce the size of the brush, for example.
| | 01:32 |
And I'll also reduce the feathering just
a little bit.
| | 01:35 |
The feathering is shown by that dashed
circle outside of the solid circle.
| | 01:39 |
So the adjustment will affect the area
inside the solid circle completely and
| | 01:43 |
then that adjustment will transition
outward from the solid circle to the
| | 01:46 |
dashed circle.
So you can see, for example, as I paint
| | 01:49 |
across the sky, that we have a darkening
effect that is affecting the area inside
| | 01:53 |
that dark circle completely, but then it
tapers off just a little bit.
| | 01:57 |
Of course if I want to affect the entire
sky, painting around this building is
| | 02:01 |
going to be a little bit of a challenge.
However, the Auto Mask option makes the
| | 02:06 |
task very, very easy.
With Auto Mask, what I want to do is
| | 02:10 |
click in an area that I do want to
adjust, and I want the solid circle of
| | 02:13 |
the brush to overlap between the area I
want to adjust and the area that I don't
| | 02:17 |
want to adjust.
But at all times the crosshair in the
| | 02:22 |
center of the brush must remain in an
area that I do want to adjust.
| | 02:27 |
I'll go ahead and press Ctrl+Z on Windows
or Cmd+Z on Macintosh one more time to
| | 02:31 |
undo my previous painting, and now I'll
click in an area of sky and drag along
| | 02:34 |
the edge of the building.
You can see that the sky is being
| | 02:39 |
darkened, but the building is not.
And as long as I keep that crosshair in
| | 02:43 |
the sky, but away from the building, I'll
be affecting only the sky, and not the building.
| | 02:50 |
As I paint, Adobe Camera Raw is
automatically determining which areas are
| | 02:54 |
sky and which areas are building, based
on my painting within the image.
| | 02:59 |
So at this point I think we have a pretty
good definition of sky versus building.
| | 03:03 |
Once I've used the Auto Mask to find that
edge, I'll typically turn the auto mask
| | 03:07 |
off and, and then simply paint along the
other areas of the image.
| | 03:12 |
So in this case, the rest of the sky, for
example.
| | 03:15 |
And because I have that exaggerated
adjustment applied, it's very easy to see
| | 03:18 |
which areas of the image I've selected
for adjustment, and which areas are not
| | 03:22 |
being affected by that adjustment.
If you prefer, you can also turn on the
| | 03:28 |
Show Mask option.
And that will reveal a mask over the
| | 03:31 |
image which makes it a little bit easier
to see the effect.
| | 03:35 |
But for me I find that an exaggerated
adjustment makes it a little bit easier
| | 03:38 |
to work.
However, that Mask option does show me
| | 03:41 |
that I made a little bit of a mistake
when I was painting near the building.
| | 03:45 |
I must have painted a little too close to
the building.
| | 03:47 |
So now I need to erase a portion of my
adjustment.
| | 03:51 |
At the top of the Adjustment Brush
controls I'll change from Add to Erase,
| | 03:55 |
and now I can use all of the same options
to erase that stroke.
| | 04:00 |
So with the mask turned on so that I can
see that white overlay, I'll paint over
| | 04:03 |
the area that I need to correct.
And that looks like that'll take care of it.
| | 04:08 |
So I can switch back to the Add mode if I
want to add additional areas to my adjustment.
| | 04:13 |
But at this point I think I'm ready to
apply the final adjustment to this area.
| | 04:18 |
I'll turn off the mask and then I'll
scroll up so that I can take a look at
| | 04:20 |
the various adjustments that are
available.
| | 04:23 |
Note that we can correct Color
Temperature, various Tonal adjustments,
| | 04:27 |
Saturation, even Sharpness and Noise
Reduction as well as Moire Reduction.
| | 04:33 |
I'll go ahead and increase the Exposure
value, maybe just a little bit darker.
| | 04:37 |
But I'll also increase Contrast for the
sky.
| | 04:40 |
I think I'm also going to increase the
Clarity in the sky and maybe just add a
| | 04:44 |
little bit of Saturation.
If I wanted to shift the color, I can
| | 04:48 |
warm up the sky or cool it down just a
little bit.
| | 04:52 |
In this case I think I'll shift it to a
little bit cooler value, but I'll bring
| | 04:54 |
the saturation down just a hair.
I don't want it to be quite too vibrant.
| | 04:59 |
So that looks to be pretty good.
Again, all of these adjustments are only
| | 05:02 |
affecting the sky.
I could also apply adjustments in other
| | 05:05 |
areas of the photo.
You'll notice that I have a pin here that
| | 05:08 |
allows me to apply the adjustment in a
specific area.
| | 05:11 |
If I want to create a new area, I could
click the New option and then simply
| | 05:15 |
paint within the image.
I'll go ahead and check my settings for
| | 05:18 |
the brush first.
I'm going to turn off Auto Mask and I'll
| | 05:21 |
apply just a basic adjustment in this
area of the photo, for example.
| | 05:25 |
And I'll go ahead then and adjust the
exposure a little more significantly, so
| | 05:29 |
you can see exactly where I've painted.
So now I have a couple of adjustments
| | 05:34 |
that I've applied.
I have one pin over here, and another pin
| | 05:37 |
for the sky.
I can click on either of the pins at any
| | 05:41 |
time if I'd like to refine the
adjustments, or further refine the mask.
| | 05:45 |
I can also turn off the Show Pins option
if I want to see the image without those
| | 05:49 |
pin icons.
And I can turn off the Preview to see the
| | 05:52 |
Before version of the image, and click
the Preview checkbox once again to see
| | 05:56 |
the After version with those targeted
adjustments applied.
| | 06:01 |
So, you can see that the very powerful
Adjustment Brush allows us to identify
| | 06:05 |
specific areas of an image, and then
apply a variety of different adjustments
| | 06:08 |
that will only affect that area of the
photo.
| | 06:12 |
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| The Graduated filter| 00:02 |
At times you might want to apply an
adjustment to an image that transitions
| | 00:05 |
across the photo.
For example, you may want to darken the
| | 00:08 |
top portion of the image, but then have
that effect gradually taper off as it
| | 00:12 |
moves toward the bottom of the image.
For this photo, I'd like to have an
| | 00:16 |
effect that only changes the appearance
of the left side of the frame.
| | 00:21 |
I have a trolley moving through the
frame, there's obviously a motion blur
| | 00:24 |
going on, and I'd like to sort of enhance
the feeling of that motion blur by having
| | 00:27 |
the left side sort of brighten up and
fade off a little bit.
| | 00:31 |
So, I'm going to Define an Adjustment
that effects the left portion of the
| | 00:34 |
image completely and then tapers off
toward the trolley.
| | 00:40 |
The graduated filter makes that
adjustment very, very easy.
| | 00:43 |
I'll go ahead and choose the Graduated
Filter from the toolbar, and I'll apply
| | 00:46 |
an exaggerated adjustment, in this case
just reducing the exposure significantly
| | 00:50 |
so that once I draw my gradient, it will
be very easy to see which portion of the
| | 00:53 |
image I'm effecting.
I'll go ahead and click and drag across
| | 00:59 |
the image.
You can already see the exposure effect
| | 01:02 |
being presented to me.
The direction that I drag determines the
| | 01:06 |
direction of the gradient, and the
distance between my starting and ending
| | 01:10 |
points determines how far that gradient
will transition.
| | 01:14 |
So I can have a very gradual and smooth
transition or a very abrupt transition.
| | 01:19 |
In this case, I want a horizontal
transition that is relatively large, so
| | 01:22 |
I'll go from the left edge of the image,
or just inside from the left edge, to
| | 01:26 |
about the beginning of the trolley, and
working in a horizontal line.
| | 01:32 |
In fact, I can hold the Shift key if I
want to constrain that line to a
| | 01:35 |
perfectly horizontal line.
You'll notice that, as I hold the Shift
| | 01:39 |
key and drag, that the gradient is
snapping to preset intervals.
| | 01:44 |
So I'll hold the Shift key to get a
perfectly horizontal line.
| | 01:47 |
And fine tune the final position, and
then release the mouse.
| | 01:51 |
So now I've defined a gradient, I can of
course Edit the gradient at any time
| | 01:55 |
simply by dragging the controls.
Dragging it left or right for example, or
| | 01:59 |
up or down if I want to rotate, but in
this case I think I'm happy with the way
| | 02:02 |
I've defined the gradient, and now I'm
ready to apply my targeted adjustments.
| | 02:08 |
The adjustments for the graduated filter
are a subset of adjustments that are
| | 02:11 |
available elsewhere in Adobe Camera Raw.
I'll go ahead and increase the exposure
| | 02:16 |
in this case.
I'm going to reduce contrast just a
| | 02:19 |
little bit.
I think I'll reduce clarity to get a
| | 02:21 |
little bit more of a hazy appearance.
Maybe brighten up the highlights in that
| | 02:25 |
portion of the photo.
And just generally apply adjustments
| | 02:29 |
that, sort of, give us this fading off
type of effect.
| | 02:32 |
That seems to add, in my mind at least,
to the energy of the scene here.
| | 02:36 |
At any time, I can turn off the overlay,
by turning off the show overlay check box
| | 02:39 |
at the bottom of the graduated filter
adjustments.
| | 02:44 |
And that will disable the display of
those gradient handles so that I can see
| | 02:47 |
just the image as I continue fine-tuning
the overall adjustments for example.
| | 02:53 |
I don't want too obvious an effect, I
just want sort of a fade, so I'll tone
| | 02:56 |
down some of the adjustments here, and I
think I'll actually even warm up that
| | 02:59 |
portion of the photo just a little bit.
That's looking pretty interesting so, I
| | 03:04 |
think I'll keep that as it is.
I could also add an additional gradient.
| | 03:07 |
I'll go ahead and turn on the new option
rather than edit.
| | 03:10 |
For example, and now I could add an
additional gradient in the image, but in
| | 03:14 |
this case, I think only the single
gradient is necessary.
| | 03:18 |
But with the overlays turned on, I could
then switch between those gradients if I
| | 03:21 |
want to in order to fine-tune each of
them.
| | 03:24 |
And if I decide that I want to get rid of
a gradient, for example, I want to remove
| | 03:28 |
this other gradient I can select it to
make sure it's active, and then press
| | 03:31 |
Delete on the keyboard, and that gradient
adjustment disappears.
| | 03:37 |
So the process of working with the
gradient adjustment is quite simple.
| | 03:40 |
We define a gradient, and then fine tune
our adjustments, and those adjustments
| | 03:44 |
will only affect the area defined by the
gradient itself.
| | 03:48 |
In this case, affecting the left portion
of the image, just a small portion of the
| | 03:51 |
image completely with that adjustment
gradually tapering off to the end point
| | 03:54 |
of my gradient.
So this gives us a very flexible way to
| | 03:58 |
apply some interesting adjustments in a
wide variety of situations.
| | 04:03 |
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