1. Introducing Camera RawWelcome| 00:04 | Welcome! My name is Chris Orwig. In this course
we're going to focus in on Adobe Camera Raw.
| | 00:09 | Adobe Camera Raw is a powerful application
which allows us to make changes
| | 00:13 | to our photographs in really
quick and flexible ways.
| | 00:17 | We'll start off by taking a look at
our Preferences then we'll explore
| | 00:21 | the interface, so that we can
get familiar with Camera Raw.
| | 00:24 | Next we'll take a look at how we can
open and save our photographs.
| | 00:28 | We'll also explore how we can crop
and recompose our pictures.
| | 00:32 | How we can increase the clarity or
the contrast or change the exposure
| | 00:37 | or change the overall color temperature.
| | 00:39 | We'll look at how we can paint adjustments
into specific areas of our photographs.
| | 00:42 | We'll look at how we can make some
corrections like how we can remove
| | 00:46 | distortion or remove or add vignetting
around the edges of our photographs.
| | 00:50 | And we'll also spend some time looking
at how we can create some dramatic
| | 00:54 | black-and-white conversions.
| | 00:56 | Well, we'll be covering all
of these topics and more,
| | 01:00 | so without further delay, let's begin.
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| Should I use Camera Raw or Photoshop?| 00:00 | Before we actually begin to work with Adobe
Camera Raw, I thought it would be helpful
| | 00:03 | to take just a couple of minutes to talk
about how Adobe Camera Raw fits into
| | 00:09 | our larger digital photographic workflow.
| | 00:12 | And you know whenever we start to talk
about digital photography and workflow,
| | 00:16 | we begin to think of these different
elements of our workflow whether capture
| | 00:20 | or postproduction or output.
| | 00:22 | And here as we start to focus in on
postproduction, inevitably a question
| | 00:26 | surfaces or arises. You know.
Should I work with Adobe Camera Raw
| | 00:31 | or should I work with Photoshop?
| | 00:33 | And a lot of times this question surfaces
because people discover that working
| | 00:37 | in Adobe Camera Raw is incredibly flexible,
it doesn't increase your file size,
| | 00:42 | it's non-destructive and there are
all these other benefits as well.
| | 00:45 | Therefore they ask, well, should I
work with Camera Raw or Photoshop?
| | 00:49 | And from my perspective, I don't think
it's an either or question, rather it's
| | 00:54 | a both end solution.
| | 00:55 | Let me show you what I mean.
| | 00:56 | Well, one of the things that we want
to do is really focus in on what
| | 01:01 | Adobe Camera Raw is good at and
also what Photoshop is good at.
| | 01:04 | I like the way one of my friends puts it.
He says you know Camera Raw is really
| | 01:07 | good for making global adjustments.
| | 01:10 | Now we can of course make really specific
and fine tune adjustment as well, but
| | 01:15 | primarily when we're raw processing our
photographs we're thinking about the larger picture.
| | 01:20 | Then on the other hand, when we want to
make more specific adjustments, I mean we
| | 01:24 | want to fine tune something or we want to
create some really unique and distinct effect.
| | 01:29 | Well, in that case we're
going to need to go to Photoshop.
| | 01:32 | Another way to think about this is the
difference between precision versus speed,
| | 01:36 | we can work incredibly quickly in
Adobe Camera Raw, yet if we want to
| | 01:42 | make some real precise edits
we need to go over to Photoshop.
| | 01:45 | All right, well, how then these two programs
will really work together, where do we begin?
| | 01:51 | Well, for most photographers, the typical
digital photographic workflow works like this.
| | 01:56 | We start off with raw processing whether
in Adobe Camera Raw or in Lightroom.
| | 02:00 | We make all the global type of adjustments
that we can make and then from there we
| | 02:04 | send our images off to Photoshop and
in Photoshop, we finish those files off.
| | 02:10 | Well, then you maybe thinking, okay
well how then does this work for you
| | 02:12 | Chris, you're a photographer?
| | 02:14 | Well, in my own context, I always start off
with raw processing, and I do a lot with
| | 02:18 | raw processing, because it's so flexible
and it's so fast, and almost always,
| | 02:22 | I finish my images off in Photoshop,
and that finishing work is really important.
| | 02:29 | What I find I can do is, I can push my
image to about 80% in Adobe Camera Raw,
| | 02:34 | but then if I really want to sweeten
up the FA, I mean I want to make it
| | 02:37 | compelling and engaging and lively, and
if I really want to create an image that
| | 02:41 | connects with people.
| | 02:43 | Well, in that case I definitely
need to go to Adobe Photoshop.
| | 02:46 | So keep in mind that, as we learn
more and more about Adobe Camera Raw what
| | 02:50 | we're doing here is foundational work
and the better the foundation the better
| | 02:55 | we can finish our files later.
| | 02:57 | Now I should say of course, that there
are some images that you can completely
| | 03:01 | finish off in Adobe Camera Raw, like
this particular black-and-white photograph
| | 03:05 | here, it looks phenomenal and it's
only been processed in Adobe Camera Raw.
| | 03:09 | Yeah, as we begin to work more and more
with Camera Raw, just keep in mind that
| | 03:14 | this tool isn't the only solution.
Rather it fits into our larger digital
| | 03:19 | photographic workflow context.`
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| What is Adobe Camera Raw?| 00:00 | In photographic circles, Adobe Camera Raw
has become quite a hot and popular topic.
| | 00:05 | There's so much excitement about
raw capture and raw processing.
| | 00:09 | Yet sometimes some of this is a little
bit mysterious, it's a little bit confusing.
| | 00:14 | So, what I want to begin to do here
is to distill things a bit and the
| | 00:18 | first thing that we need to do is take a look
at two terms: Raw Capture and Raw Processing.
| | 00:23 | For starters, Raw Capture has to
do with how we're actually capturing
| | 00:27 | the image on camera.
| | 00:28 | On the other hand, Raw Processing
is all about using Adobe Camera Raw.
| | 00:33 | Well, let's define these even further
starting off with Raw Capture.
| | 00:38 | Whenever you capture an image with a
digital camera, the image is captured on
| | 00:42 | the sensor and if you're capturing in
JPEG mode that information goes through
| | 00:48 | a whole sequence of steps here; Bayer
Interpolation, White Balance, Contrast,
| | 00:54 | so on, compression and then we get the JPEG.
| | 00:56 | On the other hand, we can
capture file in its raw format.
| | 01:00 | In other words the information simply
comes straight off the sensor and we have
| | 01:05 | all of this raw data. So in this scenario,
we're talking about Raw Capture.
| | 01:10 | Now in contrast, when we talk about
Adobe Camera Raw, we're talking about
| | 01:15 | something completely different. This has
to do with how we process an image in
| | 01:19 | software which is called Adobe Camera Raw.
| | 01:22 | So, one of things that happens when we're
using Adobe Camera Raw is that we have
| | 01:27 | these actual pixels, we have image information.
| | 01:30 | Well, we then apply a set of instructions
to these actual pixels and the
| | 01:35 | instructions are actually kind of
interesting, they're simply a laundry list
| | 01:39 | of information, which describe how we
want this image to be displayed whether
| | 01:44 | the crop or the color. And so what happens
then is the set of instructions displays
| | 01:49 | an image in a particular way.
| | 01:51 | Now the nice thing about Adobe Camera
Raw is that working in this context,
| | 01:56 | it's completely non-destructive.
| | 01:58 | In other words, no pixels are harmed, no
pixels are affected, we're not actually
| | 02:02 | pushing pixels per say.
| | 02:04 | Rather, we have pixels that we're
applying some instructions to,
| | 02:10 | which then in turn display the image
perhaps in a different way.
| | 02:13 | This in turn gives us a lot of flexibility
and we can always undo whatever we've done.
| | 02:20 | This can also really speed up our overall
workflow, because if you think about it,
| | 02:25 | with Adobe Camera Raw there's no
render time, because you're not actually
| | 02:29 | doing something to pixels, rather you're
simply changing the set of instructions.
| | 02:35 | So again, this can result in a different
format and here you can see I have
| | 02:39 | yet another version of this image.
| | 02:41 | The other thing that's kind of interesting
about Adobe Camera Raw is that we can
| | 02:45 | process images, whether the RAW, DNG,
TIFF or JPEG in this format, so we're
| | 02:51 | not limited to just working on files that
were captured in the Raw format rather
| | 02:57 | we can use these different types of formats.
| | 02:59 | All right, well if we had to
distill this how we would do that.
| | 03:02 | Well, think of Adobe Camera Raw as a
way to non-destructively edit and work on
| | 03:08 | your photographs and what it does for
use is it helps things to be a little bit
| | 03:12 | more flexible, because you can always
undo whatever you've done. It also will
| | 03:17 | really speed up your overall workflow,
because, while working in camera there
| | 03:21 | is no render time there is really no save time
and so it speeds things up by leaps and bounds.
| | 03:26 | And then lastly, I like to think of Adobe
Camera Raw as a really creative space.
| | 03:30 | It's not just functional, but it can
help you come up with some really creative
| | 03:34 | ways to process images and it's because
of these reasons and more, as you'll soon
| | 03:38 | discover, that Adobe Camera Raw
really has become one of the most
| | 03:42 | premiere and prominent tools of our time.
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| Using the exercise files| 00:00 | If you're a premium member to the Lynda.com
Online Training Library or if you're
| | 00:05 | watching these movies on a disk,
you have access to the Exercise Files.
| | 00:10 | Once you've located the Exercise Files
folder, you can go ahead and double-click
| | 00:13 | it in order to open it up.
| | 00:14 | Here we'll discover that all of the
images are organized into folders based
| | 00:19 | on the different chapters.
| | 00:21 | Here inside of these folders, you'll
find all of the images that we'll be
| | 00:24 | working on in this course.
| | 00:26 | In order to start working with these
files, what you're going to want to do
| | 00:29 | is navigate to Adobe Bridge and you want
to point Adobe Bridge to one of the folders.
| | 00:34 | If we're working in Chapter 11, click
on that chapter and here you can see the
| | 00:38 | images that we'll be
working with in this chapter.
| | 00:41 | If you don't have access to the
Exercise Files, no big deal, you can always
| | 00:45 | simply follow along or of course
you could just use your own images.
| | 00:48 | Alright, well, we have a lot of
exciting ground ahead of us, let's begin.
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|
|
2. Setting Preferences and File FormatsAn overview of Bridge and Bridge preferences| 00:00 | One of the things that you'll soon discover
is that Adobe Camera Raw, in a sense,
| | 00:05 | is like a strong, self-contained,
stand alone application, yet in another way
| | 00:11 | it doesn't stand by itself.
| | 00:14 | In other words, we need to use Adobe
Bridge in order to select and review
| | 00:18 | and evaluate our photographs, and then
eventually open our images up in Adobe Camera Raw.
| | 00:24 | Therefore, in order to get good at Camera
Raw we need to be really good with Bridge.
| | 00:30 | If you already have a good working
understand of Bridge, feel free to
| | 00:33 | skip ahead to the next movie.
| | 00:34 | Well, the first thing that I need to
highlight here is that we can select
| | 00:38 | different workspaces by clicking on this button.
| | 00:41 | Here when you choose a workspace option,
it will then reconfigure the panels.
| | 00:46 | Let's go back to say the Essentials
workspace, and take a look at the
| | 00:50 | panels that we have here.
| | 00:51 | We have our Folders and Favorites panels.
| | 00:54 | We also have the Content where we
see the thumbnails and then our
| | 00:58 | Preview and Metadata panel.
| | 00:59 | Well currently, my preview is really small,
it's not even really that helpful.
| | 01:04 | To make this bigger you can hover over
the dividing line between the panels
| | 01:09 | and then when you see that cursor change
you can go ahead and click and drag.
| | 01:13 | Here we can do this horizontally or vertically,
you can see that I'm opening up
| | 01:17 | more space for this preview.
| | 01:20 | The next thing that we might want to
do is take a closer look at our image.
| | 01:24 | To do so, just simply click on the photograph.
This will give you what's called the loupe.
| | 01:29 | Here this loupe is at 100% and I can move
this around in order to see the detail
| | 01:33 | to make sure that the eyes are sharp.
| | 01:36 | If you select another photograph that
loupe will still be active and here we can
| | 01:40 | go ahead and reposition so we can
check the detail in the photograph.
| | 01:44 | If you want to close the loupe,
you can go ahead and click on it.
| | 01:47 | Well, obviously, that's kind of helpful,
being able to change the size of the
| | 01:52 | panel by clicking and dragging and also
being able to zoom in by using this Loupe tool.
| | 01:57 | Well, let's say that you want an even
larger view in order to decide if you're
| | 02:03 | going to open a photograph up in Camera Raw.
| | 02:05 | Well, another way that you can view
your photograph is in a mode which is
| | 02:09 | called Full Screen mode.
| | 02:11 | All that you need to do is to click
on one of these thumbnails, and then
| | 02:15 | to press the Spacebar key.
| | 02:17 | In this Full Screen mode, we can now
see our images in a way that they're
| | 02:20 | much more large and here we can navigate
through our photographs by pressing our Arrow keys.
| | 02:26 | In this case, I'm just pressing my
Right Arrow key in order to move through
| | 02:29 | these different photographs.
| | 02:31 | When you're ready to exit this mode,
just press the Spacebar key again.
| | 02:35 | Well, what about these thumbnails here.
| | 02:38 | Let's say that we want our
thumbnails to be larger or smaller.
| | 02:42 | Well, you can use the Thumbnail
slider which you'll find in the bottom
| | 02:46 | right-hand corner of the Bridge.
If you click and drag to the right the
| | 02:50 | thumbnails become bigger, click and
drag to the left they become smaller.
| | 02:54 | Or if you prefer you can use a shortcut.
| | 02:57 | On a Mac it is Cmd+plus(+) or minus(-),
on Windows that's Ctrl+plus(+) or minus(-).
| | 03:02 | Just click on one of your thumbnails,
and then you can press that shortcut in
| | 03:06 | order to change that thumbnail size.
| | 03:07 | Well, now that we've seen how we can
start to work with the Adobe Bridge,
| | 03:12 | let's also talk about a few of the
essential Bridge preferences and
| | 03:17 | let's do that in the next movie.
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| Setting Camera Raw preferences | 00:00 | Here I want to take a look at a
couple of essential Bridge preferences.
| | 00:04 | To navigate to the Bridge Preferences
dialog go ahead and click on the
| | 00:08 | Bridge pulldown menu and then choose Preferences,
this will open up our Preference dialog.
| | 00:14 | Here we're going to look at just
three tabs, General, Cache, and Advanced.
| | 00:19 | Let's start off in General.
| | 00:21 | Here we can control the appearance of Bridge,
we can do so by clicking on these
| | 00:25 | little chips and you can see how Bridge
is changing in the background or we can
| | 00:29 | just use these sliders.
| | 00:30 | As you use these sliders what you may
want to do is customize the darkness or
| | 00:35 | brightness of Bridge.
| | 00:36 | As you do that the one thing that I want
to point out is that the image backdrop
| | 00:41 | that you choose here, this color, that
will be the same color or I should say
| | 00:45 | shade of gray that you'll have
when you go to that Full Screen mode.
| | 00:49 | So just choose something that you
think will work well, whether you're viewing
| | 00:52 | your images here with Bridge
or in Full Screen mode.
| | 00:56 | The next thing I want to highlight
is that we have this Accent Color.
| | 01:00 | If we change this say to something perhaps
like this color here, we'll see that
| | 01:04 | it then changes this accent
which we can see in these two areas.
| | 01:08 | Typically, it's nice to have something
which is a little bit minimalistic,
| | 01:11 | so that you can kind of focus in on
the image rather than all of these
| | 01:15 | other competing colors.
| | 01:17 | The next thing that I want
to highlight is Behavior.
| | 01:19 | Well, here with Behavior we have an
option to turn this on that when our camera
| | 01:24 | is connected, it will launch
the Adobe Photo Downloader.
| | 01:28 | In this way, we can use Bridge to ingest
into bring our images in and off of our camera.
| | 01:34 | If you prefer to use the Adobe Photo
Downloader turn that preference on.
| | 01:39 | Next, we have an option to turn on Double-
Click Edits Camera Raw Settings in Bridge.
| | 01:44 | You'll soon discover that you can work
with Camera Raw in Bridge or in Photoshop.
| | 01:49 | Typically, you'll want to work with
Camera Raw inside of Bridge so that it
| | 01:54 | frees up Photoshop for other work.
| | 01:56 | We'll talk more about that later but for
now I recommend that you turn that option on.
| | 02:01 | The next thing that I
want to highlight is Cache.
| | 02:04 | If we click on Cache there's an option
up here near the top, which allows us to
| | 02:09 | Automatically export the cache
to the folders when possible.
| | 02:13 | This is a critical preference,
especially for Camera Raw.
| | 02:18 | Otherwise all of your Camera Raw settings,
everything that you do to improve
| | 02:23 | or enhance your photograph, well, those
settings will be saved somewhere else.
| | 02:27 | What that means is if you copy an
image to a hard drive, well, all of those
| | 02:32 | settings won't go with the
image, you'll lose those.
| | 02:35 | So you want to turn that option on so that
the settings live right next to the file.
| | 02:40 | The next thing that I want
to highlight is Advanced.
| | 02:43 | Under Advanced, there's an option
where you can Start Bridge At Login.
| | 02:48 | Because Bridge is such an integral application,
typically it's a good idea to
| | 02:52 | fire it up every time you open your
computer so that you can access, review
| | 02:57 | and preview, and eventually open
your images in Adobe Camera Raw.
| | 03:01 | Well, now that we've dialed in those
Essential Preferences, the next thing we
| | 03:06 | want to do is click OK in order to apply them.
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| Exploring RAW vs. JPEG or TIFF files | 00:00 | As I've already mentioned in a previous
movie, we can work with Camera Raw with
| | 00:04 | different file formats.
| | 00:06 | Whether that's JPG, TIF or different type of
Raw files the native RAW file or DNG Format.
| | 00:12 | And here what I want to do is focus in
on the pros and the cons of working with
| | 00:17 | these different file formats.
| | 00:19 | Well, here you can see we have
three images which look pretty similar.
| | 00:23 | We click on this one, you'll notice
that this is the Raw file, this is the one
| | 00:27 | straight out of the Camera Raw.
| | 00:28 | Here in the METADATA placard, we can
see the file size in regards to the
| | 00:32 | dimensions, and also in this case
showing us that this file is 14 Megs.
| | 00:36 | With this file was just saved out as
the TIF again the same dimensions but a
| | 00:42 | larger file size, and then we have
the JPG file, again the same dimensions
| | 00:47 | but much less data.
| | 00:48 | We'll let's go ahead and click on all
of these photographs while holding down
| | 00:53 | the Cmd key on a Mac or Ctrl key
on Windows to select all three.
| | 00:58 | Next we'll go to our File pulldown
menu and choose Open in Camera Raw.
| | 01:02 | This will open up all three photographs,
| | 01:04 | you can see these over here in the Filmstrip.
| | 01:07 | Well, one of the things that I want to do,
is I want to turn on something which
| | 01:10 | is called the Clipping Indicator.
| | 01:13 | We'll be talking more about this later,
| | 01:15 | but for now you can see it turns on
this Indicator here showing me that
| | 01:19 | I have clipping in this image.
| | 01:20 | Well, I have clipping or in other words,
I've loss of detail or a lack detail
| | 01:25 | there in this image and that's a problem.
| | 01:27 | Yet, if I compare this, say with the
TIF file, what we are going to notice is
| | 01:31 | that there is much less clipping.
| | 01:33 | And then if we compare that say to
the Raw file well, there is even less.
| | 01:38 | This may be helpful to see if we
exaggerate our Exposure here little bit.
| | 01:42 | I am going to add two stops of Exposure
here, on all three of these images.
| | 01:46 | And then I want to compare the results.
| | 01:49 | As we look at these results in a second,
we'll have different types of loss of detail.
| | 01:53 | Here is the JPG which shows us the area
where we've clipping, then here's the
| | 01:58 | TIF file a little bit less clipping, and
then with the RAW file still so even less,
| | 02:04 | less in this area of the photograph.
| | 02:06 | And the whole point is that these different
file formats, will they contain
| | 02:11 | a different kind of depth of data.
| | 02:14 | The RAW file has so much and because
the RAW file has a lot, well, we can swing
| | 02:19 | these controls really far.
| | 02:21 | Whether that's too increase the
Exposure or to recover the Highlights and again
| | 02:26 | we'll talk about how we
can do these things later.
| | 02:28 | Yet here I just want to point out
that the RAW file gives us the most
| | 02:33 | flexibility, there is the
most depth with that file.
| | 02:35 | The next we have the TIF file, a
little bit less and then much lower than
| | 02:40 | that is the JPG file.
| | 02:42 | Now that doesn't mean that it's a bad to
work on JPG files and Adobe Camera Raw.
| | 02:47 | It's actually kind of amazing,
it's amazing that we can apply these
| | 02:51 | non-destructive adjustments to a file like this.
| | 02:54 | Yet, it's worth pointing out that this
file it's a little bit more delicate,
| | 02:59 | what then is the advantage of using JPG files?
| | 03:02 | Well, the advantage of course is file
size, sometimes all you've is a JPG and
| | 03:07 | sometimes that file size
is going to be much smaller.
| | 03:10 | So perhaps you can be a little bit
more a quick in your overall workflow.
| | 03:14 | The disadvantage is that we can't push
it as hard in regards to processing the
| | 03:19 | photograph or recovering detail on the
shadows or sharpening or reducing noise.
| | 03:25 | The most ideal scenario is
to work with a Raw format.
| | 03:28 | We have different RAW files, we can
work with, we can either use the native Raw
| | 03:32 | file or file format which
is called the DNG Format.
| | 03:37 | We'll be talking more about that format later.
| | 03:40 | But for now I just wanted to introduce
you to this whole idea, of how we can
| | 03:43 | process these different files.
| | 03:45 | Well, here I don't want to apply any
of these changes so I am going to go
| | 03:50 | ahead and click Cancel.
| | 03:52 | Adobe Camera Raw will ask me, are
you sure you want to Cancel?
| | 03:55 | Yup! I do.
| | 03:56 | That will then just return
these to the Default settings.
| | 03:59 | As if I've never opened
them in the Adobe Camera Raw.
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| Choosing a native raw file or a digital negative (DNG)| 00:00 | In order to capture the deep, rich
and vibrant tones that we see in this
| | 00:04 | photograph, it's ideal to set our
camera to capture in the Raw mode.
| | 00:09 | Yet after we've captured
this RAW file, we've a choice.
| | 00:13 | Do you want to continue to work with
this native RAW file format or do we want
| | 00:18 | convert our files to a
format which is called DNG.
| | 00:22 | Let's start off with our native file.
| | 00:23 | Well, when we capture an image on a
camera, it's comes straight out of
| | 00:27 | the camera just as is.
| | 00:29 | Then, when we process this image in Adobe
Camera Raw it creates a sidecar XMP file.
| | 00:37 | This little sidecar files just a text
file which contains instructions for how
| | 00:42 | this image should be displayed.
| | 00:43 | It contains all the information about
the Contrast, Saturation, Noise Reduction,
| | 00:48 | Sharpening, etcetera.
| | 00:50 | In other words, it contains all
that we've done in Adobe Camera Raw.
| | 00:54 | Now the advantage of this is that these
adjustments are non-destructive, they're
| | 00:58 | not really apply to the pixels themselves
rather just a small set of instructions,
| | 01:02 | which is then helping us interpret
these pixels in different ways.
| | 01:08 | Now if we copy this file to another
hard drive, ideally what will happen is the
| | 01:12 | sidecar file will be sitting next to this file.
| | 01:15 | And those two files will go together.
| | 01:17 | They will both be copied to a different
hard drive, so that we can then access
| | 01:21 | all of the work that we've done on our
photograph inside of Adobe Camera Raw.
| | 01:26 | And I say ideally because ideally
you have set up that one preference
| | 01:30 | which exports the cash to the folder,
when possible, so that these two
| | 01:34 | files live side-by-side.
| | 01:36 | Well how then does this
compare to the DNG Format?
| | 01:41 | Well the DNG Format is a little bit different.
| | 01:43 | It's almost as if there's kind of like
this Tupperware container that contains
| | 01:48 | the file the RAW file, the
pixels and also the XMP File in it.
| | 01:53 | In other words, there is only one document.
| | 01:56 | Well, what else do we know
about this DNG file format?
| | 02:00 | Well the DNG format is Adobe's proposed
standard for an open and non-proprietary
| | 02:06 | Raw format. Well, why then does it matter?
| | 02:10 | Well, some of the reasons why people
use DNG is because there isn't a need for
| | 02:14 | the sidecar XMP file, there is only one file.
| | 02:19 | Another reason is because the DNG file
format can contain a preview inside of it.
| | 02:25 | So that you can access the way you
process the image in different applications.
| | 02:29 | Another reason, which is perhaps one of
the most compelling, is that it provides
| | 02:34 | loss-less compression.
| | 02:36 | In another words, it reduces the
file size without losing information.
| | 02:41 | The next reason why people use this
format is for archival confidence.
| | 02:46 | The hope is, is that because this is an
open non-proprietary Raw format, in the
| | 02:52 | future, ideally these files we'll able
to be processed more readily than say a
| | 02:57 | file which has been processed by
perhaps software which was created by a candy
| | 03:01 | manufacturer which perhaps
doesn't exist in the future.
| | 03:05 | The last reason why people use this
format is because it provides a single
| | 03:10 | Raw processing solution.
| | 03:12 | Now you'll need to make the decision on
your own whether or not you to use this
| | 03:16 | DNG file format.
| | 03:17 | In my own workflow, I've adopted it.
| | 03:20 | So then what are some of the cons?
| | 03:22 | Why not use a DNG Format?
| | 03:24 | Well some people prefer not to use it
because they don't want to convert their
| | 03:29 | proprietary RAW files
into this open in DNG Format.
| | 03:33 | There is a fear that they may be
losing some information, another reason
| | 03:38 | is that these DNG files they can't be open
by software say that's created by your
| | 03:43 | camera manufacturer.
| | 03:45 | So really what you have to do is decide
are you're going to use say Camera Raw
| | 03:49 | or are you going to use this other software?
| | 03:53 | Now, if you're going to use both,
perhaps you want to keep your files
| | 03:56 | in their native file format.
| | 03:58 | And if you're going to fully adopt kind
of this Adobe workflow where using for
| | 04:02 | bridge Camera Raw and Photoshop, well then
maybe want to consider converting to DNG.
| | 04:08 | Again, it's completely up to
your own personal preferences.
| | 04:11 | All I want to do here is try to
present information so that you can make an
| | 04:15 | educated decision about whether or not
you want to work with that native RAW
| | 04:19 | file format or if you want to
convert your files to this DNG format.
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| Converting or saving to the DNG format | 00:00 | Now that we know a little bit about
the DNG file format, in this movie
| | 00:05 | we are going to take a look at how
we can convert our files to this format
| | 00:09 | whether by using the Adobe DNG
Converter or Adobe Camera Raw.
| | 00:13 | Well one of the things that you might
want to do is you might want to navigate
| | 00:17 | to Adobe's site, you can go to adobe.com/
products/dng, it will then redirect you
| | 00:25 | to this page where you can get some
more information about this file format.
| | 00:29 | Then if you scroll down about three
quarters of the way down on this page
| | 00:34 | you will find an area where you can
download the Adobe DNG Converter for
| | 00:38 | your operating system.
| | 00:39 | Now this converter is free, it's a
free little utility which allows you to
| | 00:44 | convert your file to this format.
| | 00:46 | Well now that we've seen that, let's
say that we have decided to download
| | 00:50 | this product, what we can do next
is go back to Adobe Bridge.
| | 00:54 | In Bridge you can go ahead and click-
and-drag on your image and then drop it
| | 00:58 | onto this icon in the dock if you're
on a Mac, or if you are on Windows you
| | 01:03 | could obviously just click on the icon
and then you can select the files that
| | 01:07 | you want to work on here.
| | 01:08 | Next we can choose where we want to save
the file and also how we prefer to name
| | 01:13 | the file and whether or not we want a
uppercase or lowercase extension there.
| | 01:17 | And then we have a few preferences which we
can dial-in in regards to this conversion.
| | 01:22 | Now once you're ready to convert
the file all that you need to do
| | 01:25 | is to simply click Convert.
| | 01:27 | Well rather than doing that here I am
going to click Quit because I want to show
| | 01:31 | you also another way that you can do
this and that is with Adobe Camera Raw.
| | 01:36 | So if you prefer not to use the DNG
Converter, what you can do is select one
| | 01:41 | or more images and then go to the File
pull-down menu and choose Open in Camera Raw.
| | 01:47 | Once we have our files open in
Camera Raw we can then save them out.
| | 01:52 | To do so you can click on the icon in
the bottom left-hand corner over there
| | 01:56 | it says Save Image.
| | 01:57 | And here once again we can choose where
we want to save the file, how we want to
| | 02:01 | name it, the format,
| | 02:03 | in this case we are interested
in choosing Digital Negative.
| | 02:06 | and then when it comes to compatibility
regardless of the technique that you use
| | 02:11 | whether it's a Converter or Adobe
Camera Raw, you want to choose the latest and
| | 02:15 | greatest version of Camera Raw so that
you can take advantage of the best type
| | 02:19 | of the processing version.
| | 02:21 | Next, we have JPEG Preview.
Typically Medium works best.
| | 02:25 | And then here we have some pretty interesting
options, I want to talk about these.
| | 02:30 | The first one is Embed Fast Load Data.
You definitely want to have that turned
| | 02:35 | on, because what this does is it
creates a DNG file that you can read and work
| | 02:40 | with more quickly when it comes
to making adjustments on the file.
| | 02:45 | This only increases your file size
in a way that's really insignificant.
| | 02:49 | So you get more speed out of the
file without much increase in file size,
| | 02:53 | definitely turn that option on.
| | 02:55 | Next we have an option which
is called Lossy Compression.
| | 02:59 | Well why would we want to do that?
| | 03:00 | Well by default the DNG format is lossless,
that means that we have a smaller
| | 03:07 | file size without loss of data.
| | 03:09 | Typically that's what you'd want to do.
| | 03:11 | Well you may want to use Lossy, if
you're interested in converting this file
| | 03:17 | to a smaller file, but you still want to
take advantage of all that DNG has to offer.
| | 03:21 | In other words you could click
this option on and then go over here to
| | 03:25 | this pull-down menu, here you can see
I can limit my pixel count or also the
| | 03:29 | size by choosing one of these options.
| | 03:32 | What this will then do is it will resize
this file, save it out as this DNG file
| | 03:38 | format and it will do so in a
way that the file is much smaller.
| | 03:42 | You might want to do this with those
outtakes that you have from that one photo
| | 03:46 | shoot that aren't that important, it's
not worth it to keep the entire file,
| | 03:51 | you just want to keep a smaller
version of all of those files.
| | 03:54 | Well in those cases you might
want to use Lossy Compression.
| | 03:58 | Well in my case I want everything here,
so I'm going to turn this off.
| | 04:03 | Next we have an option which is
to Embed the Original Raw File.
| | 04:08 | There are some people who are concerned
that if I convert my file to DNG,
| | 04:12 | I am going to lose the original raw file.
| | 04:14 | Well you can include that in this format
by clicking on this option, although
| | 04:19 | this will increase your file size dramatically.
| | 04:22 | So in my own workflow I've
found that it's just not worth it.
| | 04:25 | Well after having dialed in these
different options here we will go ahead
| | 04:28 | and click Save, in doing that we can see
the little Save Preview here, showing us
| | 04:33 | the progress of that saving of that DNG file.
| | 04:36 | Then we can click Cancel or Done
in order to exit out of Camera Raw.
| | 04:42 | Now back in Adobe Bridge you
can see we have this DNG file.
| | 04:46 | And whether or not we use the DNG Converter
or Camera Raw we can choose to
| | 04:51 | save these files in the same
location or in a different location.
| | 04:54 | Well why use a Converter
versus Adobe Camera Raw?
| | 04:59 | Well the Converter is great if you're
going to use or convert a batch of images,
| | 05:03 | Adobe Camera Raw typically works better
when you have a smaller amount of photographs.
| | 05:08 | Well now that we've seen how we can
do this and we see these two files, the
| | 05:13 | last thing I want to do here is take a look at
these files in our Finder or Explorer windows.
| | 05:19 | To do that you can right-click or Ctrl+
Click on the image, then you can select
| | 05:24 | Reveal in Finder or Reveal in Explorer,
depending on your operating system.
| | 05:30 | This will then show us these files, the
first thing I want to highlight is that
| | 05:34 | the native RAW file is 25 megs,
the DNG file it's a mere 22.
| | 05:39 | So here's where it shaved off some file
size without sacrificing any quality or data.
| | 05:45 | The next thing I want to highlight
is that we have this XMP file here.
| | 05:49 | This belongs to the native RAW file, the
DNG file it doesn't have a sidecar XMP file.
| | 05:56 | So it's just helpful to kind of see, that to
start to realize that the DNG stands on its own.
| | 06:01 | Well after having gone through all of
these issues and this overall process,
| | 06:05 | my hope is that this gives you some
valuable information so that you can
| | 06:09 | make the decision of whether or not you want
to integrate converting your files to this
| | 06:13 | DNG format into your overall workflow.
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|
|
3. Camera Raw Workflow OverviewProject overview: cover photo shoot| 00:00 | Throughout this course you are going to
learn nearly everything that you need
| | 00:04 | to know about Adobe Camera Raw.
| | 00:06 | Yet before we get into all of the
details of working with Camera Raw,
| | 00:11 | what I want to do here is share with you a
real-world workflow because I believe there
| | 00:15 | is no better way to understand Adobe Camera Raw.
| | 00:18 | And to understand how we can use this
tool by taking a look at a real scenario
| | 00:22 | where we put a few images
through the Adobe Camera Raw workflow.
| | 00:26 | Here, you can see I'm in the Chapter 3
folder, I will go ahead and press
| | 00:30 | the Spacebar key to take this
image to this full screen view.
| | 00:33 | I had the privilege of photographing an
Ironman World Champion Chris Lieto
| | 00:38 | for a cover story of a publication.
| | 00:40 | They wanted to print this picture
on a full page, they wanted it
| | 00:44 | in black-and-white.
| | 00:45 | Now when I pulled up the file I realized
I had completely missed my exposure.
| | 00:50 | So we'll explore how we can use
Camera Raw in order to correct exposure
| | 00:54 | and also in order to bring out some
contrast and details and grit so that
| | 00:58 | the photograph looks like this.
| | 00:59 | We will also work on another picture,
this one here, where my exposure was
| | 01:04 | a bit better, but where still,
this photograph needs some help.
| | 01:07 | So here in this chapter we will focus
in on this real-world scenario and
| | 01:12 | we'll put these images through a workflow
so that you can really understand why
| | 01:16 | Adobe Camera Raw matters and
how we can start to use it.
| | 01:19 | And then after this chapter we will
really dig into the details of
| | 01:23 | how we can use all of the different
controls and sliders and adjustments
| | 01:27 | in a number of different scenarios.
| | 01:28 | All right, well let's go ahead and
take a look at how we can start
| | 01:31 | to work on these two images.
| | Collapse this transcript |
| Auto-toning and correcting white balance| 00:00 | Here we are going to take a look at
how we can start our workflow with this
| | 00:03 | image, and we will explore how we can
update the processed version for this file,
| | 00:08 | and also how we can apply some
auto adjustments by way of a shortcut.
| | 00:12 | All right, well let's go ahead and open
this image up in Camera Raw, navigate to
| | 00:16 | the File pull-down menu and
then choose Open in Camera Raw.
| | 00:20 | The first thing you want to do in
Camera Raw is you want to take this view
| | 00:23 | to full screen, you can do so either by
clicking on this icon here or by pressing
| | 00:29 | the F key, the F key allows you to
toggle between the different views.
| | 00:33 | We want to go to full screen so we
can really focus in on the image.
| | 00:37 | Next, one of the things that you'll
notice here is that this image is obviously
| | 00:41 | underexposed and we have a few
little adjustments that have been made.
| | 00:46 | These adjustments have been made
because I converted this file to this DNG
| | 00:50 | format in a previous
version of Adobe Camera Raw.
| | 00:54 | These are just the default
settings with that processed version.
| | 00:57 | Well, I want to update this image and
you will need to do this with a lot of
| | 01:01 | your photographs in order to take full
advantage of the new Camera Raw engine.
| | 01:06 | To do so you can click on this
little icon here to update what's called
| | 01:10 | called the Processed Version.
| | 01:11 | Once I click on this focusing on these
controls right here and also the image.
| | 01:15 | Let me show you how this'll work.
| | 01:17 | We will click on this icon and
it will then update the image.
| | 01:21 | Notice that the image has a little
bit more detail in the shadows and also
| | 01:24 | notice that all of our
sliders are now zeroed out.
| | 01:28 | The latest version of Camera Raw
starts out with all of your sliders
| | 01:32 | in the middle which is really great.
| | 01:33 | All right, well the next thing I want to
do is apply just some auto adjustments,
| | 01:38 | and I want to do this by way of a shortcut.
| | 01:40 | The shortcut is Cmd+U on a Mac
or Ctrl+U on Windows.
| | 01:45 | In doing that you can see that Adobe
Camera Raw has corrected this image
| | 01:49 | in some pretty phenomenal ways.
| | 01:50 | Many times the auto adjustments
will give you a good starting point.
| | 01:55 | You can also access these controls
by clicking on these two links here.
| | 01:59 | To go back to Default you can click on
that or to go to Auto, if you forget the
| | 02:03 | shortcut, you can click on this link here.
| | 02:06 | All right, well now that we've applied
these auto adjustments and learned a few
| | 02:10 | shortcuts along the way, let's go ahead
and take a look at how we can start to
| | 02:14 | customize the settings for this photograph,
and let's do that in the next movie.
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| Cropping and composing| 00:00 | One of the first things that I want
to do with this photograph is I want to
| | 00:03 | recompose it by using the Crop tool.
| | 00:06 | You can select the Crop tool by
clicking on it in the Tools panel above or you
| | 00:11 | can press the C key to activate this tool.
| | 00:14 | Next, I need to zoom out a little.
| | 00:16 | There are a number of different
ways that we can change our zoom.
| | 00:19 | One technique that you can use is you
can click on these little buttons here,
| | 00:23 | click on the Minus (-) icon to zoom out
or the Plus (+) icon to zoom in.
| | 00:27 | Or you can press Cmd++ or Cmd+- on a Mac
or Ctrl++ or Ctrl+- on Windows.
| | 00:32 | The reason why I want to zoom out is I just
want to see all of the edges of this photograph.
| | 00:36 | Now with this Crop tool we can go ahead
and start clicking outside of the image
| | 00:41 | and then you can drag across the
image in order to create a crop area.
| | 00:45 | By doing that we're extending the
crop to the edge of the photograph.
| | 00:49 | Next, to change the crop in a free-form
way just go ahead and click on one of
| | 00:53 | these handles and here you can
see I can then change this crop by
| | 00:56 | clicking-and-dragging these in.
| | 00:58 | When you're ready to apply the crop
what you can do is you can either
| | 01:01 | double-click inside of this area or you
can press Enter or Return, in doing that
| | 01:06 | it will then crop the photograph.
| | 01:08 | The great thing about the Crop tool
in Adobe Camera Raw is that
| | 01:11 | it's completely non-destructive.
| | 01:13 | To bring back more of the image we
will just press the C key to access the
| | 01:17 | Crop tool and there you can see the
rest of the photograph and I can
| | 01:21 | extend this out to the edge.
| | 01:22 | If you need to constrain the aspect
ratio or constrain the proportions,
| | 01:27 | what you can do is you can hold down the Shift
key, in doing that as you click-and-drag
| | 01:32 | you can see it's constraining that aspect ratio.
| | 01:35 | Here I could change the Crop and
then go ahead and click-and-drag
| | 01:38 | to reposition it, hold down the Shift
key again and then click-and-drag,
| | 01:42 | and again I'm always constraining the
proportions so that the proportions match
| | 01:46 | the original aspect ratio of the file.
| | 01:49 | Another thing that you can do with the
Crop tool is you can click on the tool,
| | 01:53 | you will notice we have a few options.
| | 01:55 | We can click on the option for Overlay,
what this will do is it will show us
| | 01:59 | this overlay, which is sometimes helpful
to help us determine how we crop the
| | 02:03 | image, perhaps we want to put the
subject on one of these intersecting lines.
| | 02:07 | If you find that distracting, well
just go back and turn that off by clicking
| | 02:11 | here, so now that overlay will disappear.
| | 02:14 | The next thing I want to highlight is you
can also click on different aspect ratios.
| | 02:19 | If you want the crop to be a square we will
choose a 1 to 1 and now I have a square crop.
| | 02:24 | All right, well let's say that we
crop our image like this and we realize
| | 02:28 | that you know what, I don't like it. This is
not going to work for a full page publication.
| | 02:33 | So how can I get rid of the crop,
how can I just kind of reset this?
| | 02:37 | Well the quickest way to do that is to
press the C key to reactivate the crop
| | 02:43 | and next press the Escape (Esc) key, think
I have to escape I want to get out of here.
| | 02:47 | So when we press Escape it
will then undo that crop.
| | 02:50 | All right, well now that we've seen
some of the ins and outs of the Crop tool,
| | 02:54 | let's go back to this pull-down menu
and choose Normal and then click-and-drag
| | 02:58 | across the image and then here I am
going to hold down the Shift key and just
| | 03:01 | click-and-drag to make
this a little bit smaller.
| | 03:04 | In doing that what will happen is it
will make the subject's head closer to the
| | 03:08 | top of the frame sometimes that
makes people seem a little bit taller.
| | 03:12 | With a photograph like this, where I
want more presence, this will work well.
| | 03:16 | And so then finally press Enter or
Return in order to apply the Crop.
| | Collapse this transcript |
| Enhancing color and tone| 00:00 | After having applied the Auto Tone and
recomposing with the Crop tool, the next
| | 00:05 | thing I want to take a look at is
how we can work with the Basic panel.
| | 00:08 | The great thing about Camera Raw is it
has a built-in workflow, in other words
| | 00:13 | typically we start off in this
tab and we work our way down.
| | 00:17 | One of the ways that we can modify our image
is by changing the overall White Balance.
| | 00:22 | You can use these sliders either to
cool the image off or to warm it up,
| | 00:26 | and by making these adjustments
sometimes you can change the overall
| | 00:29 | characteristic or look of the image.
| | 00:31 | Once you change these, you notice
the White Balance now shows Custom.
| | 00:35 | If you want to go back to the way that
was captured originally we will just
| | 00:39 | As Shot and it will take the
Temperature amount to that value.
| | 00:42 | Here what I want to do is just change this a
little bit by cooling that off just a touch.
| | 00:47 | The image felt just a
little bit too warm for me.
| | 00:49 | Next we have Temperature or Tint and here
we can add Magenta or Green to the image.
| | 00:54 | Another way that you can change this
control is if you add an amount which
| | 00:57 | doesn't look good like here, you can
double-click this slider, that will then
| | 01:02 | take it back to its original setting.
| | 01:04 | Next, let's move down to these controls.
In these controls we can control our
| | 01:08 | overall Exposure, let's say
want to darken it up a little bit.
| | 01:12 | We could also change the overall amount of the
Contrast, let's bring that up a little bit more.
| | 01:16 | And then the Highlights, I want to drag
down because the jersey here is too bright.
| | 01:22 | If we click-and-drag this to the
left you can see that we now have more
| | 01:25 | detail in this area.
| | 01:26 | Let me exaggerate this so you can
kind of see how that slider works.
| | 01:29 | Next we can control the light that we
have in our shadows either brightening
| | 01:33 | or darkening those.
| | 01:34 | Now we can work on the other tones,
whites and also darks of our shadows.
| | 01:38 | And so here we are just going to use
these sliders to dial-in adjustments
| | 01:42 | which look visually interesting to our eye.
| | 01:44 | Next we have Clarity, Vibrance and Saturation.
| | 01:47 | Clarity allows us to add what's
called Midtone Contrast, it kind of
| | 01:52 | adds a little snap to your photograph.
| | 01:53 | So you typically want to add some of this.
| | 01:56 | Yet at the same time Clarity
also desaturates your pictures.
| | 02:00 | Let me show you this in an exaggerated way.
| | 02:02 | When I crank this all the way up you
see how the image kind of takes on this
| | 02:06 | muted contrast type of a look.
| | 02:08 | So again just pay attention to that, as
you increase your clarity you may also
| | 02:12 | want to bring up a little bit of
Vibrance or maybe some Color Saturation
| | 02:16 | to bring the color back a bit.
| | 02:17 | All right, after having made all of
these adjustments, I will go back and
| | 02:22 | I will subtly make a few more changes
here so that the image looks good.
| | 02:26 | Next, let's look at the preview,
let's see how we are doing with this file.
| | 02:30 | To look at the preview or to look at
the before-and-after we can click on
| | 02:34 | this icon here or press the P key,
this shows us the before, click on it
| | 02:39 | again, now we can see the after and
we can see that we are really going
| | 02:42 | in a good direction.
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| Removing distractions| 00:00 | At this stage in our workflow I want to
take a look at how we can clean up some
| | 00:04 | small problems or blemishes in our photograph.
| | 00:07 | And you want to do this here, after
you've dialed in your Color, and Exposure and
| | 00:11 | Contrast, etcetera, because that will
then determine what type of problems
| | 00:15 | you have so you can then
identify those more clearly.
| | 00:18 | All right, well in order to work on some
small details in this picture I need to zoom in.
| | 00:23 | To do that we can go ahead and select
the Zoom tool. One way to zoom in on the
| | 00:28 | picture is to click-and-drag, if we
want to zoom in on the face click-and-drag
| | 00:32 | over that area, then let go and it
will zoom into that area in this window.
| | 00:37 | In doing that I notice there is a small little
skin variation that I want to get rid of.
| | 00:41 | In order to get rid of that we can use
what's called the Spot Removal tool, you
| | 00:46 | can select that by pressing the B
key or by clicking on this icon here.
| | 00:50 | Next, in order to work with this
tool we need to change our brush size.
| | 00:55 | Let me actually zoom in a little bit
further here on this image so that you can
| | 00:58 | see this a bit more clearly.
| | 00:59 | All right, well now that we can see
that blemish, here I am going to press the
| | 01:03 | Left Bracket key to change my brush size.
| | 01:05 | One of the ways that you can work with this
tool is simply by clicking on the blemish.
| | 01:10 | In doing that it all of a sudden
creates these two little circles here.
| | 01:14 | Let me make these bigger by clicking-and-
dragging on the edge of one of the circles.
| | 01:18 | Well why then do we have
a red and a green circle?
| | 01:22 | Well you want the red checkered circle
here to cover up the blemish, the green
| | 01:27 | you want to then to reposition to an
area or tone which is similar to
| | 01:32 | the area that you're working on.
| | 01:33 | Next, you can then reposition that again so
that it's covering that up with new content.
| | 01:38 | We can either remove this
blemish with Clone or with Heal.
| | 01:42 | Now in certain situations you'll find
that certain techniques will work better.
| | 01:46 | With this little blemish on the
face healing works a ton better.
| | 01:49 | Next, if you just want to reduce a
blemish rather than remove it completely
| | 01:54 | you can decrease the Opacity.
| | 01:56 | In this way it will be a little bit more
subtle, just kind of taking that back a bit.
| | 02:00 | All right, well there is another
blemish that I notice in this picture.
| | 02:04 | And let's go ahead and take a look
at that. Press the Spacebar key and
| | 02:06 | then click-and-drag.
| | 02:07 | We are going to move this image
down to this right side over here.
| | 02:11 | I notice there was a little
string coming off of the jersey.
| | 02:14 | I want to get rid of that string, so
rather than just clicking on it, this time
| | 02:19 | what I am going to do is go ahead and
click-and-drag, in doing that you can see
| | 02:23 | I'm creating this sample area.
| | 02:25 | I'll click-and-drag to make
this nice and big and then let go.
| | 02:28 | Here it's going to try to choose a
nice area for me to correct this problem.
| | 02:32 | My red and white checkered circle
isn't in the right place so I will
| | 02:35 | move that down a little bit.
| | 02:37 | Next, the line that it created
it just doesn't look good at all.
| | 02:40 | So I will click-and-drag this to a new
spot and I will bring this up top to see
| | 02:44 | if it might give me a better line.
| | 02:46 | Now in doing this I can see that the
lines getting to be a little bit better but
| | 02:49 | I'm getting this strange kind of
bleeding and smudging in, I also have this low
| | 02:54 | Opacity so let me crank that up so
we can see how this looks at 100%.
| | 02:58 | Well now here we can see
this did a pretty good job.
| | 03:01 | And sometimes what you'll find is
you need to change your Opacity.
| | 03:04 | In other situations you may need to change
the type of Spot Removal that you're doing.
| | 03:09 | With certain areas like with this
area here, again we found that
| | 03:13 | healing works better than cloning.
| | 03:14 | So just experiment a bit and you'll
start to see how these two options work.
| | 03:18 | Well, now that we have successfully
cleaned up this photograph, removed these
| | 03:22 | small little blemishes
using the Spot Removal tool.
| | 03:25 | The next thing I want to do is zoom back
out, so I can see the whole photograph.
| | 03:29 | To do that you can double-click on the
Hand tool, when you double-click on the
| | 03:34 | Hand tool it changes your zoom rate to
a view so that you can see the entirety
| | 03:39 | of the photograph inside of this window.
| | 03:41 | All right, well now that we've worked on
some specific small details, let's take
| | 03:46 | a look at some other details in this photograph.
| | 03:48 | In particular let's explore how we
can work with sharpening this photograph
| | 03:52 | and also how we can reduce some of the
noise in this picture and let's do that
| | 03:56 | in the next movie.
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| Sharpening and noise reduction| 00:00 | As I mentioned previously one of the
nice things about Adobe Camera Raw
| | 00:04 | is it the way that it's built kind
of follows a natural workflow.
| | 00:08 | We typically work top to
bottom and then left or right.
| | 00:12 | So let's go ahead and navigate to another
tab and the tab that we are going to
| | 00:14 | go to allows us to work
with Noise and also Sharpening.
| | 00:18 | So if we click on the next tab you can
see we have access to the Tone Curve.
| | 00:22 | This is another way to modify
the overall tone in our photograph.
| | 00:25 | Well we've already taken care of that
so we are going to skip that panel
| | 00:29 | and then go right to the Detail panel.
| | 00:31 | The Detail panel has controls for
both Sharpening and also Noise Reduction.
| | 00:35 | At the base of this panel it tells
you that for a more accurate preview you
| | 00:40 | need to zoom the preview size to 100% or larger
because here I can't really see any Noise at all.
| | 00:46 | Yet, if we zoom in to 100% by double-
clicking the Zoom tool and then pressing
| | 00:52 | the Spacebar key and clicking-and-dragging,
what we will soon discover is that
| | 00:56 | there is a lot of Noise.
| | 00:58 | One of the reasons why we are seeing
so much Noise is because I was capturing
| | 01:02 | this image with a higher ISO, there was
a low light scenario so I needed to do
| | 01:07 | that, and my Exposure was off.
| | 01:09 | So if this image is going to be printed
full page I really need to fix this up.
| | 01:13 | Well let's start off with Noise Reduction.
| | 01:15 | We have both Luminance and Color Reduction,
if we reduce the Color Reduction
| | 01:20 | what we'll see is there are all these
little color artifacts in the background,
| | 01:23 | let me zoom in way on that.
| | 01:25 | And here you can see as I increase that
well it just removes the color variation there.
| | 01:29 | Well what about Luminance?
| | 01:31 | This has to do with luminosity, as I
increase this you can see there is less
| | 01:35 | variation here in this area.
| | 01:37 | Let's double-click that Zoom tool to go
back to the 100% view and then once we
| | 01:42 | are there we can press the
Spacebar key to reposition our view.
| | 01:45 | You want to evaluate this at about 100%
so you have a nice accurate perspective
| | 01:50 | and here you can evaluate the Noise.
| | 01:52 | Well in reducing say our Luminance and
also Color Noise what's happening is the
| | 01:57 | image is becoming a little bit too
soft because when you reduce Noise you're
| | 02:01 | reducing those sharp edge details,
therefore we need to sharpen the image
| | 02:06 | a little bit, we can increase our overall
amount of Sharpening and then decrease
| | 02:11 | the Radius so that it's more
focused in on the small details.
| | 02:14 | In regards to the details
this has to do with texture.
| | 02:17 | We will talk a lot more about these
sliders later, but for now typically with
| | 02:21 | people you use a pretty low detail amount.
| | 02:24 | Then if you just want to sharpen the
edges of things you can click-and-drag
| | 02:28 | to increase the Masking amount.
| | 02:30 | Well now that we've done that we want
to evaluate the before and after of the
| | 02:33 | work that we've done in this panel.
| | 02:35 | To do so press the P key or click on
this icon, and what that will do is it will
| | 02:39 | show us the before and then click again,
and then the after of just this panel,
| | 02:45 | just these adjustments.
| | 02:46 | Well those adjustments look great,
let's go ahead and zoom back out to Fit in
| | 02:50 | View Mode, to do that double-click on
the Hand tool, now we're ready to move to
| | 02:55 | our next step in this workflow
and we'll do that in the next movie.
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| Converting to black and white| 00:00 | The next step we are going to take
with this photograph is to move to another
| | 00:03 | panel and look at how we can convert
this image to black-and-white and then make
| | 00:07 | any needed detail adjustments
after we've done this conversion.
| | 00:11 | So over in the top of Camera Raw,
let's go and click on this icon here which
| | 00:15 | takes us to each HSL/Grayscale.
| | 00:16 | We are going to click on the icon for
Convert to Grayscale and that will
| | 00:21 | convert our image to black-and-white.
| | 00:23 | Next, what you can do is you can use
these sliders to change the Brightness
| | 00:27 | value of the different tones in your image.
| | 00:30 | Let's say that we want to brighten up
the skin, well, we can then use these
| | 00:33 | sliders and here we can go ahead and
click and drag these amounts so that we can
| | 00:36 | then brighten up the skin.
| | 00:38 | We can also work with other elements
like the background as you can see here,
| | 00:41 | I can either make that more
dark or I can brighten it up.
| | 00:44 | Now as we make these adjustments, you
can see that we can really target these
| | 00:47 | different parts of our image.
| | 00:49 | In making these adjustments, what I
want to do is add a bit more contrast
| | 00:53 | and life to this photograph.
| | 00:54 | Well, after having dialed in our Grayscale
conversion the next thing you want
| | 00:59 | to do is zoom in on the image.
| | 01:01 | To do that once again let's double- click
the Zoom tool to go 100% then we can
| | 01:06 | press the Spacebar tool or click on
the Hand tool and just click-and-drag.
| | 01:10 | The reason why I want to do
this is to highlight something.
| | 01:13 | Notice that when I worked with my
yellow slider, it gave me the ability to
| | 01:17 | either brighten or darken
that area of the image.
| | 01:19 | Well, when you do that you may introduce
or remove noise based on how far
| | 01:25 | you're moving the slider.
| | 01:26 | So as you make that adjustment what you might
want to do is jump back to the Detail panel.
| | 01:32 | If you notice that you've introduced a
bit of noise there, well perhaps you
| | 01:36 | then want to remove some of that by
increasing your Luminance Noise amount or
| | 01:39 | your Luminance Noise Reduction I should say.
| | 01:42 | And here you can see how we can use these
two sets of controls together in order
| | 01:46 | to ensure that our photograph looks its best.
| | 01:49 | Alright, well, after having dialed in a
bit of detail corrections based on our
| | 01:53 | black-and-white conversion, next I am
going to go ahead and double-click the
| | 01:56 | Hand tool, this will take
the image to this 100% view.
| | 02:00 | And here this photograph is looking
really interesting, we can click on the
| | 02:03 | Preview icon to see our before, before
the Grayscale conversion and then click
| | 02:08 | it again in order to see the after.
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| Adding a vignette| 00:00 | Next, we are going to move our way down
our different sets of panels and we are
| | 00:04 | going to look at how we can add a
Vignetting effect in order to darken the
| | 00:08 | edges of our photograph.
| | 00:10 | Moving down to the right, the next panel it
allows us to add some tones in to the photograph.
| | 00:15 | I don't want to do that here at this image,
so I will skip that and then
| | 00:18 | move to the Lens Correction panel.
| | 00:20 | In the Lens Corrections panel, we can
click on Manual and then down the bottom
| | 00:24 | we have some controls for Lens Vignetting.
| | 00:26 | Here we can either darken or brighten
the edges of our photograph.
| | 00:31 | Yet the trick with this is that because we
have cropped this photograph this isn't
| | 00:34 | going to work very well.
| | 00:35 | In order to create a Lens Vignetting
effect after we've cropped the image,
| | 00:39 | we need to go to the next
panel, that's the Effects panel.
| | 00:43 | Here we have the ability to add
what's called Post Crop Vignetting.
| | 00:47 | In other words, now what I can do is I
can either brighten or darken my image
| | 00:51 | and here it's going to
follow the parameters of the crop.
| | 00:54 | In this way, I can darken this
image a little bit more effectively.
| | 00:57 | Let me go ahead and exaggerate this for a
moment so that you can see how the controls work.
| | 01:01 | Midpoint changes how far this reaches
into the image; Roundness controls the
| | 01:06 | overall shape of this vignette;
| | 01:08 | and then Feather allows us to
either have a hard or soft edge.
| | 01:12 | And in choosing these amounts what
we can do is we can then determine to
| | 01:15 | either brighten or darken those edges,
here all that I want to do is to subtly
| | 01:19 | darken those edges so I am going to go-ahead
and dial in appropriate amount for this vignette.
| | 01:24 | By doing that it'll keep the viewer's
eyes on the center of the picture because
| | 01:29 | that's the brightest area.
| | 01:30 | Take a look here is that before and then after.
| | 01:33 | It's pretty subtle so let me crank
this up perhaps a little bit more, but I'm
| | 01:37 | interested in just this little subtle
vignette effect, this darkening of those
| | 01:41 | edges in order to keep the
viewer focused in on the subject.
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| Making a localized correction| 00:00 | After having made our way through most
of the panels, next what I want to do is
| | 00:04 | navigate back to the Basic panel
and make a few basic adjustments.
| | 00:08 | And then also explore how we can
paint in some adjustments into
| | 00:12 | specific areas of our photograph.
| | 00:13 | Well here after having converted this
to black-and-white you may want to
| | 00:17 | modify the overall exposure or maybe
add some more clarity or contrast.
| | 00:22 | Again we want to dial this in after
having used these other adjustments.
| | 00:26 | I like the Contrast and what not here,
yet one of the things that I'm noticing is
| | 00:29 | that the eyes are still pretty
dark, they are shadows there.
| | 00:32 | So I want to change that.
| | 00:34 | To do so, we will click on the Zoom tool,
then you can click and drag over the
| | 00:38 | area of the image that you want to
zoom into, in this case, the face.
| | 00:41 | Now that we are up close I want to
paint in a little bit of a brightening
| | 00:45 | effect to this area.
| | 00:47 | To do that you can press the K key or you can
select the Adjustment Brush by clicking here.
| | 00:52 | When you select this tool all of a
sudden you'll notice you have all of these
| | 00:56 | different options, you can paint in
all of these adjustments into specific
| | 01:01 | areas of your photograph.
| | 01:02 | Let me show you how this works.
| | 01:04 | To keep this really simple, go to your
Exposure slider and just click on this Plus icon.
| | 01:08 | That will then allow us
to increase our Exposure.
| | 01:12 | Next, scroll down, you notice that you
have some options for your brush, here we
| | 01:15 | are going to decrease our Brush Size
say to around seven or maybe even smaller
| | 01:19 | than that, how about five.
| | 01:21 | Next, we want to have a nice soft brush,
yet not quite that soft so here I will
| | 01:25 | go ahead and decrease that to about 60 or so.
| | 01:28 | Now the flow controls how
fast we build up this adjustment.
| | 01:31 | I will bring this down to about 50.
| | 01:33 | We will talk more about these settings
later, but for now let's just try them out.
| | 01:37 | Well next what we can do is go ahead and
click and paint over our image in this area.
| | 01:41 | In this case, what you can see that
I'm doing is I am brightening up this
| | 01:45 | part of the picture.
| | 01:46 | The more that I paint back and
forth over this area, the more that
| | 01:49 | I'm brightening this up.
| | 01:51 | The great thing about this technique
is that if ever we go too far we can go
| | 01:56 | back to any of these sliders and
we can make further modifications.
| | 02:00 | Let me make a change which won't look
good, but it will illustrate the point.
| | 02:04 | Here if I click and drag to the left,
you can see how I'm darkening the eyes.
| | 02:08 | Well that obviously doesn't look good.
| | 02:09 | So I will click and drag to the
right in order to subtly brighten those.
| | 02:13 | If we click on the Preview icon we can
see that before and after of just this
| | 02:18 | adjustment, so we can then see the
before a little bit too dark and then
| | 02:22 | click on that after you can see how
that looks much better, we can also
| | 02:26 | reduce the noise in this area.
| | 02:28 | Sharpen it up a little bit more in order
to bring in some more detail to the eyes.
| | 02:32 | We can make all of these adjustments
so that we are painting this adjustment
| | 02:36 | just into this area.
| | 02:38 | We can set these controls
before or after the fact.
| | 02:41 | Allright, well now that we've painted in
that adjustment, I am going to go ahead
| | 02:45 | and double-click the Hand tool in
order to zoom back to this Fit in view mode
| | 02:49 | and also in order to exit the Adjustment Brush.
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| Creating snapshots of memorable looks| 00:00 | While we don't have Layers in Adobe
Camera Raw, we do have a technique which
| | 00:04 | allows us to take a snapshot of different
ways that we processed our photograph.
| | 00:10 | We can use these snapshots to remember
or to recall different settings.
| | 00:14 | Let's take a look at how this works.
| | 00:16 | If you navigate over to the panels up
here you'll notice you have a panel with
| | 00:19 | the option which is called Snapshots.
| | 00:22 | In clicking on that, currently this is blank.
| | 00:24 | And if you click on the New icon down
here this will then create a New Snapshot.
| | 00:28 | I am going to go ahead and name this snapshot,
the bw-vignette, next, I will click OK.
| | 00:34 | Well let's say that I also want to see how
this image would look without that vignette.
| | 00:39 | Well to do that, we can go back to the
fx panel and here in the fx panel, what
| | 00:44 | I am going to do is go ahead in double-click
the slider here, that will then reset the amount.
| | 00:49 | Next I'll go back to my Snapshots panel
and then click on the New icon and this
| | 00:55 | one I'll just call bw and then click OK.
| | 00:57 | Now why have I done that?
| | 00:59 | Well I've done that in order to be able to
remember and recall different settings.
| | 01:04 | You can take snapshots with any of
the different settings that you
| | 01:07 | have applied to your photograph. To then
view those settings well you just click
| | 01:11 | on the Snapshots, you can see how that
adds a vignette or if we click on this
| | 01:15 | one that vignette is now gone.
| | 01:17 | In this way we can kind of have a
layer-like flexibility with these
| | 01:21 | different snapshots, it will then
pull up those various settings.
| | 01:25 | Well, with this photograph I actually
like it better without the vignetting,
| | 01:29 | so I am going to use this option.
| | 01:30 | Well, next I'm done processing this image.
I'm ready to apply all of these settings.
| | 01:35 | In order to do that, all that
we need to do is to click Done.
| | 01:40 | When working with Camera Raw there isn't a
Save button, the Done button essentially
| | 01:44 | saves and applies all
those settings to our file.
| | 01:47 | Once we go back to Adobe Bridge after
clicking Done, you will see that this will
| | 01:52 | then update the thumbnail and
also the preview of our photograph.
| | 01:56 | You can see its showing us that
update here in Bridge and also over
| | 02:00 | here in our Preview.
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| Re-editing camera raw settings| 00:00 | After having clicked Done in order to
apply the Camera Raw settings to our file
| | 00:05 | one of things that I realized is that I
want to go back to Camera Raw and make a
| | 00:09 | few more changes to the few of the
ways that I modified this photograph.
| | 00:13 | Well, how can we are re-edit a file which
we've already worked on in Adobe Camera Raw?
| | 00:18 | To do that, it's really easy, just go
back to our File pull-down menu and then
| | 00:22 | here choose Open in Camera Raw.
| | 00:25 | This will then reopen our file.
| | 00:27 | And one of things that I want to do
here is zoom in on the image a little bit
| | 00:30 | and I want to work on the eyes.
| | 00:32 | If we select the Adjustment brush
one of things that I notice is that
| | 00:36 | I brightened the eyes too much.
| | 00:38 | This pin though is kind of distracting
me I can't really see what I've done.
| | 00:42 | Well you can hide that pin by pressing
the V key or you can always just click
| | 00:47 | on this icon here in order
to show or hide those pins.
| | 00:51 | Next I want to press the P key or click on
this icon to look at my before and then after.
| | 00:56 | Again it's nice but it's too high, so
here I will just decrease the exposure
| | 01:01 | a little bit so it's not quite so bright.
| | 01:03 | And in a doing that I think that this
adjustment looks a little bit better.
| | 01:06 | Next I am going to click on the
Zoom tool, this allows me to exit this
| | 01:10 | Adjustment brush and then I will zoom
out a little bit by pressing
| | 01:14 | Cmd+- on the Mac or Ctrl+- on Windows.
| | 01:16 | Here I decided that I want to add a bit
more contrast and also deepen my blacks.
| | 01:21 | So as you can see, you can work with the
sliders really easily by simply going back
| | 01:26 | to the controls and making further adjustments.
| | 01:28 | Then in order to save or just apply the
adjustments, all that we need to do is
| | 01:33 | to click Done, it will then update that
file with all of those new adjustments.
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| Working with multiple adjustments| 00:00 | Now that we have finished working on
our photograph, the next thing that
| | 00:03 | I want to do is explore how we can apply
the settings which we use to another
| | 00:08 | photograph in order to speed up our workflow.
| | 00:11 | What you can do in Bridge, is
you can select a photograph and then
| | 00:15 | right-click or Ctrl+Click, in doing
that you have an option to go down to
| | 00:20 | your Develop Settings.
| | 00:21 | Here what we want to do is choose Copy Settings.
| | 00:24 | In doing this it will copy all of the
settings and all of the panels that we
| | 00:28 | apply to this photograph and Adobe Camera Raw.
| | 00:31 | Next, click on the image where you
want to apply those settings so that
| | 00:35 | these two images have a similar look and
then right-click or Ctrl+Click once again,
| | 00:40 | then go to Develop Settings and here
we are going to choose Page Settings.
| | 00:44 | Notice that Page Settings
has a dot, dot, dot (...) next to it.
| | 00:47 | Whenever you see those dots
it means it's going to open up a dialog.
| | 00:51 | And here in this dialogue we can apply
all of the settings retrieve Apply to the
| | 00:55 | other image or we can turn off a few,
like the Crop, Spot Removal or maybe how
| | 01:01 | we hand-painted in some adjustments.
| | 01:03 | Let's leave those off, let's also leave
off Exposure because, remember this image
| | 01:08 | it was underexposed while this one
wasn't quite so much underexposed.
| | 01:13 | Let's go ahead and click OK
to apply the settings.
| | 01:16 | What we will see is it will then
apply all of those to this file.
| | 01:20 | Next to open up this image and to customize
it further, we will go to the File
| | 01:25 | pull-down menu, we will choose Open in
Camera Raw and really the only thing that
| | 01:29 | I need to do here with this file
is to change my overall Exposure.
| | 01:33 | So I will go ahead and bring that up
until it comes up to a nice spot there.
| | 01:38 | And in doing that you can see how
it really speeds my workflow up.
| | 01:41 | I don't need to go to the Detail panels
or all of these other panels as well.
| | 01:45 | The image is now complete, to apply these
settings, we can go ahead and click Done.
| | 01:51 | Here in Adobe Camera Raw we can see
how it will update that file, so that now
| | 01:55 | these two images have a similar look and feel.
| | 01:58 | And on that note, that wraps
up our look at a realistic workflow
| | 02:02 | using Adobe Camera Raw.
| | 02:04 | Now that we've covered this overview,
let's go ahead and dig into some of
| | 02:08 | the details of working with Camera Raw,
and let's do that in the
| | 02:12 | subsequent chapters.
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|
|
4. Getting to Know the Camera Raw InterfaceNavigating the interface and the toolbar| 00:00 | In order to get really good at Adobe
Camera Raw, we need to have a solid working
| | 00:05 | understanding of the Adobe Camera Raw interface.
| | 00:08 | So here what I want to do is highlight
a few of these different interface
| | 00:12 | elements which I have called
out with these different lines.
| | 00:15 | Up at the top, you'll notice
that we have different tools.
| | 00:18 | These tools allow us to do things like
zoom in or out or crop or sample color.
| | 00:23 | Mixed into these tools, you'll also
find this important icon, this allows us
| | 00:28 | to open up the Preferences dialog, so
that we can dial in some important
| | 00:32 | preferences while working with Camera Raw.
| | 00:35 | Moving over to the right, there is
a button which has a shortcut,
| | 00:38 | it's the Preview button.
| | 00:40 | If you press the P key, it allows you
to see the before and the after view
| | 00:44 | of the work that you're
doing in a particular panel.
| | 00:47 | Next, we have a button which allows us to
toggle between the normal and full screen views.
| | 00:53 | You almost always want to work with
Adobe Camera Raw in Fullscreen mode.
| | 00:57 | Down below we have these different tabs.
| | 01:00 | These tabs give us access to various panels.
| | 01:03 | You'll spend the majority of your time
with these different panels and
| | 01:07 | you'll use these to correct and
enhance your photographs.
| | 01:10 | Down in the bottom right-hand corner,
we have a button which allows us to exit
| | 01:14 | and also apply the settings that
we've specified here in Camera Raw.
| | 01:19 | This would then take us
back to the Adobe Bridge.
| | 01:22 | Yet let's say that rather than exiting
Camera Raw, what we want to do is
| | 01:26 | open our image or images in Photoshop.
| | 01:29 | Well, we can do that by
clicking on this button here.
| | 01:32 | This will then open these files directly
into Photoshop with all of the settings
| | 01:36 | that we've applied in Adobe Camera Raw.
| | 01:38 | Next to that, we have
this little information line.
| | 01:41 | This is actually an interactive link.
| | 01:44 | If you click on it, it will open up
some workflow options, which allow you to
| | 01:48 | specify image size and
also color space information.
| | 01:51 | Let's say that what you want to do
perhaps is save a RAW file as a JPG.
| | 01:56 | To do that, you can click on this button here.
| | 01:59 | This will open up the Save dialog
where you have a number of different
| | 02:02 | options in regards to saving your
files in different formats and also
| | 02:06 | with different naming conventions.
| | 02:08 | And then last but not least we have
some controls, which allow us to change
| | 02:12 | the zoom rate of our photographs.
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| Exploring image-adjustment tabs and panels| 00:00 | This will be a brief but
nonetheless important movie.
| | 00:04 | Because here before we start to begin
to work in Adobe Camera Raw,
| | 00:08 | I want to share with you a valuable shortcut
for navigating to the various panels.
| | 00:14 | We know that we have these little tabs,
and you can click on one of these tabs
| | 00:18 | in order to access the
panels and their controls.
| | 00:21 | Well you can do this by clicking or
you can do this by way of a very powerful
| | 00:27 | and valuable shortcut, here it is.
You want to write this one down.
| | 00:31 | On a Mac you press Opt+Cmd;
| | 00:34 | on Windows you press Alt+Ctrl,
then one of these numbers.
| | 00:38 | In other words, if you want to go
to the Basic panel, you can press
| | 00:42 | Opt+Cmd or Alt+Ctrl
and then the number 1.
| | 00:46 | If you want to go to the Tone Curve panel,
you just press that same shortcut
| | 00:50 | except now, you use the number 2.
| | 00:53 | So let me show you all of those again.
| | 00:56 | The part of this shortcut that you're
going to want to memorize is just this
| | 01:00 | first part over here, Opt+Cmd for Mac
or Alt+Ctrl for Windows.
| | 01:05 | You don't necessarily need to memorize
all of these numbers, because what you
| | 01:10 | can do is press those two keys on your
keyboard, whatever your operating system is,
| | 01:14 | and they go ahead and just start
typing or tapping on the numbers.
| | 01:19 | And eventually this will help you memorize
which number is associated with which panel.
| | 01:25 | And by using the shortcut, well it
can just speed up your overall
| | 01:29 | workflow by leaps and bounds.
| | Collapse this transcript |
| Using the histogram| 00:00 | In this movie, I want to focus in on
another important aspect of the Camera Raw
| | 00:05 | interface and that is the Histogram.
| | 00:08 | And we're going to focus in on how we can
start paying attention to the Histogram.
| | 00:12 | And also, I want to share a few techniques
with you that you can use in order to
| | 00:16 | turn on what are called Clipping Indicators.
| | 00:20 | These indicators help us highlight
when we have a problem with the tonal
| | 00:24 | values in our photographs.
| | 00:25 | Alright, well for starters, you can see
that the Histogram is a visualization of
| | 00:30 | the colors and the tones in our pictures.
| | 00:33 | If we go ahead and make a change to
the Exposure say, we'll see that it
| | 00:37 | will re-map those tones.
| | 00:39 | If we push this too far, you can see that
it's actually pushing these tones out of range.
| | 00:44 | Here we've over-exposed the image.
| | 00:47 | Well, we don't necessarily know how far
we've over-exposed this photograph, so
| | 00:52 | what you can do is you can turn on the
Clipping Indicator by clicking on this
| | 00:56 | little triangle icon here.
| | 00:58 | All of a sudden, we see all of
these areas of our photograph which are
| | 01:02 | highlighted red, that's a warning indicator,
telling us we have some sort of a problem.
| | 01:08 | Well, now with this view turned on,
I can then decrease my Exposure in order to
| | 01:14 | correct the exposure so I don't have as
much of loss of detail in those areas.
| | 01:18 | I can also use other sliders, say
like the Highlight sliders to bring back
| | 01:22 | detail into important parts of the photograph.
| | 01:25 | In that Clipping Indicator, it showed me
those problematic or those problem areas.
| | 01:30 | We also have an indicator for our Shadows.
| | 01:33 | You can click on this triangle icon and
what that will do is it will show us the
| | 01:37 | areas in our Shadows
where we have these problems.
| | 01:40 | Let me exaggerate the problem
so you can see this more clearly.
| | 01:44 | Here we can see where this is blue;
| | 01:46 | the blue color is telling me,
I have loss of detail there.
| | 01:50 | In other words, that is 100% black.
| | 01:53 | Well that's not going to print very
well, so I need to make a correction.
| | 01:57 | Again, we can use these sliders
in order to make this correction.
| | 02:01 | There's also another way that we can
work with these Clipping Indicators and
| | 02:05 | that is by way of a few shortcuts.
| | 02:08 | If you press the U key, it will toggle
on or off your Shadow Clipping Indicator.
| | 02:14 | If you press the O key that will
toggle on or off your Highlight Indicator.
| | 02:19 | And that can be really helpful,
because sometimes what you may want to do
| | 02:23 | is make an adjustment and then just press
those keys, here I'll go ahead and make a
| | 02:27 | few adjustments, then press U and O
at the same time, that will turn on my
| | 02:31 | Clipping Indicator, so I can then make
the needed adjustments and then I can
| | 02:35 | correct the photograph so that it
will reproduce well in regards to perhaps
| | 02:39 | creating a print of this picture.
| | 02:41 | Alright, well, how else can we
work with these Clipping Indicators?
| | 02:45 | Well, let's turn the
indicators off in the Histogram.
| | 02:49 | To do that, press U and also O. Next I
want to highlight is how we can access
| | 02:55 | that same information when using our controls.
| | 02:59 | To do that, press Opt on a Mac or
Alt on Windows and then click-and-drag
| | 03:04 | the Exposure slider.
| | 03:06 | Here you can see in this view, it's
showing me the areas where I have clipping.
| | 03:11 | Wherever you see white like this area here,
it's showing you that you have the
| | 03:15 | most problem in that area.
| | 03:17 | You can also use this with other
sliders here as well and you can see that
| | 03:21 | as you change these amounts,
it's going to change this view.
| | 03:24 | Go down to your Blacks sliders and
again we'll see we have this problem.
| | 03:29 | And again here wherever you see complete
black that's showing you where you have
| | 03:33 | the biggest problem say in these areas here.
| | 03:36 | And by having this perspective,
basically it's just another way to access
| | 03:41 | this information and then to be able to
make any needed adjustments, so that you
| | 03:45 | have better color and tone in regards to the
overall way that you've processed your image.
| | 03:51 | So why is all of this important?
| | 03:53 | Well that's all really important
because it's kind of a safety check.
| | 03:57 | A lot of times when we work in Camera Raw,
we're making adjustments so that our
| | 04:02 | photographs look great according
to the way that we see them.
| | 04:06 | Yet sometimes, some of these adjustments
can push an image in a way that we lose
| | 04:10 | detail in the Highlights or the Shadows.
| | 04:13 | Well, this is going to then lead to other
problems as we start to work on our photographs.
| | 04:18 | So in order to ensure that we have
good detail in our Highlights and also
| | 04:23 | our Shadows, we can use any of
these techniques. Let's review.
| | 04:27 | We can either click on these icons by
simply clicking on the triangle icons
| | 04:31 | inside of the Histogram, or we can
turn those on by way of a shortcut.
| | 04:36 | Remember it's the U key for the Shadows,
| | 04:39 | it's the O key for the Highlights.
| | 04:42 | Another way that you can access that
type of clipping information is by holding
| | 04:47 | down the Opt key and a Mac or Alt key
on Windows and then clicking on one of
| | 04:51 | your Basic panel sliders and here you
can see we now have that view of the areas
| | 04:56 | where we have problems.
| | 04:58 | Now, because I think these
particular techniques are really valuable,
| | 05:02 | I recommend that you jot some notes
down about them, because I think that as
| | 05:06 | you get better at working in Camera Raw,
you'll definitely want to integrate
| | 05:10 | these into your workflow.
| | Collapse this transcript |
| Previewing the before and after of different adjustments| 00:00 | One important part of your Camera Raw
workflow is going to be viewing your
| | 00:04 | before-and-after of the progress that
you're making in the various panels.
| | 00:09 | And here, I want to focus in on how we
can view our before-and-after in each
| | 00:13 | panel and also how we can view this
preview of the before-and-after of all of
| | 00:18 | the adjustments that we've made in
the different panels on our photographs.
| | 00:21 | Alright, well let's start
off with this picture here.
| | 00:24 | This is the photograph is
straight out of the camera.
| | 00:27 | I like the cool tones and whatnot,
but I want to cool that off even more.
| | 00:31 | So I am going to make a
few basic panel adjustments.
| | 00:34 | I will drag my Temperature slider to
the left, I am going to increase the
| | 00:37 | overall Contrast, a little bit of the
Exposure and may be darken some of those
| | 00:42 | shadows up and then add a bit more
Clarity and Vibrance and Saturation.
| | 00:46 | We'll talk more about all of these controls,
but now here I think it's suffice
| | 00:50 | to say that I've made some adjustments.
| | 00:53 | To view the before-and-after, we're
going to press the P key that shows us
| | 00:57 | before, press it again and
then you'll see the after.
| | 01:00 | Or you can always just click on this
icon here to see the before and then after.
| | 01:06 | Well, after having made these adjustments,
let's say that I want to darken the
| | 01:10 | edges, I want to add a bit of a vignette effect.
| | 01:13 | To do that, I'll click on the fx
icon to go to the Effects panel.
| | 01:18 | Again, we'll talk more about these
sliders later, but now I am going to go
| | 01:21 | ahead and just modify these a little bit so
that I have this edge darkening kind of an effect.
| | 01:26 | Well, now if I press the P key,
we'll see something kind of interesting.
| | 01:32 | What we'll see is, by pressing the P key
or by clicking on this icon here is the
| | 01:37 | before and after of the adjustments
that we made in this panel.
| | 01:42 | In other words, the P key or the Preview is
specific to the panel that you're working in.
| | 01:48 | Yet let's say that what we want to do
is see the before-and-after of all of the
| | 01:52 | work that we've done on our
photograph in every panel.
| | 01:56 | Well to do that, what you need to do
is of course work in the panels and
| | 02:00 | then navigate to one of the last two
tabs, either Presets or Snapshots.
| | 02:06 | And what's unique about these two panels
is that now when you press the Preview button
| | 02:10 | or the P key, it will show
you the complete before-and-after.
| | 02:15 | This is before I did anything in Camera
Raw, click that again, this is after
| | 02:20 | I worked on this image in these various panels.
| | 02:24 | So in this way, you can see that if
you want to see specific before-and-after
| | 02:27 | based on a panel, just go to the panel
and then press the P key, or if you want
| | 02:33 | to see all of the work that you've done,
go to one of the last two panels and
| | 02:37 | the press the P key and that will
show you the before and then the after.
| | Collapse this transcript |
| Working with multiple files | 00:00 | One of my all time favorite things to
do is to get up early in the morning,
| | 00:04 | to go out and capture photographs,
like I did here this day.
| | 00:08 | I walked down to the local harbor in
our town and I captured a few photographs.
| | 00:13 | And what I want to do with these two pictures,
one which was captured from this
| | 00:17 | horizontal perspective, and another one
that was captured just moments later
| | 00:21 | from this vertical perspective, is I
want to process both of these images at
| | 00:26 | the same time, because they were captured in
the same lighting scenario and the same situation.
| | 00:31 | I want to focus in on how we can
do that and also highlight some of the
| | 00:35 | interface changes that we'll notice when
we're working on more than one image at
| | 00:40 | once with Camera Raw.
| | 00:41 | Go ahead and select the first image, then hold
down the Shift key and click on the next image.
| | 00:47 | Next let's go to our File pull-down
menu and here choose Open in Camera Raw.
| | 00:52 | Once you open up more than one photograph,
you'll see that these images will
| | 00:56 | show up in a filmstrip on the left.
| | 00:59 | You can change the view of this
filmstrip by clicking on this little icon here
| | 01:03 | which allows you to either increase or
decrease the size of that. You can also
| | 01:08 | bring this way down and collapse it so
that it's gone and then to reopen just
| | 01:13 | click-and-drag to bring that out.
| | 01:14 | Now to select an image to work on,
you can click on that photograph.
| | 01:19 | Here I've clicked on the first picture
that I captured, and what I want to do is
| | 01:24 | change the overall Exposure and Contrast
a little bit and also some other things
| | 01:28 | like Color Temperature and Clarity
and Vibrance and Saturation.
| | 01:32 | We've already seen how we can make
adjustments like this, but again I just
| | 01:36 | want to process the image so that it kind
of looks interesting to my own eye.
| | 01:40 | Alright, well now that I've made some
adjustments to the photograph, when
| | 01:44 | I go back to my other picture, well, this
one looks like it's lacking something.
| | 01:49 | I want to process both of these the same way.
| | 01:52 | To do that, you click on the image that
you want to use kind of as the template,
| | 01:56 | the one that has the processing which you like.
| | 01:59 | And again, process it with any
or all of these different panels.
| | 02:03 | Next go ahead and click on Select All
and then choose Synchronize.
| | 02:09 | Notice that Synchronize has dots next to it.
| | 02:12 | Whenever you see dots in Photoshop or
Camera Raw that's telling you it's going
| | 02:15 | to open a dialog. And here it's
asking us, what do we want to synchronize?
| | 02:21 | We can choose from this pull-down menu
just to synchronize the White Balance
| | 02:25 | or we can click onto these different
options, so that we can add or synchronize
| | 02:29 | different elements of the way
that we've processed our photograph.
| | 02:33 | Or of course, you can go to this pull-down menu,
and you can simply choose everything
| | 02:37 | in order to synchronize everything
straight across-the-board.
| | 02:42 | Typically you'll want to do
that except for the bottom three.
| | 02:46 | Typically you'll turn off the Crop,
any Spot Removal or Local Adjustments,
| | 02:51 | because that rarely works
on multiple photographs.
| | 02:55 | Alright, well after having dialed in
what we want to synchronize, just click OK.
| | 03:00 | It will then synchronize those two pictures,
so that we can then click back and forth
| | 03:03 | between these, so that we can see
how the processing works with
| | 03:08 | both of these photographs.
| | 03:09 | To then apply and save these changes,
all that you need to do is to click Done
| | 03:14 | in order to exit and apply these
settings to both of these photographs.
| | Collapse this transcript |
|
|
5. Opening and Saving FilesOpening raw files in Bridge| 00:00 | In this movie, I want to share with
you a number of different techniques
| | 00:04 | and shortcuts and also a preference that
you can use which will affect the way that
| | 00:08 | you can open your images up in Adobe Camera Raw.
| | 00:12 | Now, we are going to focus in on
first how we can open up our Raw files.
| | 00:16 | We'll be working with this photograph
here of my daughter Annika,
| | 00:20 | I just love those big blue eyes.
| | 00:22 | Alright, well before we start to look at
how we can open up our files, I want to
| | 00:26 | highlight a few shortcuts that we can use,
which will also highlight how we can
| | 00:31 | work with Camera Raw, whether we want
to work with it in Bridge or Photoshop.
| | 00:36 | I am going to click on this slide and
then press the Spacebar key to go to
| | 00:39 | the full-screen view.
| | 00:40 | I want you to write down this shortcut.
| | 00:43 | If you're on a Mac, you can press
Cmd, if you're on Windows you can press Ctrl
| | 00:46 | and then O in order to open up your
Raw files, so that Adobe Camera Raw
| | 00:53 | will be hosted by Photoshop.
| | 00:55 | On the other hand, you can press
Cmd on the Mac, Ctrl on Windows plus the R key
| | 01:00 | in order to open up your Raw files
in Adobe Camera Raw, so that
| | 01:05 | Adobe Camera Raw is hosted by Bridge.
| | 01:07 | Now, why does this matter
and what does all of this mean?
| | 01:10 | Well let's take a look.
| | 01:12 | Here I'll go ahead and press the Spacebar key
to exit out of this slide and then
| | 01:16 | go back to my Raw file here.
| | 01:18 | Next I am going to navigate to the File
pull-down menu and then select open in
| | 01:23 | Camera Raw, and right next to
that you see that shortcut, right?
| | 01:26 | It says Cmd+R or Ctrl+R on Windows.
| | 01:29 | When you click on that or press
that shortcut key, and if you exit the
| | 01:34 | full-screen mode by clicking on this
icon, you can see that Adobe Camera Raw
| | 01:39 | is hosted by Bridge.
| | 01:42 | In other words, Adobe Camera Raw
never stands on its own,
| | 01:45 | rather it needs to be
hosted by Photoshop or by Bridge.
| | 01:49 | Well here, let's go ahead and click
Cancel and let's go back to Bridge and
| | 01:54 | next use our other shortcut.
| | 01:56 | Remember that one, its Cmd+O on a Mac
or Ctrl+O on Windows.
| | 02:00 | Well here, you notice, I had to
jump to Photoshop and now I'm inside of
| | 02:05 | Photoshop, Photoshop is hosting Camera Raw,
I could then work on my image here.
| | 02:10 | Okay, well what's the big deal and what's
the advantage of knowing these two shortcuts?
| | 02:15 | Well, let's click Cancel in order to go
back to Bridge and here I'll go to File
| | 02:20 | and then choose Browse in Bridge.
| | 02:23 | And back in Bridge, I wanted to
highlight how we have these two techniques
| | 02:27 | for opening up our photographs,
so that we can start to think about
| | 02:31 | how we might want to multitask.
| | 02:32 | In other words, what you might want to
do is work on something in Photoshop,
| | 02:37 | perhaps you have a 300 MB file and
you press Save and that's going to
| | 02:42 | kind of hang up Photoshop.
| | 02:43 | Well, you could then do that, leave,
come back to Bridge and then use the
| | 02:48 | shortcut to open up your Raw file in
Camera Raw inside of Bridge and then you
| | 02:53 | could just keep working.
| | 02:54 | In other words, this allows you to
multitask between these two applications.
| | 03:00 | Well, another way that we can open
up our photograph, our Raw file,
| | 03:04 | is to right-click or Ctrl+Click. When you
do that you have an option for Open in
| | 03:09 | Camera Raw in this contextual menu and if you
select that, it will open your files up
| | 03:14 | in Adobe Bridge here inside of Camera Raw.
| | 03:17 | Last but not least, we have a
preference that I want to share with you.
| | 03:21 | If you go to Adobe Bridge and then
select your Preferences, here underneath
| | 03:26 | the General tab, we have an option.
| | 03:28 | If we double-click our file, it will
either edit or open up the file in
| | 03:33 | Camera Raw in Bridge if we turn this on,
or if we turn this off, double-clicking
| | 03:40 | Raw files will open up those
files in Camera Raw in Photoshop.
| | 03:44 | What I found in my own workflow is that
often I work with these really big files
| | 03:49 | and so I want to kind of free up Photoshop,
so it doesn't have to worry about
| | 03:53 | or think about Camera Raw, so that I can
really work with Camera Raw in a way that
| | 03:57 | it's tied to Bridge.
| | 03:58 | So in my own workflow, I turn on
this Preference and then click OK.
| | 04:03 | In doing that when you double-click
Raw files, well, that will launch Adobe
| | 04:07 | Camera Raw and Adobe Camera Raw
will then be hosted by Bridge.
| | 04:12 | Alright, well now that I've covered
all of these different techniques and
| | 04:15 | different ways for opening up your files
in Camera Raw, which technique is best?
| | 04:20 | Well that's completely up
to you and your own workflow.
| | 04:23 | What I wanted to do is to just show you
the whole array of options, so that you
| | 04:28 | could then make the best choice, in
regards to how you're going to open up and
| | 04:32 | work with the Raw files in your own workflow.
| | Collapse this transcript |
| Opening JPEGs and TIFFs in Bridge| 00:00 | As I mentioned previously, one of the
advantages of working with Adobe Camera Raw
| | 00:05 | is that it allows you to apply
non-destructive adjustments to your
| | 00:09 | photographs and you can do so really quickly.
| | 00:12 | You never have to wait for render or save time.
| | 00:15 | Well, you can also apply these same
adjustments to non-Raw files as well.
| | 00:19 | And here we are going to take a look at
some of the considerations when working
| | 00:23 | with JPG, TIF, or when you want to
try to work with PSD files. All right!
| | 00:27 | Well, let's start off with this picture here.
| | 00:30 | If we want to open this up in Adobe
Camera Raw, we can either use our shortcut,
| | 00:35 | which is Cmd+R in a Mac or
Ctrl+R on Windows, or you can go to the
| | 00:40 | File pull-down menu and then
simply choose Open in Camera Raw.
| | 00:44 | Now, here, this file is opened in Camera
Raw and what I am going to do is make a
| | 00:48 | few adjustments, perhaps modifying the
overall Contrast here, or Clarity,
| | 00:52 | or Vibrance or Saturation.
| | 00:54 | Once you've processed a JPG file or
a TIF file for that matter, something
| | 00:59 | interesting kind of happens.
| | 01:01 | Let's click Done in order
to apply those settings.
| | 01:05 | Well, now back here in Bridge, if we
double click this file, rather than this
| | 01:10 | JPG opening up in Photoshop, it will then
reopen inside of Camera Raw. Now, why is that?
| | 01:17 | Why does this JPG file go to
Camera Raw rather than Photoshop?
| | 01:20 | Well, it goes there
because of a default preference.
| | 01:24 | Let me show you where that is.
| | 01:25 | If you navigate to the Bridge pull-down
menu and then select Camera Raw Preferences.
| | 01:29 | At the base of the Camera Raw
Preferences, it has a few preferences
| | 01:34 | where you can specify how
to handle JPG or TIF files.
| | 01:38 | The default option is to
Automatically open JPGs with settings.
| | 01:43 | In other words, if you have opened a
file up in Camera Raw and applied a few
| | 01:48 | settings, well then, the next time
you double-click that file, it will go
| | 01:52 | straight to Camera Raw, as we just saw.
| | 01:55 | If you don't like this preference,
you have a few other options.
| | 01:58 | One is to Disable JPG support.
| | 02:01 | If you don't ever want to use Camera
Raw with your JPG or TIF files,
| | 02:04 | you could choose that option.
| | 02:06 | Or you could use to Automatically
open all supported JPGs.
| | 02:10 | In other words, regardless of whether or
not you have opened those up previously
| | 02:14 | in Camera Raw, they will
go straight to Camera Raw.
| | 02:17 | In my own workflow, I like to leave
the default setting on, because I don't
| | 02:22 | process every JPG file inside of
Camera Raw rather I just process
| | 02:28 | a few select images, and so in that
case this option works well.
| | 02:31 | The same thing is true with my TIF files.
| | 02:33 | Often I have layered TIF files, maybe
it's a creative project that I've been
| | 02:38 | working on, every time I double-click
that, I don't want it to go to Camera Raw,
| | 02:43 | I want it to go to Photoshop, so I leave
this default setting on so that it will
| | 02:48 | only open up those TIF files which
have been in Camera Raw and been processed
| | 02:52 | with Camera Raw settings.
| | 02:54 | Well, let's go ahead and click OK
and go back to the Adobe Bridge.
| | 02:57 | Let's take a look at another technique
that we can use for opening up a TIFF or
| | 03:02 | a JPG in Camera Raw, and that is
by right-clicking or Ctrl+clicking.
| | 03:07 | Here we can go ahead and select this option,
Open in Camera Raw, and you can see
| | 03:11 | it then will open up this image here. All right!
| | 03:13 | Well, let's click Cancel and
then go to our Photoshop document.
| | 03:18 | This was a creative project from
another one of my Photoshop training
| | 03:21 | titles, and if we right-click or Ctrl+click,
you'll notice there isn't an
| | 03:26 | option for Open in Camera Raw.
| | 03:28 | If we go to the File pull-down menu,
Open in Camera Raw is grayed out.
| | 03:33 | So what's the deal?
| | 03:34 | Well you can't open and work
with PSD files in Adobe Camera Raw.
| | 03:39 | If you wanted to, you would need to
open this up inside of Photoshop and then
| | 03:44 | resave it in a different file format.
| | 03:47 | For example, we could go ahead and
double-click this file to open it up
| | 03:51 | inside of Photoshop here.
| | 03:52 | Next, we could choose File, and then
select Save As, and rather than saving
| | 03:57 | this out as a PSD file, I'll choose one of
our supported file formats, that's TIF or JPG.
| | 04:04 | Because I want this one to be
uncompressed, I am going to choose TIF, and then
| | 04:08 | here we'll click Save.
| | 04:10 | After having saved this file, we can
go to the File pulldown menu and then
| | 04:14 | choose Browse in Bridge.
| | 04:16 | And by doing that you can see that
now here in Bridge I have this TIF file
| | 04:21 | and if we right-click or Ctrl+click,
you can see I now can Open in Camera Raw,
| | 04:26 | or I can do that by going to the pull-down menu,
or of course we can now use that shortcut.
| | 04:32 | So I just wanted to highlight that
so that you now know how you can open
| | 04:36 | and access these different file
formats, whether you're interested
| | 04:40 | in processing JPG or TIF files.
| | Collapse this transcript |
| How to open a photo in Photoshop and skip Camera Raw| 00:00 | One of the advantages of working with
Adobe Camera Raw is speed and efficiency.
| | 00:05 | And so far we've taken a look at how we
can open our RAW, JPG, and TIF files
| | 00:10 | with Camera Raw, but here what I want
to do is take a look at a little bit
| | 00:14 | more of a realistic scenario which
will help us to be more efficient
| | 00:18 | when working with Camera Raw.
| | 00:19 | Let's say that we have a RAW file like
this one here and we open it up in
| | 00:24 | Camera Raw by simply double-clicking.
| | 00:26 | This will then launch Adobe Camera Raw.
| | 00:28 | Next, what I am going to do is I am going to
convert this to black-and-white by desaturating.
| | 00:33 | Now, this isn't the best conversion,
but I am just going to do this
| | 00:36 | to illustrate a point.
| | 00:38 | Next, we'll click Done in
order to apply these settings.
| | 00:42 | Well, here back inside of Adobe Bridge
I can see that I've already done work on
| | 00:46 | this photograph, and a lot of times what
you'll do is you'll do a lot of work on
| | 00:50 | your pictures, you will then perhaps
go to Photoshop or go to another
| | 00:53 | application and eventually you will
come back to a picture like this photograph
| | 00:58 | here that we've already processed.
| | 01:01 | And now what I want to do is just
open this image up in Photoshop.
| | 01:05 | I don't want to re-see Adobe Camera Raw
because I'm done with Adobe Camera Raw.
| | 01:10 | Well, how can we then skip Camera Raw?
| | 01:13 | Well, what you can do is you can
hold down the Shift key, then if you
| | 01:18 | Shift+double-click on your RAW file,
it will completely skip Camera Raw,
| | 01:23 | whether it's a JPG or a TIF or a RAW file,
and it will then go straight to Photoshop.
| | 01:29 | And I find that by using the shortcut,
it can really help speed up your overall
| | 01:34 | workflow so that you can take advantage
of all the work you've done in Camera Raw,
| | 01:37 | but then when needed, you can skip
that step so that those settings will
| | 01:42 | be applied and so that you can then
take that image directly to Photoshop.
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| Accessing Camera Raw from Mini Bridge| 00:00 | One of the issues I'm sure you have already
encountered is that when you're working
| | 00:04 | with Adobe Camera Raw, you are going
to go to Camera Raw and then Photoshop,
| | 00:07 | and then come back to Bridge, and you
are going to bounce back and forth
| | 00:11 | between Bridge and Photoshop quite a bit.
| | 00:14 | Well, Adobe paid attention to this problem
and in the last version of Photoshop
| | 00:19 | they introduced something
which was called Mini Bridge.
| | 00:21 | Now, Mini Bridge was interesting in the
last version, but it's much better now,
| | 00:26 | it's a bit more functional.
| | 00:27 | So let's take a look at how we can work
with our RAW files and how we can have
| | 00:31 | a good RAW workflow when working
with Mini Bridge inside of Photoshop.
| | 00:35 | To go back to Photoshop,
click on this boomerang icon here.
| | 00:39 | This will then take you to Photoshop.
| | 00:41 | Next, you can double-click the tab
for Mini Bridge in order to open it up.
| | 00:46 | Now, when you open up Mini Bridge, if
you don't see any of your images here,
| | 00:51 | all that you will want to do is go back
to Bridge here, click on and select
| | 00:56 | a photograph and then once again go
back to Photoshop and that will then
| | 01:00 | sync those two up so that you can see your
photographs that you were browsing inside
| | 01:05 | of Bridge, now in Mini Bridge.
| | 01:07 | Well, here in Mini Bridge you can
see that I have my RAW file which
| | 01:11 | I converted to black-and-white.
| | 01:12 | Well, I actually want to remove
that conversion, I don't like it.
| | 01:16 | How could I then open up this
image inside of Camera Raw?
| | 01:19 | Well, here I could either right-click
or Ctrl+click and then choose Open with
| | 01:24 | and then select Camera Raw.
| | 01:26 | In doing that it would launch Camera
Raw, hosted by Photoshop of course,
| | 01:30 | and then I can go ahead and remove that
desaturation so that I can bring back the
| | 01:35 | beautiful colors in this photograph.
| | 01:37 | Next, click Done in order to apply those
settings and to go back to Photoshop
| | 01:42 | and to view this file now in Mini Bridge.
| | 01:45 | Now, if this thumbnail is too small,
just hover over this dividing line here and
| | 01:50 | you can click-and-drag this up so
that you can then have a larger preview.
| | 01:53 | Well, how else can I open up my files?
| | 01:56 | Well, if we have a RAW file, you can
double-click that file and that will
| | 02:01 | also open it up inside of Camera Raw.
| | 02:03 | Here I'll click Cancel in
order to exit out of that.
| | 02:06 | What about a JPG file?
| | 02:08 | Let's say a JPG file which has
been already processed in Camera Raw.
| | 02:13 | Well, here it's going to tap into those
settings, which we already dialed in,
| | 02:17 | which said that if we have a JPG file
which has been processed in Camera Raw,
| | 02:22 | if we double-click it, well,
reopen it in Camera Raw.
| | 02:25 | So here we can double-click that JPG
and then it will open up in Camera Raw,
| | 02:30 | because we've already applied
a few settings with Camera Raw.
| | 02:34 | Next, let's click Cancel.
| | 02:36 | The last way we can do this of course
is you can right-click or Ctrl+click
| | 02:40 | and choose Open with and then select the
application, in this case Camera Raw,
| | 02:44 | in order to open up these files, whether
they are TIF or JPG files, we can use
| | 02:48 | this technique so that we can
then open those up in Camera Raw.
| | 02:52 | Now, as you work with Mini Bridge, eventually
what you will want to do is go back to Bridge.
| | 02:57 | One really quick way to do that is
to click on this Bridge icon here.
| | 03:01 | By doing that, it will then take you
back to Bridge and it will highlight
| | 03:05 | or target whatever image you
had selected in Mini Bridge.
| | Collapse this transcript |
| Resizing in Camera Raw with workflow options| 00:00 | In this movie we'll be working with this
RAW file, let's go ahead and open it up
| | 00:04 | in Camera Raw, press Cmd+R on a Mac
or Ctrl+R on Windows to do so.
| | 00:09 | Next, now let's press F
to go to Full Screen Mode.
| | 00:12 | In this movie what I want to focus in
on is our Workflow Options down below.
| | 00:17 | And the reason why I want to do that is
because we know that our workflow starts
| | 00:21 | off in Bridge, we then go to Camera Raw,
and then to open an image up
| | 00:26 | in Photoshop we just click Open Image.
| | 00:28 | Yet, before we do that, if we click
on this link here, it will open up
| | 00:33 | these Workflow Options.
| | 00:35 | These options will control how this
file is resized or sent to Photoshop.
| | 00:41 | In the first pull-down menu
we can choose our Color Space.
| | 00:45 | Here we can choose Adobe RGB (1998),
or if we want a Color Space with an even
| | 00:51 | wider gamut, we could choose ProPhoto.
| | 00:53 | We could also control our Bit Depth.
| | 00:56 | Rather than 8 Bits/Channel,
we could choose 16 Bits/Channel.
| | 01:00 | Now, why might you want a larger
Color Space or a higher Bit Depth?
| | 01:04 | Well, you might want this so that you have
more data to work with once you get to Photoshop.
| | 01:10 | Another thing that you can do is
change the size of this RAW file.
| | 01:14 | All files that we capture on our
cameras have a native file size.
| | 01:18 | This file size is determined
by our camera's sensor.
| | 01:21 | If we click on this menu, you can see that
this is the native file size for this image.
| | 01:26 | We can either increase that by resampling
this up or we can decrease that.
| | 01:32 | And what's interesting about these sizes
is that this will change how we'll
| | 01:36 | process our image, it also obviously will
change how we'll send this image to Photoshop.
| | 01:41 | Let me show you what I mean.
| | 01:42 | Well, here let's leave this in the
native file size settings and click OK.
| | 01:47 | Next, I am going to go to my Zoom pull-down
menu and here I am going to choose 100%.
| | 01:50 | Once I have zoomed into 100%, I'll press
the Spacebar key to temporarily access
| | 01:57 | the Hand tool, and then I'll click-
and-drag to reposition so I can see
| | 02:01 | my daughter's big blue eyes there.
| | 02:03 | Well, here is the image in a 1:1, 100% view.
| | 02:07 | Yet, if we go back to those Workflow
Options and if we change our image size,
| | 02:13 | let's say that we know that this
image is going to be viewed on a tablet
| | 02:17 | or mobile phone or maybe online,
well, we may decide to resize it.
| | 02:21 | When we choose that new size and then
click OK, well, it will then change what
| | 02:26 | our 100% or our 1:1 view is.
| | 02:30 | Now, this is the detail that
everyone will see in the photograph.
| | 02:34 | And by changing this perspective, it
then may modify how we sharpen or reduce
| | 02:40 | the noise with this photograph.
| | 02:41 | It also may lead us to
making other changes as well.
| | 02:45 | So as you work on your photographs,
before you even get to Photoshop, you will
| | 02:49 | want to click on your Workflow Options
and choose the sizing option which will
| | 02:53 | work best for your own workflow.
| | 02:56 | Next, we have some controls for Resolution.
| | 02:58 | Here we can dial in a specific Resolution.
| | 03:01 | We can change that by simply typing.
| | 03:03 | And then we have some Sharpening options.
| | 03:05 | If you click on this pull-down menu,
you notice you have Sharpen For Screen,
| | 03:10 | Glossy, or Matte Paper.
| | 03:11 | Now, all of this sharpening,
it's called input sharpening.
| | 03:15 | This is the sharpening that you do when
you're really starting off to work on your file.
| | 03:19 | At the end of your workflow in
Photoshop you'll do something which
| | 03:22 | is called output sharpening.
| | 03:24 | Yet, before you even get to that step,
in order to get this file to Photoshop
| | 03:29 | so that it looks good, you want to choose
one of these options, and when you choose
| | 03:33 | an option, you notice that
you have different Amounts.
| | 03:36 | Typically, Standard will work best.
| | 03:38 | Now, while these controls seem a little
bit limited, don't underestimate their power.
| | 03:44 | They actually perform a really
good and clean amount of sharpening.
| | 03:48 | This isn't going to be over the top,
rather it's going to get your image to
| | 03:52 | a good starting point so that you can
then further sharpen or work on that
| | 03:56 | photograph in Photoshop. All right!
| | 03:57 | Well, next we have an option for Open
in Photoshop as Smart Objects, we are
| | 04:02 | going to talk about that in another movie,
so here I'll go ahead and skip that option.
| | 04:06 | Next, I am going to click OK in
order to apply all of those settings.
| | 04:11 | After having done that, we can click Open Image.
| | 04:14 | This will then open this file with all
of these settings straight into Photoshop.
| | 04:19 | Now that this file is open in Photoshop,
I am going to double-click the tab
| | 04:23 | for Mini Bridge to close that, and then
I'll zoom in on the image a little bit
| | 04:26 | by pressing Cmd++ on a Mac
or Ctrl++ on Windows.
| | 04:30 | If we navigate to our image and then
Image Size dialog, what we'll see here
| | 04:35 | is that we have this file based on
these pixel dimensions and also the
| | 04:39 | resolution that we defined.
| | 04:41 | We'll also see that this file has
that new Color Space, that ProPhoto
| | 04:46 | Color Space and it has 16 Bits/Channel.
| | 04:49 | In other words, all of the Workflow
Options that we selected are applied
| | 04:53 | to the image as it is being sent to
and then opened in Photoshop.
| | 04:57 | If ever we want to change something, well,
we can always go back to Bridge here,
| | 05:01 | I'll reopen this file by double-
clicking it, and then here I'll click on
| | 05:05 | my Workflow Options and do something which
is a little bit more straightforward or
| | 05:09 | maybe a little bit easier to work with,
Adobe RGB and 8 Bits/Channel, and here
| | 05:14 | I'll click OK to apply those
settings and then I'll click Open Image.
| | 05:19 | In doing this I'm now going to have two images
open and I just want to compare these two.
| | 05:25 | Here you can see that this one has
8 Bits/Channel, the other one 16.
| | 05:30 | Down below we can see that this document
is about 36 megs, the first one, well,
| | 05:35 | that's about 70 megs.
| | 05:37 | In other words, those Workflow Options
directly control or affect how much
| | 05:42 | data we have to work with.
| | 05:44 | So then what Workflow Options are best?
| | 05:46 | Well, that's obviously
up to your own preference.
| | 05:49 | So let's quickly jump back to Browse in
Bridge and then let's double-click this
| | 05:53 | image to open this up and then
re-open these Workflow Options.
| | 05:58 | Typically, the default settings of
Adobe RGB (1998), 8 Bits/Channel,
| | 06:04 | the native file size, and a Resolution
of 240, will really work well for
| | 06:08 | most people, in most situations.
| | 06:10 | That being said, in my own workflow, I
use the Color Space of ProPhoto and the
| | 06:16 | Bit Depth of 16 when I'm working on
those really important photographs, when I
| | 06:20 | want to have all of that extra detail and data.
| | 06:23 | And then once again in closing, what I
want to do here is show you the different
| | 06:28 | options that you have so that you can
choose those options which will work
| | 06:32 | best for your own workflow.
| | Collapse this transcript |
| Opening an image as a Smart Object| 00:00 | One of the ways that you can open up
your images when using Adobe Camera Raw
| | 00:05 | is you can open it up as a Smart Object.
| | 00:07 | Smart Objects give you a lot of
flexibility and you can use this technique
| | 00:12 | whether you're working with the native
RAW file, DNG, JPG, or TIF formats.
| | 00:18 | Let's go ahead and take a look at how
we can open our images as Smart Objects.
| | 00:22 | I'll select this photograph here,
then press Cmd+R on a Mac or Ctrl+R on
| | 00:26 | Windows to open this one up
inside of Adobe Camera Raw.
| | 00:31 | Next, if you click on the Workflow Options
link here, you notice that we have
| | 00:35 | this option at the bottom, which I
mentioned previously, which is to
| | 00:39 | Open in Photoshop as Smart Objects.
| | 00:41 | Now, if you turn this option on, every
time you open up a RAW file, it will open
| | 00:47 | into Photoshop as a Smart Object.
| | 00:50 | I don't recommend this, because while
Smart Objects are flexible, they do add
| | 00:54 | extra file size to your documents.
| | 00:57 | So what I recommend you do is turn that
option off and then go ahead and click OK,
| | 01:01 | and then when you want to open up an
image as a Smart Object, just hold down
| | 01:07 | the Shift key, then you notice
it changes this Open button.
| | 01:11 | Now the Open button reads Open Object,
so if you Shift+click that button, here
| | 01:16 | you can see we have this image
open inside of Photoshop.
| | 01:19 | Well, what's the big deal
and what's the difference?
| | 01:22 | Well, you'll notice now that the difference
is the layer, it's unlocked and
| | 01:27 | it has this little icon next to it.
| | 01:30 | Let me right-click or Ctrl+click in this
Layers panel and make that a little bit
| | 01:34 | bigger so you can see that better.
| | 01:36 | Again, we have this Smart
Object icon on this layer.
| | 01:40 | And why that's helpful is, let's say
that we process this image by creating a
| | 01:44 | black-and-white Adjustment Layer.
| | 01:46 | Then we decide that we want to brighten
the eyes here a little bit and we also
| | 01:50 | may want to darken the background, and
as I make these little subtle changes,
| | 01:53 | I start to just look at how I can
change the photograph and I realized, oh,
| | 01:58 | I completely forgot to reduce the noise
in Adobe Camera Raw, if only I could go
| | 02:04 | back to Camera Raw.
| | 02:05 | Well, with the Smart Object you can.
| | 02:08 | And to reopen Camera Raw, well, you can
just double-click on this little icon here,
| | 02:13 | that will then relaunch Camera Raw,
you could go to the panel that you
| | 02:18 | want to work on, perhaps the Detail
panel, we could reduce some of the Noise
| | 02:22 | here in this file, and then we could apply
those settings by simply clicking OK.
| | 02:28 | Once you click OK, it will then update the file.
| | 02:31 | And I think it will be kind of tricky
to see when these movies get small,
| | 02:35 | but this file now looks so much better
because I went back to Camera Raw.
| | 02:41 | So Smart Objects, they have this
built in connection to that RAW processing
| | 02:46 | engine, and this is true whether
you're working with native RAW files,
| | 02:50 | DNGs, JPGs, or TIFs.
| | 02:53 | So as you can see, opening your files
this way will add just that extra bit
| | 02:58 | of flexibility, which in certain
situations can really help out.
| | Collapse this transcript |
| Saving from Camera Raw| 00:00 | As you start working with Adobe Camera Raw,
you'll soon discover that there will be
| | 00:04 | times when you're working on one or
more photographs and you'll want to save
| | 00:08 | those images out in a different file format.
| | 00:11 | Well, let's take a look
at how we can do that here.
| | 00:13 | We will go ahead and open up this image by
pressing Cmd+R on a Mac or Ctrl+R on Windows.
| | 00:20 | In order to save this file out in a new way,
we can click on this Save Image button.
| | 00:25 | And let's say that what we want to do is
we want to save this file as a smaller JPG.
| | 00:29 | In order to do that we
will go through these options.
| | 00:32 | We will Save this in the Same Location.
| | 00:34 | We can change the Document Name if we
want to by clicking on this menu here.
| | 00:38 | I will leave the name just as is.
| | 00:41 | Next, if we go down to Format, rather
than Digital Negative, I am going to
| | 00:45 | choose JPG, TIF, or Photoshop.
| | 00:48 | Let's go ahead and choose JPG.
| | 00:50 | In doing that I can choose to include
certain Metadata, perhaps just like the
| | 00:54 | Copyright, but let's say if our intent
is to perhaps send or give this image to
| | 00:59 | a client or a friend.
| | 01:01 | Next, we have Quality setting, we can
choose that from clicking on this menu
| | 01:05 | or just by typing in a number. All right!
| | 01:07 | Well, if I go ahead and click Save
right now, what would happen is it would
| | 01:12 | create a JPG, but it would create
a really gigantic JPG. Why is that?
| | 01:17 | Well, it's going to use whatever image
size we dialed in, in our Workflow Options.
| | 01:23 | There is no way to change that here.
| | 01:25 | So if we want to create a smaller JPG
before we go to Save Options, what we
| | 01:30 | need to do is go back to our Workflow Options.
| | 01:33 | Inside of Workflow Options we can then choose
to resize the photograph. Next, click OK.
| | 01:40 | And then now when we go to save image
and we select the option for JPG, what it
| | 01:45 | will do is it will create that JPG at
those Workflow Options settings which we
| | 01:49 | dialed in previously. All right!
| | 01:51 | Well, let's go ahead and save this file out.
| | 01:54 | Here we will click Save, and then we'll
click Cancel or Done in order to exit Camera Raw.
| | 02:00 | Back inside of Bridge we can scroll down,
and if we click on this new JPG file,
| | 02:05 | what you'll see in our Metadata panel
here is that this file was saved out at
| | 02:10 | these dimensions, it's now much smaller,
and it's now obviously a JPG file.
| | 02:15 | So as you can see, you can use your
Workflow Options and also that Save button
| | 02:20 | to save your files out in different
file sizes and also in different file formats.
| | 02:26 | Now, the last thing that I want to
highlight here before we wrap things up
| | 02:30 | is that your Workflow Options have built-in memory.
| | 02:33 | In other words, if we go back to this
file and reopen Camera Raw by pressing
| | 02:38 | Cmd+R or Ctrl+R, you notice
that it will remember the last Workflow
| | 02:42 | Options that we dialed in.
| | 02:45 | You just want to pay attention to that.
| | 02:47 | Here I don't want to size down all of
my files while I'm working in Camera Raw.
| | 02:51 | So I need to take this back to
that default or native size there.
| | 02:55 | And then by doing that, Camera Raw will
remember that, therefore when we open up
| | 03:00 | our next image or images, those will
then come in at this particular size.
| | 03:06 | So just know that, that these Workflow options,
they have some built-in memory. All right!
| | 03:10 | Well, after having made that adjustment,
let's go ahead and click Done in order
| | 03:14 | to navigate back to the Bridge.
| | Collapse this transcript |
| Creating a duplicate file| 00:00 | In a way you can think of this movie
as a little bit of a bonus tip, because
| | 00:05 | here I want to show you how you can
duplicate one of your images so that you
| | 00:09 | can even have more flexibility when opening
your files and working on them in Camera Raw.
| | 00:14 | The way that you can do this is in Adobe Bridge,
navigate to a photograph and click on it.
| | 00:19 | And then if you right-click or Ctrl+click,
you'll see this contextual menu,
| | 00:24 | which gives you a lot of different options.
| | 00:26 | One of the options is Duplicate.
| | 00:29 | If you select that, it will then create
a duplicate version of this file inside
| | 00:33 | of this folder here.
| | 00:35 | Next, I am going to go the View
pull-down menu and then select Sort,
| | 00:39 | and I want to Sort these files By Filename,
in doing that I will then see these two
| | 00:44 | images side-by-side.
| | 00:46 | Well, here is the original file, and
then here's a duplicate version or
| | 00:50 | the copy version of that RAW file.
| | 00:52 | Now, what it has done here is it has
taken this file and all of the RAW settings
| | 00:56 | and it has completely
doubled that up or duplicated that.
| | 01:00 | In this way I now have two versions of the file.
| | 01:03 | Now, the upside of this is that I can then open
up this file and process it, and let's do that.
| | 01:09 | Here I will press Cmd+R on a Mac or
Ctrl+R on Windows and I am just going to
| | 01:13 | desaturate this photograph and perhaps
add a little bit of Clarity and Contrast
| | 01:18 | and modify this black-and-white
version here just a bit.
| | 01:21 | Next, after having done that, I'll
go ahead and click Done
| | 01:25 | in order to apply those settings.
| | 01:27 | So in this way you can see that I have two
different and distinct versions of the same image.
| | 01:33 | Now, the downside of this of course
is that I've added extra file size.
| | 01:37 | I now have twice the file size.
| | 01:40 | Yet, sometimes when it comes to
experimenting, and when it comes to opening up
| | 01:44 | your files in Camera Raw, being able to
duplicate an image and then just process
| | 01:49 | it in a different way, can give you
insight into how you might want to
| | 01:54 | process or change your picture.
| | 01:55 | Last, but not least, what you might want
to do here is hold down the
| | 02:00 | Cmd keyon a Mac, Ctrl key on Windows
and then click on both images.
| | 02:04 | Next, you can resize that Preview
Panel so that you can see both of these
| | 02:08 | images side-by-side.
| | 02:10 | And again, sometimes this can help
you make some important corrective
| | 02:14 | or creative decisions about the way
that you might process your photographs.
| | Collapse this transcript |
|
|
6. Cropping, Composing, and Straightening ImagesRecomposing with the Crop tool| 00:00 | In one of my other lynda.com courses
titled Narrative Portraiture
| | 00:05 | I had the privilege of interviewing and
spending some time with a fascinating
| | 00:09 | and phenomenal photographer Rodney Smith.
| | 00:12 | One of the things that he said is that
composition to photography is kind of
| | 00:17 | like rhythm is to music.
| | 00:20 | And so here let's take a look at
how we can improve the rhythm or the
| | 00:24 | composition in our photographs.
| | 00:25 | We will start off with this picture here,
let's go ahead and double-click it
| | 00:30 | in order to open it up in Camera Raw.
| | 00:32 | I really liked the simplicity of this
picture, I like their expressions,
| | 00:37 | it's natural, it's authentic.
| | 00:39 | Yet the rhythm is just a little bit off
because there is a subject looking into
| | 00:44 | the frame in the background.
| | 00:46 | What I need to do here is I need to
simplify this photograph and so often
| | 00:51 | when we use a Crop tool we think about
cropping perhaps in a functional way.
| | 00:56 | What I want you to do is to start
thinking about how you can use this tool
| | 01:00 | in artistic ways. How can you use is to
improve perhaps the cadence or the rhythm
| | 01:05 | or the music of your photographs?
| | 01:07 | Well to work with this tool you can press
the C key or you can click on the tool there.
| | 01:13 | Then you can go ahead and click-and-drag
across your photograph, once you let go
| | 01:18 | you'll notice you have these little handles.
| | 01:20 | If you want to constrain the proportions
we will hold down the Shift key
| | 01:25 | and then click on one of those corner points.
| | 01:27 | In doing that you can see I can
constrain the original aspect ratio.
| | 01:32 | On the other hand if you know that
you're going to make a print a specific size
| | 01:36 | maybe you want to make a 5x7 inch print.
| | 01:40 | To do that or to create a crop like that,
click on the Crop tool and then go to Custom.
| | 01:45 | In this Custom dialog what we can do
is rather than choose Ratio I'll go to
| | 01:50 | Inches, what I want to create is one that is
7 inches wide by 5 inches tall and then click OK.
| | 01:57 | Well now this custom crop it will be
limited to that particular size, it will
| | 02:02 | also resize my image for me so that if
I were to open this in Photoshop it would
| | 02:07 | come into Photoshop as a 7x5 inch image.
| | 02:11 | You can also hover over the corner
points and you can click-and-drag these to
| | 02:15 | change the overall angle of the crop as well.
| | 02:18 | To see how this crop looks, you can
double-click inside of the crop area
| | 02:22 | or you can press Enter or Return.
| | 02:25 | Now if you don't quite like what you've
done, just press the C key
| | 02:30 | or click on the Crop tool again and
it will change your view here
| | 02:34 | and then we can recompose this image.
| | 02:36 | Once again press Enter or
Return in order to apply that.
| | 02:39 | Well now that I've changed the
composition of this photograph
| | 02:43 | I'm really liking it much more.
| | 02:46 | The next step is to go ahead and click
the Done button, that will then apply
| | 02:50 | that new crop to your photograph.
| | 02:52 | And you'll see that updated in
your thumbnail and also in
| | 02:56 | your Preview panel inside of Bridge.
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| Clarifying your voice by cropping| 00:00 | There really is an art and a craft
to creating a well composed photograph.
| | 00:05 | Whether that means we're composing on
camera, which ideally we do, or if we
| | 00:10 | didn't quite nail it and we have to do
this after the fact, say with the Crop tool.
| | 00:15 | Well, because of that let's take a look
at a few more images, and let's explore
| | 00:19 | how we can clarify our voice and our vision
for our pictures by using the Crop tool.
| | 00:24 | We'll be working the two photographs.
| | 00:26 | So let's click on this one, then hold
down Cmd on a Mac, Ctrl on Windows
| | 00:31 | and click on this other picture, and
then let's open both of these images
| | 00:35 | into Camera Raw, by pressing Cmd+R
on a Mac or Ctrl+R on Windows.
| | 00:40 | With this first photograph here the
intent was to show these leading lines
| | 00:45 | and the train in the background.
| | 00:46 | And I did feel like it's a little bit
too open, it's almost like I didn't quite
| | 00:51 | resolve this picture well.
| | 00:53 | In order to change that let's select
the Crop tool, or by pressing the C Key.
| | 00:58 | Here we'll go ahead and click on the
Crop tool and hold down and then choose
| | 01:02 | Normal, that way we can create our own crop.
| | 01:05 | We'll click and drag across the image, hold
down the Shift key and just bring this in.
| | 01:11 | Next what I want do is I'm going to bring
up the bottom of this crop here, and
| | 01:15 | I notice that there's a little bit of a tilt.
| | 01:18 | There are a number of different
ways that we can correct this.
| | 01:20 | One technique you can use is you can look
for elements in your image that should be
| | 01:24 | straight, and then you can just rotate
by hovering over one of those corner points,
| | 01:28 | and then changing the crop there.
| | 01:31 | Next let's press Enter or Return.
| | 01:34 | Now in doing that it really brought our
subject a little bit more further forward.
| | 01:38 | There is less space up top.
| | 01:40 | Press the C Key again in order to access
the Crop tool, and here I'm just going
| | 01:44 | to go ahead and bring this in a little
bit tighter and push him a little bit
| | 01:48 | off to the edge of the frame,
and then press Enter or Return.
| | 01:52 | Now he's anchored on the left of
the frame, looking towards the right.
| | 01:56 | Really this changed the overall
kind of feel of this image.
| | 02:00 | Let's look at another example.
| | 02:02 | Here we'll click on this photograph
and if we're comparing this picture
| | 02:06 | to music, one of the things that I feel
here, it's almost like this note was
| | 02:10 | just held too long.
| | 02:12 | There's too much space in the top of the image.
| | 02:15 | So again, we'll grab the Crop tool by
clicking on it or by pressing the C Key,
| | 02:20 | click and drag across and then I'll
go ahead and just bring this way down.
| | 02:25 | I'm going to make this much tighter and then
press Enter or Return in order to apply that.
| | 02:31 | Now this picture is more about the
subject and less about the background.
| | 02:36 | You can make more direct eye contact with
the subject, rather than looking down.
| | 02:41 | It's almost like you're looking
straight towards him.
| | 02:44 | The reason why I showed you these two
examples is because that is one of the
| | 02:49 | things that is so common
with beginning photographers.
| | 02:52 | Typically, we're too far away.
| | 02:54 | We have too much open, and by bringing
our crop in a bit more,
| | 03:00 | whether on camera or after the fact,
sometimes can help us clarify our voice.
| | 03:03 | Now it doesn't mean that all photographs
need to be cropped this way.
| | 03:07 | We'll look at one later in this chapter,
where we're going to do the exact opposite,
| | 03:11 | and I hope that this will get you
thinking about how you can crop
| | 03:15 | your photographs in a way that improves
your photograph's overall impact.
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| Straightening and cropping| 00:00 | Let's take a look at how we can use the
Crop tool to not only crop
| | 00:05 | but to also straighten our photographs.
| | 00:07 | We'll be working with a few different
images so that we can see how this works
| | 00:10 | in different scenarios.
| | 00:12 | Hold down the Cmd key on a Mac,
Ctrl key on Windows and click on these
| | 00:16 | images, then press Cmd+R or Ctrl+R
to open these photos up in Camera Raw.
| | 00:22 | And what I need to do is to
straighten this picture out.
| | 00:26 | One way that we can do that is you
can click on the Straighten tool.
| | 00:29 | Next you can go ahead and position
this over your image and click-and-drag
| | 00:33 | along something that should be straight
like in this case this railroad tie right here.
| | 00:39 | Once you let go of that it will
then create a crop which will then
| | 00:43 | straighten that out.
| | 00:44 | To apply the crop, just press Enter or Return.
| | 00:47 | Now in doing that with this picture,
I can see that this is going to help,
| | 00:52 | but now it looks like the subject is
leaning a little bit too far to the right.
| | 00:57 | Press the C key to reactivate the Crop tool.
| | 01:00 | So here what I'll do is I'll go ahead
and change the crop a little bit
| | 01:03 | and then I'll click and drag this to
reposition that and then press Enter or Return.
| | 01:08 | And now this photograph, well, I think
it's much stronger, it's a bit
| | 01:12 | more about the surfboard in the foreground and
then the professional surfer in the background.
| | 01:17 | Let's take a look at another example.
| | 01:20 | Here is a portrait that I captured a
few years ago of Russell Brown
| | 01:24 | who is the Senior Creative Director at Adobe
and this time what I am going to do is
| | 01:28 | I'm going to select the Crop tool.
| | 01:30 | Rather than straightening with the
Straighten tool, I'll access the Crop tool,
| | 01:35 | then hold down Cmd on a Mac, Ctrl on
Windows and you can see it gives me access
| | 01:41 | to the Straighten tool so I don't have to
click on it, I can just use my Crop tool.
| | 01:46 | Then let go, once again it will create
this crop for you or it will then
| | 01:50 | give you the ability to customize that,
press Enter or Return and that
| | 01:54 | will straighten out this photograph.
| | 01:57 | Let's look at one more example here.
| | 01:59 | This time we'll go to this photograph
and so far we've looked at how we can
| | 02:03 | use the Straighten tool or the Crop tool and
how we can click-and-drag along a horizontal line.
| | 02:10 | We can also do this on vertical lines as well.
| | 02:13 | Here I'll hold down Cmd or Ctrl
while I'm using the Crop tool,
| | 02:19 | then I'll click-and-drag along a line
that I think should be straight.
| | 02:22 | Next, let go and here it
will create that crop for me.
| | 02:26 | In this case, when we press Enter or Return,
you can see that what it did is it
| | 02:31 | straightened out the center line.
| | 02:34 | So again these techniques work whether
we are looking to straighten something
| | 02:38 | horizontally or vertically.
| | 02:41 | If ever we want to make any changes to
a photograph well, we can just reselect
| | 02:46 | the Crop tool and then we can customize
that and then just press Enter or Return
| | 02:51 | in order to apply those changes that we've made.
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| Cropping creatively| 00:00 | Last, but not least I want to take a
look at how we can use the Crop tool
| | 00:04 | in order to come up with some creative results.
| | 00:07 | We'll be working with this photograph
here, press Cmd+R or Ctrl+R
| | 00:12 | to open it up in Camera Raw.
| | 00:14 | This particular movie comes from a
real-world scenario. I just gotten
| | 00:19 | a new pocket camera and this was one of the
first pictures that I took with that camera.
| | 00:24 | When I opened it up, I converted it
to black-and-white as you can see,
| | 00:29 | but I just didn't like the composition.
| | 00:31 | Well, what can I do?
| | 00:33 | I selected the Crop tool and then
I extended this over the image and
| | 00:37 | then just started to bring this up.
| | 00:38 | I need to remove some of the other elements.
| | 00:41 | But that wasn't enough.
| | 00:43 | And I kept tightening this up, bringing
it in closer-and-closer until I had this
| | 00:47 | really tight crop, yet it was also really tall.
| | 00:51 | Press Enter or Return to apply
that and you can see the photograph.
| | 00:55 | This creates kind of this off-balanced feel.
And by doing that it made me realize
| | 01:01 | that I like this photograph, I like
the expression, I just had too much there.
| | 01:06 | After having made a creative crop, you
also might want to change the overall
| | 01:11 | processing of the photograph like with this one.
| | 01:13 | Those blacks need to become deeper
so that this is a really stark
| | 01:18 | graphic type of a photograph.
| | 01:20 | Next, the other thing that you might
want to do as you experiment with cropping
| | 01:24 | is you might want to experiment
with rotating your image.
| | 01:27 | Perhaps what you could do is hover over
a corner point and rotate it one way
| | 01:31 | and then press Enter or Return.
| | 01:33 | Here you can see I've just shifted that axis.
| | 01:37 | What this can do for you is not only
affect your final output, but it also
| | 01:43 | can change the way that you actually shoot
pictures and so as you seek to integrate
| | 01:48 | the Crop tool into your own workflow,
what I encourage you to do is of course,
| | 01:52 | use this tool in a functional way.
| | 01:54 | But also don't hold back from using
it artistically and creatively as well.
| | 02:00 | This tool can teach you a lot
and also it can help you
| | 02:05 | to become a better photographer.
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|
|
7. Improving Color with White BalanceImproving color balance| 00:00 | When working with Camera Raw, typically
one of our first steps in our workflow
| | 00:05 | is to modify the color temperature
or to white balance the image.
| | 00:09 | So let's take a look at how
we can start to do that here.
| | 00:13 | First what I am going to do is select
this little demo file, then press the
| | 00:16 | Spacebar key to open it up to Full Screen Mode.
| | 00:19 | We all intuitively know that there
are different color temperatures.
| | 00:23 | There is that color temperature which
is really cool, that certain time of day.
| | 00:28 | Then other times of day or other types
of light that are really warm, maybe like
| | 00:32 | candlelight, and the difference between
candlelight and on camera flash, well,
| | 00:37 | it's really dramatic.
| | 00:38 | And so in Adobe Camera Raw sometimes
we are interested in correcting
| | 00:43 | our photographs so that the color
temperature is correct and accurate.
| | 00:46 | Other times we may want to just make
some subjective adjustments to the overall
| | 00:51 | color of the photograph. All right!
| | 00:53 | Well, let's take a look at how we can do this.
| | 00:55 | Press the Spacebar key there
to exit that Full Screen Mode.
| | 00:58 | Next, let's click on this image,
hold down Cmd or Ctrl and then
| | 01:02 | click on another photograph.
| | 01:04 | Let's open both of these in Camera Raw by
pressing Cmd+R in a Mac or Ctrl+R on Windows.
| | 01:11 | Now that this is open inside of Camera Raw,
what I am going to do is I am going
| | 01:14 | to use a tool which is
called the White Balance tool.
| | 01:18 | You can select it by pressing the I key
or by clicking on it here in the Tools panel.
| | 01:23 | Next, with this photograph, I know
that this camera was black, so I'm going
| | 01:28 | to click on it, and by doing that you can
see that it's color corrected this photograph.
| | 01:32 | If we click on our Preview icon, you can
see that before and then now our after.
| | 01:37 | If you're watching closely you may
have noticed that it moved our
| | 01:41 | Temperature and Tint sliders and it
moved those to the right.
| | 01:45 | We can also back this off if we
want a little bit of a cooler look
| | 01:48 | by clicking-and-dragging these
off to the left here a bit.
| | 01:51 | In doing that we've changed the overall
color characteristics of this file and
| | 01:56 | you know sometimes the White Balance tool,
it works perfectly, it nails it.
| | 02:00 | In other situations say like with this
photograph here it won't work so well.
| | 02:05 | Let's say that we decide to click on
one of these black squares on this shirt.
| | 02:09 | Well, in doing that, the photograph,
it looks really yellow and green.
| | 02:14 | This just doesn't work.
| | 02:16 | So I'll press Cmd+Z on a Mac
or Ctrl+Z on Windows to undo that.
| | 02:21 | This time I am going to watch
my Temperature and Tint sliders.
| | 02:24 | Really pay attention to those.
| | 02:26 | As I click, you can see that it brought
in more green and also more yellow.
| | 02:30 | Well, now that I've seen that I want to
go ahead and take out some of that green.
| | 02:35 | I also want to decrease the yellow here.
| | 02:38 | I'm just going to make a
subjective color adjustment.
| | 02:41 | I'll press the P key to look at my
before-and-after, and again I'm going
| | 02:45 | for something which is a bit more subtle.
| | 02:47 | We can click on that preview
to see that before-and-after.
| | 02:50 | We have removed that slight color shift.
| | 02:53 | Now the other thing that I have to
point out is that if you're working with
| | 02:56 | your Temperature and Tint sliders, this will
also affect your work with other sliders as well.
| | 03:02 | For example, here we have this really warm image.
| | 03:06 | Yet if I change my Exposure, well,
that warmth is going to appear differently
| | 03:10 | based on the overall exposure in the image.
| | 03:13 | When it becomes overexposed,
it looks kind of orange.
| | 03:16 | When it becomes under, it looks a
little bit more like a dark yellow.
| | 03:20 | So as you seek to color-correct your
photograph, often you'll start up here.
| | 03:24 | You'll make some adjustments, but
then maybe you'll add some contrast
| | 03:28 | or desaturate the photograph a little
bit or add a little bit of clarity.
| | 03:32 | In doing that, now the
color doesn't look correct.
| | 03:36 | So you may need to go back to these sliders,
and here I am just going to boost up
| | 03:39 | the yellows a little bit and also
add a little bit of warmth there with
| | 03:42 | the magentas as well, just see if I can
bring back some of that warm tone there.
| | 03:47 | And here you can see how these controls,
well they really all work together.
| | 03:51 | And sometimes it's about
getting that accurate color.
| | 03:55 | Other times perhaps it's about creating
a certain mood or aesthetic like with
| | 03:59 | this photograph here that has this
kind of vintage type of a feel to it.
| | 04:03 | Click on the Preview icon, you can
see that before and then now the after.
| | 04:08 | So whether or not you're trying to creatively
modify color or like in this scenario,
| | 04:12 | correct the color, so that it's
accurate as we can see with this one,
| | 04:17 | we can use these techniques
to accomplish either task.
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| Color correcting with white balance cards| 00:00 | Now that we have a good working understanding
of some of the essentials when it comes to
| | 00:04 | Color Temperature and Color Correction, let's
go ahead and work on these two photographs.
| | 00:08 | Here we are going to take a look
at how we can work on these two
| | 00:12 | photographs and how we can color-correct
a picture which has something
| | 00:16 | which is neutral in it and then
how we can apply those settings
| | 00:20 | to another photograph that doesn't
have this Color Checker Chart in it.
| | 00:24 | So select both files by holding down
the Cmd key, then press Cmd+R in a Mac
| | 00:28 | or Ctrl+R in Windows to open
up these files in Camera Raw.
| | 00:33 | This little device is called the Color
Checker Chart, it's a phenomenal tool.
| | 00:37 | What you can do is you can take a
picture with the subject holding this.
| | 00:41 | In this case the subject, he just got
off this huge bike ride, it was raining,
| | 00:46 | and we're trying to capture an image
that had a bit of that essence.
| | 00:49 | So he held the Color Checker Chart
and all that we need to do is to
| | 00:54 | use our Eyedropper tool and to click on
something that we know is neutral.
| | 00:57 | In this case we can click on these little
color chips here that you can see in this chart.
| | 01:02 | Next after having applied that you can
choose Select All and then Synchronize.
| | 01:07 | In this way what we want to synchronize
is just the White Balance, so from the
| | 01:11 | Settings pull-down menu we'll choose
White Balance and then click OK.
| | 01:15 | In doing that we can then navigate to
the other photograph and you can see
| | 01:19 | that this one is now color correct.
| | 01:21 | Here it is, there is our before and then I'll
press the P key and then there is the after.
| | 01:27 | And by using this particular approach
what you can do, is you can use a neutral
| | 01:32 | reference card, say like this Color
Checker passport, you can take one picture
| | 01:38 | in a certain lighting scenario and
then you can Color Correct that image
| | 01:42 | and then apply the White Balance settings
to all of the other images that were
| | 01:45 | captured in those same lighting conditions.
| | Collapse this transcript |
| Using the White Balance tool and controls| 00:00 | In this movie our focus is creativity.
We're going to take a look at how we
| | 00:05 | can work with the White Balance and
Color Temperature controls as well as
| | 00:09 | some of our other basic adjustments in order
to come up with some creative color results.
| | 00:14 | We'll be working with these two files here,
so hold down the Cmd key on a Mac,
| | 00:18 | Ctrl key on Windows to select both files.
| | 00:21 | Next press Cmd+R or Ctrl+R to
open these files up in Camera Raw.
| | 00:25 | The first thing I want to do is to select
the White Balance tool, you know the
| | 00:30 | shortcut by now, right, it's the I key.
| | 00:32 | Well this is a picture that was drawn by
a local artist and it's a chalk drawing
| | 00:37 | that was done on the ground, it's
actually really huge and I want to use
| | 00:41 | the White Balance tool in order click
on one of the colors in this drawing.
| | 00:45 | In doing that, say, clicking in this
area here what's going to happen is,
| | 00:49 | it's going to change the overall color
characteristics of this project.
| | 00:53 | Well I think that's kind of interesting.
| | 00:55 | Next, I'm going to decrease my color
temperature, because I want a little bit
| | 00:59 | of that blue there, but just not quite so much.
| | 01:02 | Then I'm going to modify some
of my basic adjustment controls.
| | 01:06 | Here I'll increase the contrast,
deepen the shadows.
| | 01:10 | I'll also add quite a bit of Vibrance
and Color Saturation, again just looking
| | 01:15 | to try to create some interesting
and creative color results.
| | 01:18 | Now these results would have been impossible,
had I not used the White Balance tool
| | 01:23 | and my Temperature Slider, let's
take a look at the results here they are,
| | 01:28 | here is our before and now here's our after.
| | 01:31 | Now we'll be talking about all of
these basic controls later, yet here I just
| | 01:36 | wanted to highlight how we can start
to come up with some creative results
| | 01:40 | by working with these tools in
combination with some of our other controls.
| | 01:44 | All right, well let's next go to this
other photograph, this one here, this is a
| | 01:49 | picture that I captured a while ago,
I picked a dandelion off of the front lawn,
| | 01:54 | brought it into the kitchen and set
this on the stove, this was lit by those
| | 01:58 | lights at the top of the
stove and it has this yellow cast.
| | 02:02 | Well, if we click on something that's
yellow it's going to make that white and
| | 02:06 | it's going to affect the other colors.
| | 02:09 | Now once again what we can do here is
we can use these other controls to bring
| | 02:13 | out this color that we have here in this
photograph and here I'm modifying a few
| | 02:18 | of these sliders I modified my overall
exposure, contrast, deepened those blacks,
| | 02:24 | added some clarity and then why don't we
crank up our Vibrance and Saturation
| | 02:28 | as well in order to come up with
some really almost surreal colors.
| | 02:32 | The point here isn't that you're
going to necessarily use these type of
| | 02:35 | adjustments on all of your photographs,
rather it's to show you that we can start
| | 02:39 | off with an image like this and then
we can convert it to something else.
| | 02:43 | And now a photograph like this has to
do really well as a stock image or maybe
| | 02:48 | as an illustration which would compliment
an article, and by working with our
| | 02:52 | White Balance and our Color Temperature
sliders, well they can help us come up
| | 02:56 | with some really fascinating
and creative results.
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|
|
8. Using the Main Basic AdjustmentsDeconstructing the basic adjustments | 00:00 | As you've already started to discover
the Basic panel and the adjustments that
| | 00:04 | we have in this panel, well they are just magic.
| | 00:08 | This is where we can really make our
images come to life, whether we need
| | 00:12 | to make corrections or
enhancements to our photographs.
| | 00:15 | Before we actually start to take a look
at how we can use these controls, what
| | 00:19 | I want to do here in this movie is step
back for a moment and modify this demo
| | 00:23 | file that I have opened, so that we can
understand how these controls actually work.
| | 00:29 | Now the group of controls that we're
focusing in on is this middle group here.
| | 00:34 | You notice that at the top we have the
ability to add an Auto adjustment,
| | 00:38 | or we can use the Default settings.
| | 00:40 | At Default, all of these
controls are zeroed out.
| | 00:44 | Click and drag one to the left and it
becomes more dark, click and drag to the
| | 00:48 | right and it becomes brighter, and
this is true with all of the controls
| | 00:52 | except for Contrast.
| | 00:54 | To reset a control you can double-click
the tab and it will go back to that
| | 00:57 | default zero setting. All right!
| | 01:00 | Well, what about Auto?
| | 01:01 | We've already seen that we can turn
that on, by pressing Cmd+U on a Mac
| | 01:05 | or Ctrl+U on Windows, or we can just
click on this icon. In doing that the
| | 01:10 | difference between Auto and Default is
that Auto is trying to smooth out some
| | 01:15 | of the transitions a little bit.
| | 01:16 | You can see that the image
has a little bit less contrast.
| | 01:19 | It's bringing some light into the shadows.
| | 01:21 | Well how is it doing this?
| | 01:24 | Let's go back to Default and see
if we can understand the process.
| | 01:27 | Well, Exposure as I already
showed you, this is a really dramatic.
| | 01:31 | We can darken everything, or
we can brighten everything.
| | 01:35 | This slider here, it's incredibly powerful.
| | 01:37 | Therefore in a way, we need to be a
little bit careful with it,
| | 01:42 | because we can overdo it with this adjustment.
| | 01:44 | Next, we've Contrast.
| | 01:46 | Click and drag to the right and our whites
become whiter, our blacks become blacker.
| | 01:50 | We have increased contrast which in turn
will also increase color Saturation.
| | 01:55 | We'll see that later.
| | 01:56 | Click and drag to the left, where we have
less variation, it's a softer view here.
| | 02:01 | All right!
| | 02:01 | Well how else can we do this?
| | 02:03 | We can also work with these controls,
Highlights, Shadows, Whites, Blacks.
| | 02:08 | Notice that these controls are
really related to each other.
| | 02:11 | Highlights and Whites are really
similar, as are Shadows and Blacks.
| | 02:17 | Yet Whites and Blacks are a bit more
intense than our Highlights and say Shadows.
| | 02:22 | We can use the Highlight slider to
either brighten up the highlights,
| | 02:26 | you can see how it's focusing in on this
part of the grayscale here, or we can
| | 02:30 | recover highlight detail if we've over exposed
by clicking and dragging this to the left.
| | 02:36 | The same thing is true with our Shadows.
| | 02:37 | If we need to kind of boost the Shadows
as if we had a fill light or reflector,
| | 02:42 | we can do that by dragging to the right
or if we want to darken kind of those
| | 02:45 | mid-range shadows, those 3/4 Tones,
we can click and drag that down.
| | 02:50 | Our Whites give us a little bit more reach here.
| | 02:52 | You can see how I can brighten up those
Whites, where I also can darken those.
| | 02:55 | So again, this works a little bit more
broadly where Highlights really focuses
| | 02:59 | more on these brighter tones.
| | 03:02 | Next we have Blacks, those are our deep shadows,
we can darken them up or we can brighten them.
| | 03:07 | All right!
| | 03:07 | Well now that we've seen how we could
use these controls say on a demo file,
| | 03:11 | a grayscale document, let's explore how
we can start to use these controls
| | 03:16 | in some functional scenarios.
| | 03:18 | Let's say if we have a photograph
which is over- or under-exposed,
| | 03:23 | or maybe we have a few situations where
our exposure is good, it's just that
| | 03:27 | we want to make it even better.
| | 03:28 | Well let's take a look at how we can
do all of that in the next few movies.
| | Collapse this transcript |
| Correcting overexposure| 00:00 | One of the things that I've discovered
to be true in my own practice of photography
| | 00:04 | is that, there are moments where
you are just on, and everything
| | 00:09 | works out perfectly, and then there
are moments like this, where I completely
| | 00:15 | forgot to check my camera settings
before I captured this portrait.
| | 00:19 | Therefore, it's just completely over-exposed.
| | 00:23 | When I pulled up the image,
I was so disappointed.
| | 00:27 | Yet I wasn't disappointed to the point
of giving up, because I know
| | 00:32 | the power of Adobe Camera Raw.
| | 00:34 | So here with this picture, let's take a
look at how we can try to correct this
| | 00:38 | exposure, in order to save this image.
| | 00:41 | One of the first things that I'm going
to try to do, is to use my Exposure slider.
| | 00:46 | Here we'll click and drag this to the
left in order to decrease our Exposure.
| | 00:50 | Now in this case because this is the
full Raw image, we have a lot of data there.
| | 00:55 | And when it comes to exposure if
you accidentally over-expose, many times
| | 01:00 | you can recover a lot of this detail.
| | 01:03 | Already the picture is looking a ton better.
| | 01:06 | The next thing I want to do is
I want to work on my Highlights.
| | 01:09 | The Highlights we can see a little bit on
her cheeks right here, and also in the shirt.
| | 01:14 | Let me exaggerate this.
| | 01:16 | If we drag this to the right, you can
kind of see how I can either brighten or
| | 01:19 | darken these areas by dragging it to the
right or left, and what this will do is
| | 01:23 | it will just even things out a little bit.
| | 01:25 | So I'll go ahead and decrease that
Highlight value, darkening some of those
| | 01:29 | brighter tones, working on really
the brightest tones in the image.
| | 01:34 | Next after having done that, I'm going
to increase my Contrast a little bit
| | 01:38 | to create a bit of a mood here with this
photograph, and then, I'm going to
| | 01:42 | darken the Blacks, and I'm doing this
just because I like deep rich blacks.
| | 01:47 | Well after having done that, I need to
go back to my Exposure or maybe my Whites
| | 01:52 | because I've increased the overall density
in the file, and what you'll want to
| | 01:56 | do is kind of balance things out a little bit.
| | 01:59 | So as you make one adjustment,
you're going to then go and make
| | 02:02 | other adjustments, and it's almost
like all of these adjustments,
| | 02:05 | well they're interrelated.
| | 02:07 | That's why I spent time taking a look
at them in that previous movie, so that
| | 02:12 | we could see how we can work with
these different controls to specifically
| | 02:16 | modify one area of our image, yet at
the same time, each of these sliders, well,
| | 02:21 | they affect the overall image as well as
focusing in on one tonal area of our photograph.
| | 02:27 | Well now that we've made a few
simple adjustments, I feel so much better
| | 02:32 | about this portrait.
| | 02:33 | I think we've saved it. Let's take a look.
| | 02:36 | If we click on our Preview button, we
can see there is the before and then after
| | 02:40 | making a few simple adjustments here
we have the after, and thanks to
| | 02:46 | Adobe Camera Raw, this photograph is a
keeper in spite of my over-exposure mistake.
| | Collapse this transcript |
| Correcting underexposure| 00:00 | One of the reasons why I think photography
is so fascinating, because if you
| | 00:04 | get out into the world with your camera,
well, it really keeps you humble,
| | 00:08 | because it's difficult.
| | 00:10 | It's tricky to try to capture correct exposures.
| | 00:13 | Like with this picture here one of the
things that I knew I needed to do is to
| | 00:17 | try to have some detail in the sky, yet
in doing that the subject is well just
| | 00:22 | completely under-exposed.
| | 00:25 | So what I want to look at is how we can use our
basic panel controls in order to correct that.
| | 00:30 | One of the things that we
might try is the Exposure slider.
| | 00:33 | In doing that I can go ahead and brighten
the image, but then the rest of it,
| | 00:37 | well, I've lost all of this
detail on the surfboard and on the sky.
| | 00:41 | The Exposure slider here,
it's just too powerful.
| | 00:44 | What I really need to target
is I need to target my shadows.
| | 00:48 | So here I double-click the Exposure
slider control that then resets it to 0.
| | 00:53 | So let's go down to our Shadows slider, in
doing that I can start to boost those shadows.
| | 00:58 | You see how I'm bringing light
into that area of the picture?
| | 01:00 | So I'm going to bring in some shadow detail,
then I'll also bring in some exposure.
| | 01:06 | All right, well, now I'm getting a
little bit closer, yet as I do this,
| | 01:11 | I risk blowing out or losing detail
here in this part of the picture.
| | 01:14 | Well, that's where the
Highlights slider comes in.
| | 01:17 | Here we can click-and-drag this to the
left and what that will do is it will
| | 01:21 | help us recover detail in
that area of the photograph.
| | 01:24 | You can see how it's just
darkening up the tones in that area.
| | 01:27 | Now that we've done that I can also work
on my overall Whites, so this will just
| | 01:31 | kind of brighten the image up a little
bit and kind of give it a little bit of a
| | 01:35 | brightness boost, so there's a
higher luminosity level in this picture.
| | 01:39 | A lot of times I love these deep rich
blacks, but with this photograph I can't
| | 01:44 | afford to take that down anymore.
| | 01:46 | I'll bring in up just a bit and
then I'll increase my Contrast.
| | 01:50 | Next, after having made all of these
adjustments, I want to evaluate the
| | 01:55 | before-and-after, and then perhaps
modify a few of these adjustments.
| | 01:59 | Let's click on the Preview icon or
press the P key, here is our before and
| | 02:03 | now here's our after.
| | 02:05 | In doing that I'm so glad to see all of
this detail that's been brought into the
| | 02:09 | shadow areas, but I've decided that I
want to take that down just a little bit.
| | 02:14 | It's a little bit too strong for me, so
here I'm just going to bring this back a
| | 02:17 | little bit and also bring my shadows back.
| | 02:19 | I'm looking for that sweet spot
where I have a nice amount of detail
| | 02:23 | and brightness and light here,
so that the image doesn't look
| | 02:26 | contrived, but well-balanced.
| | 02:28 | Here I think that looks a little bit better,
it's a subtle change, but for me it kind of works.
| | 02:34 | If we press the P key, you can see
there is the before, press that again,
| | 02:38 | now here is the after.
| | 02:40 | And as you can see in this example and
in the previous example, we can use these
| | 02:45 | controls to target different areas of
our photograph and the more that we use
| | 02:50 | these basic controls, the more that
we'll be able to start to think about, well,
| | 02:53 | how can I approach this image, what's
the problem here, what slider can I use in
| | 02:58 | order to correct that?
| | 02:59 | Then as we make the correction, we
almost always want to go through the whole
| | 03:04 | gamut of these sliders, because
typically it's a combination of these different
| | 03:09 | adjustments together, which
leads to the best results.
| | Collapse this transcript |
| Making exposure enhancements| 00:00 | In some situations we'll use these basic
adjustments in order to really save the
| | 00:05 | day when we have
dramatic over- or under-exposure.
| | 00:09 | In other situations like with this picture
here, we have pretty decent exposure.
| | 00:15 | It's just that I need to make some subtle changes
to this photograph in order to improve it.
| | 00:20 | In particular I don't like the brightness
level on this side of the face,
| | 00:24 | and also on the sweater.
| | 00:25 | Well how could we start to use these controls
to improve say a photograph like this?
| | 00:30 | Well I'm going to start off by simply
decreasing my Exposure, just a little bit there.
| | 00:35 | In doing that, I can see I've just
dropped down the brightness of everything.
| | 00:39 | Next, I want to decrease my Contrast
because I don't like the difference between
| | 00:43 | the bright whites and
here in the darker shadows.
| | 00:46 | So to do that, I'm going to exaggerate first,
this won't look good, but hang on for a second.
| | 00:51 | When I remove the contrast altogether,
you can see that the image
| | 00:54 | has a much more even tone.
| | 00:56 | If we crank this way up, well the
colors become more saturated,
| | 01:00 | and also the tonal variety becomes exaggerated
as well, so rather than going that far, what
| | 01:05 | I'm going to do is slightly
decrease some of the contrast.
| | 01:08 | You typically don't want to remove too
much because the image can kind of
| | 01:11 | look a little pasty or flat.
| | 01:14 | Next I'm going to decrease my Highlights,
and I'm going to really go for it here.
| | 01:18 | By doing this, this will bring back in
some nice detail into these brighter whites.
| | 01:23 | Well the image is looking better
but it's still kind of lacking a few
| | 01:27 | important elements for me.
| | 01:28 | Let's go all the way down
the line with these controls.
| | 01:32 | With our Shadows I'm going to
bring some light into my shadows.
| | 01:35 | Again, that will help me
even things out a little bit.
| | 01:37 | Next for the Whites I'm going to decrease
this here, just a touch, and then
| | 01:41 | for my Blacks, I want to bring back some
of those really deep blacks that I lost
| | 01:45 | when I decrease the contrast.
| | 01:47 | And by dialing in my Density here or
my deep blacks with the Blacks slider,
| | 01:52 | I'm just focusing on those tones, whereas
Contrast focuses on Highlights and Shadows.
| | 01:58 | Now I'm just working on my Shadows,
because my Highlights,
| | 02:02 | well they're already too bright.
| | 02:03 | Well after having kind of walked through
these different adjustments and made
| | 02:07 | some adjustments which look
interesting to my eye, let's evaluate.
| | 02:11 | Let's take a look at this before-and-after.
| | 02:14 | Press the P Key or we can click on the
Preview button, here's before, a nice
| | 02:19 | portrait, good composition, here's after.
| | 02:22 | The tone is so much better, and after
having made this adjustment I may want to
| | 02:27 | just make a few other little slight adjustments.
| | 02:29 | I think I might brighten that up just a little
bit more there, and I think that looks great.
| | 02:34 | Again, here it is our
before, and then now our after.
| | 02:39 | And so with this image example, we've
seen how we can use these various controls,
| | 02:43 | in this case to make some more
nuanced or subtle adjustments
| | 02:48 | which have definitely helped us
to enhance this photograph.
| | Collapse this transcript |
| Recovering highlight and shadow detail| 00:00 | In one of our previous movies I talked
a little bit about clipping and how we
| | 00:04 | can have clipping, or loss of
detail in our Shadows or Highlights.
| | 00:09 | Here I want to take a look at how we
can recover say detail that's been clipped
| | 00:13 | by using our Basic panel adjustments.
| | 00:16 | Let's go ahead and turn on our clipping
indicators, either by tapping
| | 00:19 | on our keyboard the U and the O key or by
clicking on these two triangle icons.
| | 00:25 | Well, in doing that we can see that
this portrait, it looks pretty good,
| | 00:29 | except we have some loss of detail
in a few areas of the image.
| | 00:33 | If we go ahead and modify this image, let's
say that we decide to increase the Exposure,
| | 00:38 | we will see that we will
introduce even more clipping.
| | 00:41 | And with this image I need to increase
my exposure, because it's a little bit
| | 00:45 | too dark here in the subject or on the subject.
| | 00:48 | So then next I am going to
increase my Shadow amount as well.
| | 00:51 | As I make all of these adjustments,
we can see that this clipping indicator,
| | 00:55 | well, it's just getting bigger.
| | 00:57 | Well, before I get too concerned about that
I am going to make a few other adjustments.
| | 01:01 | Here I am going to darken my Blacks,
and in doing that I'm trying to
| | 01:06 | build up a nice amount of Contrast.
| | 01:08 | And what I'm also trying to illustrate
is how the level of the Contrast
| | 01:12 | and the level of these different sliders
that we will use together, well,
| | 01:16 | they control how much clipping we are
going to see in our photographs.
| | 01:19 | In order to fix this problem we
can then use a few specific sliders.
| | 01:23 | With the Highlights or the brightest
tones here, we can use the Highlight slider.
| | 01:28 | By dragging this to the left, we can
bring in more detail into that area of
| | 01:32 | our photograph so that we will have nice
continuous tone in this area of the picture.
| | 01:36 | In regards to the deep Blacks, well,
I need to go back to this Blacks slider
| | 01:40 | and bring that up until I have detail in that area.
| | 01:43 | In doing this I want to bring this
down as low as I can so that I still have
| | 01:48 | good detail there, but so that I can
darken up the overall density of the
| | 01:52 | Blacks, because I like
really deep, rich, full blacks.
| | 01:55 | Well, next, let's go ahead and click
on our Preview button, here is before
| | 01:59 | and then here is after.
| | 02:00 | Another way that we can also do this is,
is if we click on the Default button
| | 02:05 | to reset this image, we can turn off
these clipping indicators. Here perhaps we
| | 02:10 | are going to go ahead and make some adjustments
by clicking and dragging on our sliders.
| | 02:14 | We are just going to do this so that
the photograph looks good to our eye.
| | 02:18 | Next, we remember, oh yeah, I need to
think about clipping or loss of detail.
| | 02:23 | So if you press the Opt or the Alt key
and if you click on one of these
| | 02:28 | sliders, like the Highlight slider,
wherever it's white, it's showing you
| | 02:32 | where you have a lot of clipping.
| | 02:34 | Here I can drag this to the
left in order to remove that.
| | 02:38 | Then I can also hold down Opt on a Mac,
Alt on Windows and drag my Exposure
| | 02:43 | slider and bring that up
until I see clipping introduced.
| | 02:46 | So here this will help me know how high I
can bring that Exposure until I have a problem.
| | 02:51 | All right!
| | 02:51 | Well, having seen that we can do
the same thing with our Blacks.
| | 02:55 | On a Mac press Opt, on Windows
press Alt, and then click-and-drag on this,
| | 03:00 | where you see that pure black area,
that's just not going to work for us,
| | 03:04 | so you want to bring up the slider
until you see that go away.
| | 03:07 | And by using this view, sometimes it
can help you kind of determine
| | 03:11 | how you might want to process
your photograph. All right!
| | 03:14 | Well, with this picture I am going to
go ahead and just decrease my Exposure
| | 03:17 | a little bit and also decrease the Contrast
there just a touch, and let's take a look at it.
| | 03:23 | Here is our before-and-after, and we
have processed this image in a way
| | 03:27 | that it not only looks better, but we
also have better tonal range so that
| | 03:33 | we now have detail in our deep blacks
and also in our brightest whites.
| | Collapse this transcript |
| A speed tip for making basic adjustments| 00:00 | Now that we know quite a bit about
these basic adjustment controls,
| | 00:05 | I want to take a look at a few techniques
that we can use in order to speed up our
| | 00:08 | workflow when working with these controls.
| | 00:11 | We will be using this photograph here,
this is a portrait of my oldest daughter
| | 00:15 | Annie, holding our youngest, when she
was just one day old, and let's say that
| | 00:20 | we need to correct this photograph.
| | 00:23 | One of the things that we know that
we can do is we can hover over the
| | 00:26 | slider and click-and-drag.
| | 00:28 | You can also position your cursor over
the name of the slider, and then as you
| | 00:32 | click-and-drag, you'll have
a little bit more precision.
| | 00:35 | You can change how quickly the slider moves in
this mode by holding down a few Modifier keys.
| | 00:40 | If you hold down the Shift key and drag,
you can see, you can make some really
| | 00:44 | drastic and quick adjustments.
| | 00:46 | On the other hand, if you hold down
Cmd on a Mac or Ctrl on Windows and drag,
| | 00:50 | it will be a little bit more incremental.
| | 00:52 | It will make smaller adjustments.
| | 00:54 | Another way that you can quickly work
through these different adjustments
| | 00:58 | is by pressing the Tab key and then by using
the Arrow keys to change the amounts.
| | 01:03 | For example, here I'm going to press Tab,
| | 01:06 | that will then move this to the Contrast field.
| | 01:08 | Next, I'll press the Down Arrow button and
that's then decreasing the overall Contrast.
| | 01:14 | I will press Tab again to go to the
Highlights and then tap the Down Arrow key
| | 01:18 | to decrease the value of those Highlights
so I can bring some more detail
| | 01:22 | back into that area.
| | 01:24 | Press Tab once more and now
I will press the Up Arrow key.
| | 01:27 | Now, why would we want to use this technique?
| | 01:29 | Well, this can actually be helpful if
you're flying on a plane and you have
| | 01:33 | your laptop computer, it's kind of
tricky to use that track pad
| | 01:37 | to make the precise adjustments.
| | 01:38 | Other times, maybe what you want to
do is you just work on an area of your
| | 01:42 | image and then you want to just subtly
change it, well, once you've used that slider,
| | 01:46 | you can then just use those arrow keys to
move up or down or to change the values there.
| | 01:52 | We can press Tab to cycle forward
through all of these different adjustments.
| | 01:56 | You can see how that's moving here.
| | 01:57 | It will then go back to the top
and then make its way back down.
| | 02:01 | Another way that we can use this shortcut
is if we just want to move backwards
| | 02:05 | rather than forwards, well, just add
the Shift key to that shortcut, that's
| | 02:09 | Shift+Tab, that moves backwards
through these different settings,
| | 02:14 | Tab moves forwards, and then again, you also
will want to write down in your notes
| | 02:18 | that you can use those Up and Down
Arrow keys, so that you can then
| | 02:22 | change the amounts of those various controls.
| | Collapse this transcript |
|
|
9. Improving Clarity and ColorDemystifying Clarity | 00:00 | As I'm sure you've already noticed, v
adjustments that we can make in the Basic panel,
| | 00:04 | well, they're grouped together, and
they're separated by this thin gray line.
| | 00:10 | Here in this chapter we're going to focus
in on the group at the bottom of the stack.
| | 00:14 | And I am pointing out this whole idea
that these are grouped together, because
| | 00:18 | we're going to work on these in a way
that we'll use them together. All right!
| | 00:21 | Well, we're going to start
off by taking a look at Clarity.
| | 00:25 | Here you can see I've opened
this demo file, clarity.jpg.
| | 00:29 | I've opened this, because I think this
file might just help us understand how
| | 00:34 | Clarity works, so that ultimately
we can know how to use this control.
| | 00:38 | Well, in order to understand Clarity,
we first need to start off with Contrast.
| | 00:43 | Contrast is an adjustment which
allows us to make really big and
| | 00:48 | dramatic changes to our photograph.
| | 00:50 | Click-and-drag to the right, the image
will become more saturated, we will have
| | 00:54 | deeper Blacks, brighter Whites;
| | 00:56 | click-and-drag to the left and we
will lose a bit of our Color Saturation.
| | 01:00 | The Tonal Range, well, it's
all a bit more of the same.
| | 01:04 | And so this Contrast slider, it allows us
to make pretty big and bold adjustments.
| | 01:09 | Here I will double-click the Tab
to take it back to a setting of 0.
| | 01:13 | Well, how then does this relate to Clarity?
| | 01:16 | Well, the Clarity slider, it allows us
to add Contrast as well, but the Contrast
| | 01:22 | that it adds is called Midtone Contrast.
| | 01:25 | If I had to make say kind of a fun
comparison of these two, I might call the
| | 01:30 | Contrast adjustment here a sledgehammer.
| | 01:33 | In other words, it's a tool
which allows you to do a lot of work.
| | 01:38 | Clarity on the other hand, if I had to
compare this to a tool, it might be that
| | 01:42 | small little finishing hammer that you
use when you want to hang a picture on
| | 01:46 | your wall, you use this little hammer
to kind of tack in that small nail,
| | 01:51 | so that you can then hang that picture on the wall.
| | 01:53 | In other words, Clarity allows you to
add Contrast, yet it does so in a way that
| | 01:58 | it's really focused on these midtone ranges.
| | 02:01 | It allows us to add or soften texture.
| | 02:04 | Let me show you what I mean.
| | 02:05 | Well, here as we click-and-drag this
to the right, you'll notice that we
| | 02:08 | now have more texture.
| | 02:10 | It's almost like these ridges on this
image that I created here, well, it looks
| | 02:15 | like they're more bumpy, if you
were to push your finger across that.
| | 02:18 | As we decrease this, we decrease our
Midtone Contrast and the image becomes,
| | 02:23 | well, really, really soft. All right!
| | 02:25 | Well, now that we've seen how this
slider works, let's go ahead and see
| | 02:30 | if we can't really understand how we
can use this with a few photographs,
| | 02:34 | and let's do that in the next movie.
| | Collapse this transcript |
| Increasing Clarity | 00:01 | Here we are going to dig deeper
into understanding how we can work with
| | 00:04 | Contrast, Clarity, Vibrance, and Saturation.
| | 00:08 | We'll start off with this photograph
here that I captured in San Francisco,
| | 00:12 | in Chinatown. Let's take a look at
how this picture will appear if we
| | 00:16 | change the overall level of the Contrast.
| | 00:19 | If we click-and-drag to the left, well,
the image will become muted and desaturated.
| | 00:24 | Drag to the right, and as expected,
we now have these rich vibrant colors,
| | 00:28 | this deep contrast.
| | 00:30 | Here's that before and then after. All right!
| | 00:32 | Well, let's reset the Contrast slider.
| | 00:35 | We will do so by double-clicking on the icon.
| | 00:38 | Well, how then does that relate to Clarity?
| | 00:41 | One would expect that if you were to
increase the Clarity slider all the way
| | 00:45 | to the right, well, you would get this
deep rich saturation, but you don't.
| | 00:49 | The color palette, it's a little bit
muted, but what you will notice is if you
| | 00:54 | zoom in on the picture a little bit, is
that you have this really nice texture.
| | 00:58 | Take a look at this.
| | 00:59 | You can see there is our before,
and now here is our after.
| | 01:03 | Clarity allows us to bring out texture
and Midtone Contrast in a fascinating way.
| | 01:09 | Let's take a look at another photograph
so that we can see this even more clearly.
| | 01:14 | Here I will click on this picture, and
next what I want to do is modify the Clarity.
| | 01:18 | I'm going to exaggerate here for a moment,
so I know that this won't look good,
| | 01:23 | but I think it will help
you understand this control.
| | 01:25 | As I increase this to 100 points, all of
a sudden it looks like I processed this
| | 01:31 | image with a special filter or I
applied some sort of a unique effect.
| | 01:35 | You can notice that the
color is really desaturated.
| | 01:38 | Here is before and now here is after.
| | 01:40 | The reason I point this out and the
reason why I've taken all this time saying
| | 01:44 | this is because a lot of times what
we'll do with Clarity is we will just
| | 01:47 | add a little bit, maybe 10 or 15 or 20
points, but what we don't realize
| | 01:52 | is that while we are adding this nice
midtone snap or Contrast,
| | 01:57 | we are also desaturating a little bit.
| | 01:58 | Therefore, as you use Clarity, you may
need to kind of accommodate for that.
| | 02:03 | You might want to increase your
Vibrance and also your Saturation a touch.
| | 02:07 | We will be talking more about these
sliders here in a moment, but for now
| | 02:11 | I just want to point out that the reason
why these sliders are located next to each
| | 02:14 | other is because you'll
want to use them together.
| | 02:18 | They could have put Clarity right next to
Contrast, yet when you work with Clarity,
| | 02:22 | you're affecting the color
in kind of an interesting way.
| | 02:25 | You're adding an overall
presence to your photograph.
| | 02:28 | You then may need to customize or
modify your Vibrance and Saturation.
| | 02:33 | In doing so, as you can see here with
this picture, here is our before and then
| | 02:37 | our after, you can sometimes add this
really nice texture or feel to your image.
| | 02:43 | In other situations, you may want to go
even further in order to create a little
| | 02:47 | bit of kind of a special
effect type of esthetic.
| | 02:50 | Or on the other hand, you might want to
soften your photograph a little bit,
| | 02:54 | and here I will double-click my Vibrance
and Saturation sliders to take those off.
| | 02:58 | By adding this negative amount, well,
it can kind of create a nice soft appeal
| | 03:02 | with certain photographs.
| | 03:04 | If you look now, here's that before-and-after.
| | 03:07 | Let me zoom in a bit more so you can
see this up close, and let me exaggerate
| | 03:11 | this a little bit further too.
| | 03:13 | Now here you can see the before
and after of that softening effect.
| | 03:17 | Let's compare that to increasing the
Clarity, here we are adding texture.
| | 03:21 | Here is the before and then after.
| | 03:24 | So as you dial in the appropriate amount
of Clarity for your own photographs,
| | 03:28 | just know that it can be positive or
negative, and that as you make these
| | 03:32 | adjustments, you also might need to make
some other color adjustments as well
| | 03:37 | in order to modify and process your image
so that it will look its best. All right!
| | 03:42 | Well, now that we have introduced Clarity,
let's also talk about these two
| | 03:46 | other sliders, Vibrance and Saturation,
and let's do that in the next few movies.
| | Collapse this transcript |
| Understanding Vibrance and Saturation | 00:00 | Now that we know a little bit about Clarity,
let's go ahead and take a look at
| | 00:04 | how we can work with Vibrance and Saturation.
| | 00:07 | Again, I have another demo file here,
and I think this demo file will help us
| | 00:11 | understand the difference
between Vibrance and Saturation.
| | 00:14 | First, let's start out with
Saturation, because that's the easy one.
| | 00:18 | If we click-and-drag to the left, we
remove color, the image goes grayscale.
| | 00:22 | If we click-and-drag to the right, you
can see that we boost color, yet what's
| | 00:26 | interesting about this is the
color relationship is still maintained.
| | 00:30 | In other words, it takes the color
wherever it is and it simply saturates it.
| | 00:35 | This is a linear adjustment.
| | 00:37 | Vibrance on the other hand, is nonlinear.
| | 00:40 | Let me show you what I mean.
| | 00:41 | Well, with Vibrance, as we click-and-drag
this to the right, what it does is it
| | 00:45 | tries to protect the tones
which are more saturated.
| | 00:49 | So here what Vibrance did is it affected this
side over here, these more muted colors,
| | 00:54 | more than it affected these.
| | 00:57 | If we click on and off the Preview, you
can see how primarily the adjustment was
| | 01:01 | over here in this side.
| | 01:03 | What Vibrance allows us to do
is to increase color variety.
| | 01:07 | It also helps us to increase the saturation
on these colors, which are less saturated,
| | 01:11 | while it doesn't oversaturate the
colors which already have a lot of
| | 01:16 | color or saturation in them.
| | 01:18 | On the other side of the spectrum, if we
decrease the Vibrance, what will happen
| | 01:22 | is it will then prioritize working on
these more muted colors, it pulls those
| | 01:27 | tones out, and then it leaves alone
the colors which are more saturated.
| | 01:31 | In other words, Vibrance makes these
adjustments in a way that it's kind of
| | 01:35 | analyzing or paying attention to the colors
that you have in your photographs. All right!
| | 01:40 | Well, this is all fine and dandy, seeing
this with the demo file, what we really
| | 01:44 | need to do is see how
this works with a few images.
| | 01:47 | So let's go ahead and do that in the next movie.
| | Collapse this transcript |
| Improving color with Vibrance| 00:00 | Now that we know a little bit about
Vibrance and Saturation, my goal
| | 00:05 | for this movie is to help you understand
these controls so that you can use them
| | 00:09 | in order to kind of enhance color
in subtle ways or to make some dramatic
| | 00:14 | and creative adjustments to your photograph.
| | 00:16 | Well, let's take a look at how we can change
this picture, which we've seen previously.
| | 00:20 | Saturation, if we click-and-drag that
to the right, it just boosts all the
| | 00:24 | colors and here we can primarily see
that the main colors are Red and Green,
| | 00:30 | the Blue is a little bit more faint,
as is some of the Yellows.
| | 00:33 | Well, if we increase the Vibrance amount,
what that's going to do is bring out
| | 00:38 | some of those weaker colors.
| | 00:40 | In other words, Vibrance is partial to
the colors which need a little bit
| | 00:45 | of a helping hand, it gives
those colors a bit of a boost.
| | 00:48 | So much so that if we were to increase
our Saturation and exaggerate for a moment,
| | 00:53 | and then decrease our Vibrance,
what we would see is that it would pull
| | 00:57 | out those colors which are a bit weaker.
| | 00:59 | Again, it focuses on those, and it
leaves those other colors relatively intact,
| | 01:05 | those Reds and those Greens.
| | 01:07 | So how then might we use these controls?
| | 01:10 | Let's double-click the sliders
to take this back to 0.
| | 01:13 | One of the ways you might use
Vibrance is to increase color variety.
| | 01:17 | This works well with nature photographs
or picture of graffiti on a wall
| | 01:21 | or a picture of a person.
| | 01:23 | As you click-and-drag this to the
right, you see that it will increase
| | 01:27 | the amount of color that you have,
the different tones and whatnot.
| | 01:31 | Here if we look at the before-and-after,
it's going to be pretty subtle,
| | 01:34 | but it's just going to lift these various colors.
| | 01:36 | It's also going to bring up
some of those weaker colors.
| | 01:40 | Next, we might want to add a bit of Saturation.
| | 01:43 | Again, just so we have this really
vivid colorful palette, here it is,
| | 01:47 | our before and then after. All right!
| | 01:49 | Well, that's fine say with the
photograph which is of graffiti,
| | 01:54 | what about a picture like this?
| | 01:56 | This one was captured by one of my former
students, and this is a photograph of my family.
| | 02:00 | The photographer's name is Cara Robbins,
you should check out her work at
| | 02:04 | cararobbins.com, she's an
amazing photographer. All right!
| | 02:08 | Well, here I am going to zoom in a
little bit on this picture and
| | 02:12 | I want to take a look at how we
can use Vibrance and Saturation.
| | 02:14 | I am going to exaggerate, and if we
exaggerate the Saturation, what we are
| | 02:19 | going to see is that the image is
just going to look really strange.
| | 02:23 | Notice all of the Yellows in the
windows and also the strange Yellows
| | 02:26 | or colors on our faces.
| | 02:28 | It's increasing the Saturation of
everything, which doesn't typically work
| | 02:32 | well with people, because it brings
out all of the color in people's faces,
| | 02:37 | doesn't really work.
| | 02:38 | So let's double-click that
adjustment to set it back to 0.
| | 02:41 | Well, how would an exaggerated amount of
Vibrance, say, compare to that Saturation?
| | 02:46 | Now, this is still a really high
amount, but you can see that it's
| | 02:50 | kind of protecting my colors and tones.
| | 02:52 | If we decrease this even a little bit
more, what you are going to see is it's
| | 02:56 | bringing out some tonal
variety without overdoing it.
| | 02:59 | Click on that Preview button, you can see
there is our before and now there is our after.
| | 03:04 | It's just adding a bit of
Saturation and color to this photograph.
| | 03:08 | It's adding that Vibrance.
| | 03:10 | Next, we might want to add
just a touch of that Saturation.
| | 03:13 | And a lot of times you can use these
two sliders together to make the colors
| | 03:17 | come to life a bit more in your pictures.
| | 03:20 | Here we can click on this Preview
button, you can see the before,
| | 03:23 | it's a bit too muted for my taste.
| | 03:25 | Click on the after, now it has a
little bit more life or vitality.
| | 03:29 | So you can see that you can use these
different sliders, and a lot of times you
| | 03:34 | think about using Vibrance when you
have pictures with all these beautiful
| | 03:38 | colors and you just want to boost the
colors that are a little bit more faint.
| | 03:42 | You think about using Saturation
when you want to make global
| | 03:46 | or linear adjustments, which allow
you to increase or decrease
| | 03:50 | the overall color saturation.
| | Collapse this transcript |
| Making creative color adjustments| 00:00 | Last but not least, I want to take a
look at how we can get creative and
| | 00:04 | how we can come up with some creative color
combinations while using Vibrance and Saturation.
| | 00:10 | With this picture one of the things
that we know that we can do, is we can
| | 00:14 | reduce some of the weaker colors.
| | 00:17 | We could do that by dragging
the Vibrance to the left.
| | 00:20 | Next, we could boost the colors that
remain by dragging the Saturation to the right.
| | 00:26 | Now just by making that simple adjustment,
we have this really curious kind of
| | 00:30 | color combination, then
we could take it further.
| | 00:34 | What if we were to modify our overall
Temperature slider here, here you can see
| | 00:37 | how I'm changing that.
| | 00:39 | I could then dial in a certain amount
of Contrast, I could also increase
| | 00:43 | my Clarity and now I've this kind of,
surreal pastel dream like color palette,
| | 00:49 | here it is, here is before and then after.
| | 00:51 | And by doing this, by changing these
amounts, we can come up with some curious
| | 00:56 | and sometimes creative or just a
little bit different color palettes.
| | 01:00 | Let's look at one more photograph,
this one here, Santa Barbara Harbor.
| | 01:04 | With this image I love
the warm in the cool tones.
| | 01:08 | Except, I want to bring out a
little bit more of the warm.
| | 01:11 | In doing so, I'll bring the Temperature
slider to the right. The problem is,
| | 01:15 | that removed a lot of my Blue or
you can bring that back by cranking up
| | 01:20 | some of our Vibrance here, that helps out
some of those weaker or less Saturated colors.
| | 01:25 | And then we will add some overall
Saturation, and all that this does for us,
| | 01:29 | is again, just gives us a
certain color feel with this image.
| | 01:33 | Here now is our before and then after,
bringing out some of those different
| | 01:37 | tones that we've here.
| | 01:38 | I might take this back just a little
bit to bring out even a bit more
| | 01:42 | of the Blues and also increase this.
| | 01:45 | In this case, we've come up with some
creative color options for this image,
| | 01:48 | here is before and then here's after,
and we've done so by using these controls.
| | 01:54 | And I wanted to include this last movie
just to get you thinking about how you
| | 01:58 | can use these controls, both for
functional and also creative purposes.
| | Collapse this transcript |
|
|
10. Using the Tone CurveLearning about the parametric and point-tone curves| 00:00 | If you use Photoshop, one of the things
that you know is that Photoshop allows
| | 00:05 | you to perform similar tasks in different
ways, and so it is with Camera Raw.
| | 00:11 | We can modify the tone of our photograph
using the Basic panel, but we can also
| | 00:15 | do this using the Tone panel.
| | 00:18 | To access this panel click on this
icon here, you'll notice we have two tabs;
| | 00:22 | Parametric and Point.
| | 00:24 | Let's start off with Parametric.
| | 00:26 | Well, the Parametric Curve is a little
bit locked down, in the sense it has some
| | 00:31 | built-in kind of safety net features,
so that if we make an adjustment by simply
| | 00:36 | clicking-and-dragging one of these
sliders, you can see that it's primarily
| | 00:40 | limited to this range.
| | 00:42 | Click on the Preview button and you
can see that I'm primarily brightening up
| | 00:46 | this side of our grayscale here.
| | 00:47 | Well, if we take and drag this further,
you can see, again, I'm just brightening
| | 00:51 | up that area even more.
| | 00:53 | Well, you notice that this curve
line is kind of limited to this area.
| | 00:58 | It's limited because of these
icons and these points down here.
| | 01:02 | Drag this to the left and you can
see that I can allow this adjustment
| | 01:06 | to affect more of my image.
| | 01:07 | Now, if ever you need to reset any of
these points, we'll just double-click them
| | 01:12 | and it will then take all of
these back to their default settings.
| | 01:15 | Now, we can work on different areas of
our photograph, as you can see here,
| | 01:20 | and as we make these adjustments, sure,
it will affect a lot of the curve, but
| | 01:23 | primarily it's trying to limit
the adjustments to one tonal range.
| | 01:28 | Another way that we can use this tool is
by navigating to our Tools panel and we
| | 01:33 | can click on this icon here.
| | 01:35 | This allows us to select say the Parametric
Curve, then you can hover over your image.
| | 01:41 | Next, simply click-and-drag and it
allows you to change the values in that area.
| | 01:46 | In other words, if you want to
brighten the Shadows, click on those
| | 01:50 | and then drag up and you can see how
I'm bringing light into this area.
| | 01:54 | If you want to darken the Highlights,
click over there and drag down and you
| | 01:57 | can then darken those. All right!
| | 01:59 | Well, not that we have seen how the
Parametric Curve works, let's double-click
| | 02:04 | all these sliders to take these back
to their default settings and then let's
| | 02:08 | take a look at the Point Curve.
| | 02:10 | We will click on the tab for the Point Curve.
| | 02:13 | The Point Curve works a lot like
curves in Photoshop, and what's fascinating
| | 02:18 | about this is we can either work in
the composite RGB Channel or
| | 02:23 | we can go into specific channels.
| | 02:25 | Let's start off in the composite RGB Channel.
| | 02:28 | Here if you click on the curve and drag up,
you can brighten the overall image.
| | 02:32 | Or we can change where this point is, perhaps
we just want to brighten our Highlights,
| | 02:36 | and then we can click in our Shadow
area and we can darken those down.
| | 02:41 | In this way we've created this traditional S
curve, which adds more contrast to our photograph.
| | 02:46 | There it is, there is the
before and now here is the after.
| | 02:50 | If you want to remove a point, just
click-and-drag that off, and then you'll
| | 02:54 | notice too we have our endpoints, which
allow us to make some pretty dramatic
| | 02:58 | adjustments in regards to our Whites and
also in regards to our Shadows. All right!
| | 03:02 | Well, what about the different channels?
| | 03:06 | Well, if you go down to the Red Channel,
you may know from Photoshop that you
| | 03:11 | can drag up and that will increase the Red.
| | 03:14 | Drag down, that will increase the Cyan.
| | 03:17 | To remove that point, click and drag off.
| | 03:20 | Next, we can go to our Green Channel.
| | 03:22 | Here we can modify Green or Magenta.
| | 03:25 | And then finally we have
that Blue, Yellow Channel.
| | 03:28 | Dragging up towards the word or the name
of the channel will increase that color;
| | 03:32 | dragging away will increase the
opposite color, in this case Yellow.
| | 03:38 | So here you can see we can have precise
control about how we are changing color
| | 03:43 | or tone when working with the Point Curve.
| | 03:46 | And again, this is a lot like curves
in Photoshop, if you're familiar with that
| | 03:50 | particular adjustment. All right!
| | 03:51 | Well, now that we've seen how we can
start to use some of these sliders
| | 03:56 | and how this works a little bit, let's see
if we can't explore how we can work with
| | 04:00 | these controls on a few photographs,
and let's do that in the next few movies.
| | Collapse this transcript |
| Using the parametric-tone curve| 00:00 | This is a photograph that I captured
out in the desert in Joshua Tree
| | 00:04 | in California and I want to
change the look of this image.
| | 00:08 | So, we are going to use the Parametric
Tone Curve in order to dial in
| | 00:11 | some brightness and contrast.
| | 00:13 | Then, we're going to combine those
adjustments with some adjustments
| | 00:17 | in the Basic panel to finish
this project off. All right!
| | 00:20 | Well, let's click on the tab for our Tone Curve.
| | 00:24 | Here in the Tone Curve panel, I am just going
to click-and-drag to bring my highlights up.
| | 00:28 | Next, I am going to work on my Shadows and
I am just trying to dial in some Contrast.
| | 00:33 | Then here, I am going to work on the
overall Lights and I am trying to just
| | 00:37 | find the right spot for how we can brighten
this image up, and bring in some nice contrast;
| | 00:41 | a nice look and feel and texture.
| | 00:43 | What I want to do is create an effect which
is a little bit cinematic. Let me show you.
| | 00:49 | Well, here we have our Preview,
there is before, and now here's after.
| | 00:53 | We dialed in the Tonality here.
| | 00:55 | Next, I am going to go back to the Basic panel.
| | 00:58 | In the Basic panel, I am going to increase
my Midtone contrast by increasing the Clarity.
| | 01:03 | Next, I want to decrease the
Vibrance to remove a lot of the blues there.
| | 01:07 | I also may modify the overall Saturation,
and again, I'm looking to try to
| | 01:12 | create almost a cinematic
type of a color palette.
| | 01:15 | And here, you can see that by using
these two panels together, it can help us
| | 01:20 | come up with some interesting results.
| | 01:22 | Let's take a look at the before-and-after
with the Tone Curve that brought in
| | 01:26 | that nice amount of contrast, and brightness.
| | 01:28 | Here we may want to modify that just a
little bit more, and then in the
| | 01:33 | Basic panel, we finish this off by adding
some Clarity and modifying the Vibrance
| | 01:37 | and also the Saturation.
| | 01:39 | The reason why I wanted to show you this
image was to get you thinking about how
| | 01:44 | these controls, they allow you to work
with tone, yet, typically whenever you're
| | 01:48 | working with tone, you don't
do that in an isolated way.
| | 01:52 | Rather, you make some changes as we did
here, and then you jump to some of your
| | 01:56 | other panels in order to
further modify your photographs.
| | 02:00 | And by using these different adjustments
and panels together, it helped us come up
| | 02:04 | with an interesting look. All right!
| | 02:06 | Well, let's review the overall before-and-after.
| | 02:09 | To do so, we need to click in one of
our last two tabs, and here it is,
| | 02:13 | here's the original photograph, here's the
before and then now here's the after.
| | Collapse this transcript |
| Using the point-tone curve| 00:00 | Here I want to take a look at how we
can work with the Point Tone Curve
| | 00:04 | and how we can use this curve in order to make
corrections or enhancements to our photograph.
| | 00:09 | In particular, we'll look at how we
can recover highlights more effectively
| | 00:13 | using this curve and also how we can
dial in a little bit of a color and also
| | 00:18 | brightness change to our photograph.
| | 00:19 | In order to talk about that what I'm
going to do is zoom in on the picture,
| | 00:24 | so here I'll select the Zoom tool and then
zoom in a little bit on this photograph.
| | 00:28 | Next, I want to increase the Exposure
and I'm going to increase this a little
| | 00:31 | bit too much, but I'm going
to do this to make a point.
| | 00:35 | Well, here at this high of an
exposure if we turn on our Clipping Indicator
| | 00:38 | we'll see that we have a lot of clipping.
| | 00:41 | Inside of the Basic panel the one way to
remove that is to decrease the highlights.
| | 00:45 | You know when I do that I can remove
a lot of the clipping, but still there
| | 00:50 | is this problem area.
| | 00:52 | If ever you find that in your pictures,
you can always navigate over to the Tone
| | 00:57 | Curve panel and then to the Point Curve tab.
| | 01:00 | In doing that you can click on your white
point and here I'll just click-and-drag
| | 01:04 | down a little bit, and all of that problem
area it's corrected, it's taken care of.
| | 01:10 | And again, it's such a small
adjustment you can barely see it there.
| | 01:14 | The same thing can be said of your shadows.
| | 01:16 | You can click on that point
and modify those shadows as well.
| | 01:19 | All right, well, now that we've seen
that let's reset this image and let's
| | 01:23 | actually process this file from start
to finish using the Point Tone Curve.
| | 01:28 | To do that hold down Opt on a Mac or
Alt on Windows, that will change
| | 01:33 | Cancel to Reset, click on that in
order to reset the photograph.
| | 01:37 | Now next we're going to work in the Point
Curve, let's turn on this Clipping Indicator,
| | 01:41 | so we can see this little bit
of a problem area here where
| | 01:45 | we have clipping in our highlights.
| | 01:47 | Next, I'm going to click-and-drag
this up, because I want to bring
| | 01:50 | some brightness to the picture.
| | 01:52 | In doing that I've exaggerated or
brought out more of my problem,
| | 01:57 | so I'll click on our white point here
and just drag it down a touch.
| | 02:00 | Next, we can work on those shadows
darkening those up a little bit and
| | 02:04 | then I'm going to go into a few channels.
| | 02:07 | I'll go into the Red Channel, and in the Red
Channel I'm going to set a point on this curve.
| | 02:12 | In doing that I want to raise it up,
but I want to do so really slightly so
| | 02:16 | I'm using my Arrow keys, tap those Arrow
keys, you can see I have a lot of Red, tap
| | 02:21 | them down and you can see I'm removing that.
| | 02:23 | In this case I just want to bring this up
just a couple of points. It's now at 132.
| | 02:29 | Next I'll go to my Blue-Yellow channel
click here again and then I'm just going
| | 02:33 | to tap this down, bringing
in a little bit of yellow.
| | 02:36 | I'm making these subtle adjustments to kind
of highlight how you can start to do that.
| | 02:41 | Next, we can go back to the RGB Composite
mode and we can continually modify
| | 02:46 | the overall brightness of this picture.
| | 02:48 | Just looking to bring in some nice
brightness into the subjects here,
| | 02:53 | and also we're making sure that we're
not bringing in any extra clipping.
| | 02:56 | Looks like there is just a little bit
right there in the flower, so I'll click
| | 03:00 | on my White point, then you can use
your Arrow keys to nudge that down
| | 03:05 | and I think that will be just fine.
| | 03:06 | All right, well, let's look at the
overall before-and-after here, here it is,
| | 03:10 | there is the before and now here's the after.
| | 03:13 | If we zoom out a little bit, we'll
click on this and there is our
| | 03:18 | before and then we'll click again,
and there we have it, our after.
| | Collapse this transcript |
| Creating a unique color look with the point-tone curve| 00:00 | In this movie I want to talk a little bit
about color creativity and how we can use
| | 00:05 | the Tone Curve panel.
| | 00:06 | In order to come up with some creative,
or even a little bit off-the-wall
| | 00:10 | color options for photographs.
| | 00:12 | So, I'll go ahead and click on
this tab here for Tone Curve.
| | 00:15 | What I want to do is I want to
make a Color Adjustment to this image
| | 00:19 | that isn't really traditional.
| | 00:20 | I want to completely change the color.
| | 00:23 | For this image I'm going to try
going to the Blue-Yellow Channel.
| | 00:26 | Next, I want to re-map the color.
| | 00:29 | So I'm going to click and
drag down my white point.
| | 00:31 | In doing that you can see is introducing
this Yellow Hue across the whole image.
| | 00:36 | Here is before, now here is after.
| | 00:39 | I also want to bring in some color into
the Shadows, so I'll click on my black
| | 00:42 | point and push this up a little.
| | 00:44 | If I exaggerate this, you can see I am
starting bringing in Blue into that shadow area.
| | 00:49 | Now by doing that, again, I just
have this different look and feel.
| | 00:54 | After having made an adjustment like
this, I want to back to my Basic panel.
| | 00:59 | In the Basic panel I'm going to
increase my Clarity a little bit.
| | 01:03 | Next, I might work on my overall Vibrance
by just bringing that up just a touch here,
| | 01:07 | and then I might experiment with
my Color Temperature, and by using
| | 01:11 | different Color Temperatures, sometimes
you can find a nice way to combine these
| | 01:15 | two types of color adjustments together.
| | 01:17 | Here with this photograph I think just
right about there, looks kind of interesting.
| | 01:22 | Now this is a very different and distinct look.
| | 01:26 | Yet I wanted to highlight how you
can tap into those curves and make some
| | 01:30 | dramatic color changes, in order
come up with some interesting options.
| | 01:35 | Previously we would have to do
something like this in Photoshop.
| | 01:39 | But now with these new channel
controls we can do this here.
| | 01:42 | Here's my before and then
after of the Basic panel.
| | 01:46 | Then if we click on another tab
Presets or Snapshots, we can see
| | 01:50 | our overall before and after.
| | 01:52 | Here it is, here's the original image
straight out of the camera, and here's
| | 01:56 | the after, after we've applied,
a few adjustments in the Tone Curve
| | 02:01 | and in the Basic panels.
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|
|
11. Retouching BlemishesIntroducing the Spot Removal tool| 00:00 | I don't know if you have ever had the
problem where you're looking at one of
| | 00:03 | your photographs and all of a sudden
you notice a small blemish or distraction,
| | 00:07 | and you just want to remove it with cloning
or healing, yet you don't want to go
| | 00:12 | don't want to go all the way to Photoshop.
| | 00:14 | Well you don't have to.
| | 00:15 | There is a tool which is called the Spot
Removal tool which allows you to reduce
| | 00:20 | and remove blemishes in
a pretty interesting way.
| | 00:22 | Let's take a look at how we can use
that tool here with this photograph.
| | 00:26 | Now before we actually begin I have to
say this photograph, it just makes me laugh.
| | 00:29 | I was on a photo shoot, and one of the
guys who was helping out hopped into this
| | 00:33 | boat and I just think it's kind of,
it's kind of a funny picture. All right!
| | 00:36 | Well here I'm going to grab my Zoom
tool and next I'm going to click to zoom
| | 00:40 | in on this little blemish or what I'm calling
a blemish or distraction up here on the sail.
| | 00:45 | I want to get rid of this element.
| | 00:47 | In order to do that I'm going
to use the Spot Removal tool.
| | 00:50 | To do that you can click on the
Tools icon or you can press the B key.
| | 00:55 | Next, what you might want to do is change
your Brush size by clicking on the Radius slider.
| | 00:59 | A bigger radius and you can see I have
a bigger brush or click and drag to the
| | 01:04 | left for a smaller brush.
| | 01:06 | Next, we have the option to either Heal,
which does some nice texture blending,
| | 01:10 | or to Clone this content away.
| | 01:12 | Then underneath this we have Opacity.
| | 01:15 | If you just want to reduce the
blemish you can go ahead and decrease your
| | 01:19 | Opacity, if you want to get rid of it completely,
as I do here, crank this all the way up.
| | 01:24 | Next, I'm going to hover over the blemish.
| | 01:27 | Ideally you want your brush to be a
little bit bigger than the blemish.
| | 01:31 | My brush, it's not big enough.
| | 01:33 | To change the brush size you can press
your Right Bracket key that makes it bigger,
| | 01:37 | Left Bracket key makes it smaller.
| | 01:40 | You can also just use
that Radius slider as well.
| | 01:42 | Next what you're going to do is
you're going to click on the blemish.
| | 01:46 | This will then create two circles.
| | 01:48 | One circle, the red and white checkered
circle should be covering the problem.
| | 01:53 | The other circle the green and white
that should be covering content that's good.
| | 01:57 | It's going to bring this over
here and cover it with that.
| | 02:01 | In this case, it's bringing in a small
little blemish, so I'm going to click and
| | 02:04 | drag this to the other side so that
it then has a nice area to sample from.
| | 02:08 | And I don't know if you can tell,
but my brush isn't quite big enough,
| | 02:11 | it's not covering everything.
| | 02:12 | So after the fact you can change
your brush size either by dragging your
| | 02:17 | Radius slider or if you hover over
the edge of either of these sample areas
| | 02:22 | the cursor will change.
| | 02:24 | When you see that change click-and-drag
and you can make that bigger,
| | 02:28 | and now here we have pretty successfully
removed that little distracting element.
| | 02:33 | All right, well now that we've done
that we can look at our before-and-after.
| | 02:37 | We can do so by clicking on this Preview
icon, there is before, now here's after.
| | 02:42 | Well let's say that we've retouched
something like this and we actually want to
| | 02:45 | delete the spot removal, how can you do that?
| | 02:49 | Well all that you need to do is to
click into it and then press Delete
| | 02:53 | or Backspace and it will be gone.
| | 02:55 | Well now that it's gone, I want to show you
another technique for working with this tool.
| | 02:59 | In this technique, it's pretty interesting,
what you can do is rather than just
| | 03:03 | clicking on the blemish you can actually
click-and-drag, and in doing that you
| | 03:08 | can create a brush and a brush
size when you click-and-drag.
| | 03:11 | If you ever get this wrong, like say
I've done here, well just go ahead and
| | 03:16 | move your circles around until you get
it in the right spot and then of course
| | 03:20 | hover over those edges and increase the
size of that brush so that it covers up
| | 03:24 | all of the problem area.
| | 03:26 | Next, to exit this tool, just
choose one of your other tools.
| | 03:30 | We could click on the Zoom tool, in doing
that we'll see that those circles will
| | 03:34 | disappear and we've now exited from that tool.
| | 03:37 | And this little distracting element
as you can see here is now gone.
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| Removing distracting background elements| 00:00 | Now that we know a little bit about
the Spot Removal tool, let's take a look
| | 00:04 | at removing a blemish, which is a
little bit more complicated
| | 00:08 | to get rid of with this portrait.
| | 00:09 | One of the things that's distracting me
is that there is this little background
| | 00:13 | element that I didn't notice when I was
capturing this picture, so I want to get
| | 00:17 | rid of that, let's go ahead and double-
click the Zoom tool to go to 100% then
| | 00:21 | press the Spacebar key to click-and-drag,
so that we can focus in on this little
| | 00:25 | blemish right here, next, press the B
key to select the Spot Removal tool.
| | 00:30 | One of the things that you know that
you can do is you can click-and-drag
| | 00:34 | over the blemish to create that sample area.
| | 00:37 | Typically you want to have your cursor
right over the center of the blemish and
| | 00:41 | then click-and-drag out.
| | 00:42 | Now in doing that one of the problems is, is
that it's covering a little bit of the sweater.
| | 00:48 | So as I make these different selections
you can see it's kind of bleeding
| | 00:52 | in on the sweater edge here.
| | 00:53 | Well, here I'll go ahead and click-and-
drag this up to try to have it cover a
| | 00:57 | part of the sweater that might look a
little bit better, but I can't really
| | 01:01 | tell if this is working.
| | 01:02 | So what we need to do is to turn off
these distracting overlay circles, the
| | 01:08 | red-and-white checkered circle
and the green-and-white circle.
| | 01:11 | To do that you can press the V key or
you can click on this icon right here.
| | 01:16 | Well, now that I've done that I realize,
gosh, this edge doesn't look very good at all,
| | 01:20 | so I'll press the V key again
and I'll increase my brush size.
| | 01:24 | In doing that or increasing this brush size
I'm starting to sample more of an area.
| | 01:30 | Once again let's press V then let's
click on our Preview button,
| | 01:34 | here is our before, now here's our after.
| | 01:37 | And I don't know if you can see this,
but it's sampling part of the sweater
| | 01:40 | from another area except it's kind of in a
circular shape, it's not really working very well.
| | 01:46 | Well, we can correct this by changing
our Spot Removal Type, here I'll go to
| | 01:51 | Clone rather than Heal.
| | 01:53 | Clone has a little bit of a softer edge to it
and in doing that well that looks much better.
| | 01:58 | Next I'll press the V key to turn my
circles back on, and then I'm just
| | 02:02 | going to change the overall brush size here a
little bit more to make that a bit bigger,
| | 02:06 | then I'll press V to hide those circles
and then click on the Preview button
| | 02:11 | or you can press the P key to
see the before-and-after.
| | 02:15 | Let me zoom in a little bit closer on
this area and I zoom in past 100%,
| | 02:19 | but now you can start to see how we've removed
that and also how we've kind of cloned
| | 02:24 | something on top of another part of our image.
| | 02:27 | And sometimes by doing that you can get
rid of kind of a little tricky problem
| | 02:31 | like we had there, and in this case
I think it works well with this portrait.
| | 02:36 | I'll zoom back out, next I'll click on my
Preview button to view that before-and-after,
| | 02:40 | and really the trick with this one
was changing the Spot Removal Type.
| | 02:46 | Healing does a great job with texture,
yet when it comes to edges the healing
| | 02:51 | edge is a little bit stronger or harsher.
| | 02:54 | On the other hand the cloning, what
it does is, it has a softer edge which
| | 02:58 | sometimes can create a nice smooth transition.
| | 03:01 | So as you seek to retouch different
elements in your photograph you want
| | 03:05 | to experiment with these two different
types of spot removal, so that you can
| | 03:09 | then determine which type will work best.
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| Removing blemishes on a face| 00:00 | So far we've looked at how we can use
the Spot Removal tool in order to deal
| | 00:04 | with background elements, yet here I
want to transition to working on an area
| | 00:09 | which is more important and that is the face.
| | 00:12 | How can we retouch small little skin
variations or maybe blemishes
| | 00:16 | that we want to reduce or remove.
| | 00:17 | Let's go ahead and zoom in on this image.
| | 00:20 | To do so, I'll double-click the Zoom tool
that will take this photograph to 100%.
| | 00:25 | In this 100% view, I notice there
are few little things that I might want
| | 00:28 | to reduce or remove.
| | 00:30 | To access the tool, in order
to do this, we press the B key.
| | 00:34 | Next what you want to do is position
the cursor over the problem and then
| | 00:38 | go ahead and click-and-drag out to
extend that, in doing that you can then
| | 00:42 | reposition these little circles
in order to remove that blemish.
| | 00:46 | Once again, click-and-drag out in
order to move that, and I'm just going to
| | 00:49 | click and drag a few times here.
| | 00:51 | In doing this I'm going to make all of
these little circles and I'm going to go
| | 00:56 | ahead and make my way through the photograph.
| | 00:57 | Now that I have a nice brush size, I'm just
going to click on a couple of these blemishes.
| | 01:01 | If my brush is too big, I'll click-and-drag,
and as we do this, what you'll want to do is
| | 01:06 | you want to make your way around
to different areas of your photograph,
| | 01:10 | so that you don't retouch, well, just
one part of the picture, and so that
| | 01:14 | then the retouching would look lopsided.
| | 01:16 | Rather here, we want to be really careful
with each click, making sure we're
| | 01:20 | sampling good areas and then as we
make our progress or as we make our way
| | 01:24 | through our photograph, one of the things
that we'll want to do is we want
| | 01:28 | to turn off the view of all
of these little circles.
| | 01:31 | Because I don't know about you, but
seeing all of these little circles, well,
| | 01:34 | it doesn't really help me out very much.
| | 01:36 | So once they start to become distracting,
you'll want to press that shortcut
| | 01:40 | which I talked about in the previous movie.
| | 01:43 | Yet here I recommend that you write
it down, you memorize it, because
| | 01:47 | it's essential, it's the V key.
| | 01:49 | The V key allows you to
hide all of those overlays.
| | 01:54 | Next press the P key that will show
you your before, and then press it again,
| | 01:59 | and it will show you the after.
| | 02:01 | Next, you can press the V key to kind
of turn that back on to see where you're
| | 02:04 | at in regards to your overall progress.
| | 02:07 | And really a lot of this type of retouching
is just about doing what we're doing here;
| | 02:11 | it's about getting in close,
focusing on little teeny details.
| | 02:15 | Little teeny details that might not
even seem that important if they were just
| | 02:19 | by themselves, but what we're trying to
do is try to build up the photograph the
| | 02:24 | way that we saw it, because we didn't
notice all of these little things when we
| | 02:28 | captured the picture, because when you
look at someone, you don't stop and stare
| | 02:32 | at these little teeny problems.
| | 02:34 | So again, here we're going to reduce or
remove a bunch of the little teeny variations.
| | 02:38 | Next, press the V key in order to hide
all of those overlays, then press the P key
| | 02:43 | to look at your before,
and then finally your after.
| | 02:48 | I also recommend that you zoom out a
little bit and press the P key as well,
| | 02:52 | that will help you determine if you are
going in a good direction, because there
| | 02:56 | is nothing worse than a photograph
which has been over-retouched.
| | 03:00 | This is really delicate work.
| | 03:02 | If you've realized that you've perhaps
worked on a blemish in a way that
| | 03:06 | doesn't look good, remember that you
can press V, then you can just click
| | 03:11 | on that area that you worked on.
| | 03:12 | Say this one here, then press the
Delete key, that will get rid of that
| | 03:17 | particular correction.
| | 03:19 | All right, well after you've made all
of your corrections, all that you need
| | 03:22 | to do is to click Done in order to
exit and to apply these settings
| | 03:28 | to this photograph.
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| Removing dust on the lens or the camera sensor| 00:00 | Here I want to focus in on a problem
which I'm sure has never happened to you,
| | 00:05 | and that's a problem of when you forget
to wipe off the front of your lens,
| | 00:09 | and you have dust on your lens or maybe you
have dust on the sensor of your camera.
| | 00:14 | What will happen is what you'll
see here in this photograph.
| | 00:18 | If we zoom in to 100% on this image,
you'll see that I have these little spots.
| | 00:24 | And you know what the worst part
about this is that here you can see
| | 00:27 | if we click on the next image and then
change our Zoom Rate to 100% as well,
| | 00:32 | you can see that these spots, well they
are in the exact same location even though
| | 00:37 | I reframed both of these photographs.
| | 00:39 | Well, whenever that happens, you don't
have to worry too much because you can
| | 00:43 | use Camera RAW to kind of
automate your spot removal.
| | 00:46 | Let me show you what I mean.
| | 00:48 | Well, here we will select our Spot
Removal tool by pressing the B key.
| | 00:52 | Next, we can go ahead and click-and-drag
over these blemishes, because this is the sky,
| | 00:55 | we can do this pretty quickly.
| | 00:58 | We are going to do this on this first image.
| | 01:00 | Press the Spacebar key to pan around,
click-and-drag over the blemish, and again,
| | 01:05 | just do that wherever you are seeing
these dark circles, and when you see those,
| | 01:09 | typically that means you have dust
either on your lens or on your sensor.
| | 01:15 | Here I am just going to pan around the
photograph and look for any other little problems.
| | 01:19 | As I make my way around, I can see some
different pieces of dust or what's the
| | 01:24 | result of a few different pieces of dust.
| | 01:27 | Now that I've made all of these adjustments,
what I want to do then is I want to apply
| | 01:31 | these adjustments to the other photograph.
| | 01:34 | To do that, you click Select All.
| | 01:36 | Next, you click on the Synchronize button.
| | 01:39 | In the Synchronize Settings, what we really
want to do is just synchronize our Spot Removal.
| | 01:45 | Here, you can see this is the
only option which is turned on.
| | 01:49 | Next, click OK, and what this will do
is it will then apply those settings
| | 01:53 | to this other photograph.
| | 01:55 | You can see how all those little
circles are in exactly the right spot.
| | 01:59 | For the most part, these worked perfectly
except you can see a few spots
| | 02:03 | where it didn't quite work out so well.
| | 02:05 | Well, if you have those,
just click on those circles.
| | 02:08 | Next, what you can do is try to reposition
them in order to create a nice strong line.
| | 02:13 | Here, I can do that in that area, and
let me zoom in on this one,
| | 02:17 | so I can really illustrate how this works.
| | 02:19 | If you have your two sample areas, and
the alignment is off, well you can just
| | 02:23 | try to realign that, and by doing that,
you can kind of see how I am bringing down
| | 02:27 | that line in order to
correct that part of the image.
| | 02:30 | Next, I will zoom back out so we
can check the rest of the photograph.
| | 02:34 | Here I will press the Spacebar key and
pan around, and you know what,
| | 02:38 | that one is now correct as well.
| | 02:40 | In other words, by applying these
settings to one image, and then
| | 02:44 | by synchronizing, it can really speed up
your workflow, so that you only have to do
| | 02:48 | the spot removal on one photograph.
| | 02:51 | You can then apply or synchronize those
settings to all of the other photographs
| | 02:55 | that you find where you have this problem.
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| Removing red-eye| 00:00 | This photograph was captured of me
and two of my daughters on one of
| | 00:04 | the best days of my life.
| | 00:06 | It was the day when our youngest
daughter Elsie Autumn was born.
| | 00:10 | Yet, here you can see that we
have the dreaded red-eye effect.
| | 00:14 | A friend snapped this photo with a pocket
camera and that often happens with those
| | 00:18 | pocket cameras which have smaller flashes.
| | 00:21 | So let's explore how we can remove
or reduce the red-eye effect.
| | 00:25 | To select the tool that we will be using,
you can either press the E key or
| | 00:29 | you can click on the icon here in order
to choose the Red Eye Removal tool.
| | 00:34 | Next, this tool works really easily and simply.
| | 00:37 | All that you need to do is to
click-and-drag over the eye.
| | 00:40 | In doing that, you'll see that
it's now retouched out this area.
| | 00:45 | Click-and-drag over another eye and you can
keep doing that in order to clean up these areas.
| | 00:50 | Now, if ever you find these overlays distracting,
as I do here, I think they look horrible,
| | 00:55 | you can press the V key.
| | 00:58 | Remember that shortcut from working
with our other retouching tool?
| | 01:02 | The V key toggles on and off your overlay.
| | 01:05 | You can also just click on this button here.
| | 01:08 | Well, with the Overlay off, I noticed that
on Annie's eye, on this one right here,
| | 01:12 | the pupil size isn't quite big enough.
| | 01:15 | Well, you can change that by hovering
over the edge and dragging that out.
| | 01:19 | And in doing that, you can change
the area that it's sampling.
| | 01:23 | Here now you can see
it's sampling a larger area.
| | 01:26 | So I will go ahead and decrease that
Pupil Size, and by doing that, you can see
| | 01:31 | I'm decreasing the area which it's affecting.
| | 01:33 | And here, we can dial this in so
that it's just removing that red eye.
| | 01:38 | We can control that this way.
| | 01:40 | We can also control how dark the
pupil becomes either by darkening it
| | 01:45 | by clicking-and-dragging this to the
right, or by leaving it a little bit
| | 01:49 | more bright by dragging to the left.
| | 01:51 | If you need to go through and change
different selections, well just
| | 01:55 | click on one, and then make any of the needed
adjustments and here you can see we can do
| | 01:58 | that as you make those adjustments.
| | 02:00 | So I prefer to press the V key to turn
off that little overlay, because it's
| | 02:05 | just too small and too distracting. All right!
| | 02:08 | Well, to view our before-and-after,
press that P key.
| | 02:11 | There it is, here is the before,
press the P key again,
| | 02:15 | and now you can see the after.
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|
|
12. Painting in Corrections with the Adjustment BrushIntroducing the Adjustment Brush| 00:00 | In this movie I want to introduce you
to a fascinating and powerful tool which
| | 00:05 | allows you to paint in adjustments
into specific areas of your photograph.
| | 00:09 | And this tool is really
unique, because typically
| | 00:12 | when we're working in Camera Raw, we're
making big or broad or global adjustments.
| | 00:17 | In other words, typically what
we do is we make an adjustment
| | 00:20 | which affects the entirety
of our photograph.
| | 00:23 | Here if I'm in the Basic Panel, we know that
we can increase or decrease our Exposure;
| | 00:28 | this affects all of our picture.
| | 00:29 | Yet, if we click on the Adjustment Brush,
you can click it here in the Tools Panel,
| | 00:34 | or if you press the
K key for its shortcut,
| | 00:37 | what this allows you to do
is to paint in say Exposure
| | 00:41 | or Contrast or Highlights or any of
these controls that you can see here.
| | 00:45 | As you notice, when you select this
tool, it disables all of these tabs;
| | 00:50 | they're now gone, and it takes you
directly to the settings for this tool.
| | 00:55 | Next, when you position the cursor
over your image, or in this case,
| | 00:58 | over this demo file here, you can
see that you have these two circles.
| | 01:02 | The inner circle, that's your Brush Size;
| | 01:04 | the outer circle,
that's the transition area
| | 01:06 | or how the effect will kind
of softly fade to that edge.
| | 01:09 | That's the Feather Size.
| | 01:11 | As you can see in this demo file,
I've included a few shortcuts
| | 01:14 | for changing those elements.
| | 01:16 | The Right Bracket key
makes your brush bigger;
| | 01:18 | Left Bracket key makes it smaller.
| | 01:20 | And then we can press
Shift+Right Bracket for more Feather,
[00:01:2 .89]
or Shift+Left Bracket for less Feather.
| | 01:27 | If you forget those shortcuts, no big
deal; you can always scroll down to the
| | 01:31 | base of these controls, and at the
base you see that you have some options
| | 01:35 | or some sliders here for your Brush
Size, Feather, Flow, and Density.
| | 01:39 | We'll be talking about all of these
elements and I want to do that so that
| | 01:43 | we can really understand this tool, and
then we can apply what we've learned
| | 01:47 | by working on a few images
later in this chapter.
| | 01:49 | Well, before we get to our brush,
let's go ahead and take a look at
| | 01:53 | the many different
controls that we have.
| | 01:55 | We've seen these in
other places, right?
| | 01:57 | Temperature and Tint. We have
all of our tonality controls,
| | 02:00 | Clarity, Saturation,
Sharpness, Noise Reduction.
| | 02:03 | So we can paint these adjustments
in into really specific areas.
| | 02:08 | Well, how does the painting work?
| | 02:10 | Well, what you do is before you use the
tool, you dial in some sort of an adjustment.
| | 02:15 | In this case, let's say we
want to increase our Exposure.
| | 02:18 | Next, scroll down to the base of
the area where you have these options.
| | 02:22 | You want to choose a Brush Size.
| | 02:23 | I'll make my brush a little bit smaller
and then also a Brush Feather amount.
| | 02:28 | Well, what's Feather?
| | 02:29 | Well, if I click-and-drag here,
creating a straight line,
| | 02:34 | you can see that this increased Exposure,
well, it's really kind of soft.
| | 02:38 | If we decrease the Feather, here I'll
remove it all the way, and click-and-drag
| | 02:42 | that same straight line, here you can
see that we have really hard edges.
| | 02:47 | Okay, well what then, or
how then, does Flow work?
| | 02:50 | Well, if you decrease Flow,
here I'll make this really low,
| | 02:54 | and if I paint across the image and then
paint back and forth and back and forth,
| | 02:58 | you can see that we can
build up this effect.
| | 03:01 | This will become even more
clear if we use some Feather.
| | 03:05 | So what I want to do is I want to delete
these kind of sample lines I've created here.
| | 03:10 | So you can see I have this pin selected.
| | 03:12 | When you have a pin selected,
just press Delete or Backspace
| | 03:16 | and it will remove
that adjustment.
| | 03:18 | Next, I'm going to increase
my Feather all the way up.
| | 03:21 | Here I'm going to make my
brush a little bit smaller.
| | 03:23 | And now with this low Flow, you can see as
I paint this line here, it's pretty faint.
| | 03:29 | But then as I go back and forth, I
can build this up over and over again.
| | 03:33 | So why would you want to
use a low Flow amount?
| | 03:36 | Well, typically when you're
painting an Exposure
| | 03:39 | or maybe you're reducing Noise in
a certain area or fixing your image,
| | 03:42 | you want to typically
progressively build that up;
| | 03:45 | you don't want it to
happen, boom, all at once.
| | 03:48 | So the Flow slider allows us to
be a little bit more delicate,
| | 03:52 | or to kind of build up the effect
brush stroke by brush stroke.
| | 03:56 | Well, how then does Density work?
| | 03:58 | Well, Density, you can think of
kind of like as overall intensity.
| | 04:03 | If I take this down to say about 46, and
I paint back and forth, it doesn't matter
| | 04:07 | how many times I paint back and forth,
it will never be as bright as this line.
| | 04:12 | That's because I've decreased the Density.
| | 04:15 | Again, so the Density kind of sets a cap
on all of these different adjustments.
| | 04:19 | Well, now that we've made these adjustments,
let's say we want to make some changes to them.
| | 04:23 | Well, you can go back to any of the sliders
that you've used and you can change the amounts.
| | 04:29 | Rather than brightening it this
much, we could brighten it more
| | 04:33 | or we could even darken this area.
| | 04:35 | So you can always change this after the fact.
| | 04:37 | Another way you can change the area that
you've worked on is you can click on Erase.
| | 04:42 | When you go to the Erase Brush, what you
can then do is click and paint over the
| | 04:45 | area that you've affected and here
I'm just erasing all that I've done.
| | 04:49 | Well, let's say that we want to add
multiple adjustments to one image.
| | 04:54 | To do that, click New.
| | 04:56 | Here I'll hover over the image.
| | 04:58 | I'm going to go ahead and paint a line.
| | 05:00 | In this case, let me go down here and increase
my Density so we can at least see this,
| | 05:05 | and so here I have this one
brightened area of the photograph.
| | 05:08 | And then I want to brighten another
area, so I'll click New again.
| | 05:12 | But I want to brighten this
area a little bit less,
| | 05:13 | so I'll go ahead and paint
over here a little bit.
| | 05:16 | And then I can click New again
| | 05:17 | and I'm going to paint over here
a little bit in a different shape.
| | 05:20 | And in this way you can see that you
can work on these different areas
| | 05:24 | of your photograph and you have these pins
which show you the different adjustments.
| | 05:30 | You can always click on one of the pins to
activate it and then change that adjustment.
| | 05:35 | You can also click on one of these
pins and press Delete or Backspace,
| | 05:39 | and in doing that, you can
get rid of that adjustment.
| | 05:43 | So as you can see, this tool,
it gives us a lot of flexibility.
| | 05:47 | And what's great about this
flexibility is it's nondestructive.
| | 05:50 | You can always undo it or erase it, and
there's also no save or render time.
| | 05:55 | So things that we used to previously
have to do in Photoshop with perhaps
| | 06:00 | a new layer or a curves
adjustment and a mask,
| | 06:02 | now we can do this directly on our
photograph here in Adobe Camera Raw.
| | 06:07 | And now that we know a
little bit about this tool,
| | 06:10 | let's take a look at how we can put
what we've learned into practice
| | 06:13 | by working on a few images, and
let's do that in the next few movies.
| | Collapse this transcript |
| Correcting exposure | 00:00 | Let's now take a look at how we
could use the Adjustment Brush
| | 00:04 | in order to fix some exposure issues.
| | 00:07 | In particular with this
photograph, it's backlit,
| | 00:09 | so the subject is a bit underexposed,
the background is a bit overexposed,
| | 00:14 | and I also want to just paint in a few
adjustments into a few areas of the photograph.
| | 00:19 | Well, in order to work
with the Adjustment Brush,
| | 00:23 | we can first press the K
key in order to select it.
| | 00:26 | The next thing that I want to do is I want
to turn on my Highlight Clipping Indicator.
| | 00:31 | To do that, you can press the O key or
you can click on this Triangle icon here.
| | 00:36 | This is then showing me that I have clipping,
or loss of detail, in this area of the photograph.
| | 00:41 | These highlights are overexposed.
| | 00:44 | To fix that, we can click on
the Minus sign for Highlights
| | 00:47 | and let's click on that a couple of times and
then we'll scroll down to our Brush options.
| | 00:52 | For the Brush, I'll make
the brush a little bit bigger.
| | 00:55 | The Flow, we'll bring
this up just a bit.
| | 00:57 | We want a nice high Feather amount.
| | 00:59 | Next, with this decreased Highlight amount,
| | 01:02 | we can go ahead and start
to paint across the image.
| | 01:05 | It looks like my brush is
a little bit too big there,
| | 01:08 | so I'm going to decrease that, and then
I'll just start to paint over this area.
| | 01:12 | And with this Clipping
Indicator turned on, the red,
| | 01:15 | you can see I'm now painting
away that problem area.
| | 01:18 | And in doing this we're
fixing this part of the image,
| | 01:22 | and this Clipping
Indicator is really helpful,
| | 01:24 | because it's showing me exactly
where I need to use this adjustment.
| | 01:29 | Alright, well now that we've done
that, look at our before and after.
| | 01:32 | Here's before and here's after.
| | 01:34 | Really quickly and easily
we fixed that highlight issue.
| | 01:38 | Well, now that we've done that,
| | 01:39 | let's go ahead and turn off that Clipping
Indicator and analyze the image.
| | 01:43 | What else do we need to do?
| | 01:44 | Well, the subject is
a little bit too dark.
| | 01:48 | I also might want to change the color
temperature here a bit on the subject.
| | 01:52 | So we need to make a new adjustment.
| | 01:54 | To do that, press the N key to create a
new adjustment or click on the New button.
| | 01:59 | That will then deactivate our previous
adjustment so that we can dial in new settings.
| | 02:04 | And here let's click on Exposure.
| | 02:05 | We'll go ahead and just
click on that a few times.
| | 02:08 | Next, we'll scroll down
to our Brush options
| | 02:10 | and I'm just going to decrease
my Flow here a little bit.
| | 02:13 | And then I'll go ahead and
start painting across the image.
| | 02:16 | Now, as I'm painting what I'm looking
to do is to just brighten up this area
| | 02:20 | of the photograph, also a
little bit of the hair there.
| | 02:23 | And then I want to brighten
up the jacket as well,
| | 02:26 | so you can see I'm just
painting back and forth.
| | 02:28 | The more you paint in one area,
| | 02:29 | the more you can bring in this particular
effect into that part of the image.
| | 02:34 | That's because we have
this lower Flow amount.
| | 02:37 | Well, now here if we click on our Preview button,
you can see there's before and there's after.
| | 02:41 | That's already looking much nicer.
| | 02:43 | Well, I also mentioned I wanted
to change the color temperature.
| | 02:48 | To do that, we can scroll back to the
top, go to our Temperature slider and
| | 02:52 | here I'm just going to click and drag to the
right, because I want to warm that area up.
| | 02:56 | I'm going to go ahead and warm
this up a little bit too much.
| | 02:59 | I'm going to do that because I'm
going to now add some Clarity.
| | 03:03 | Remember that Clarity
desaturates our pictures?
| | 03:06 | So by having this a little bit warmer,
this now Clarity amount or this nice
| | 03:10 | midtone Contrast, it didn't
remove too much of the color.
| | 03:14 | I'll also increase my
Saturation there a little bit.
| | 03:17 | I just want to do this so that I have some nice
colors in the face and also on the garments.
| | 03:23 | Okay, well, that looks really good, except I'm
noticing the jacket, it's a little bit too blue.
| | 03:29 | Once again, click on the New button.
| | 03:32 | Now, here what I'll do is click on the
Negative sign for the Temperature slider.
| | 03:36 | Notice that basically there's a rhythm
that I'm trying to show you here.
| | 03:40 | You create a new Brush, you dial in
your controls, your Brush settings,
| | 03:43 | and then you paint away.
| | 03:46 | In this case I'll just paint
over this area of the picture.
| | 03:48 | It looks like I need to use a little bit
of a higher Flow amount, I'll go ahead and
| | 03:53 |
just paint over this part of the picture right
here, and then scroll back up to the top.
| | 03:58 | And in this case, you can see that what's
happened is this is becoming more blue.
| | 04:03 | Rather than blue, I actually want this
to be neutral, so I'm going to drag this
| | 04:07 | to the right to add in some yellow,
which in turn removed some of that
| | 04:12 | color temperature there, so now it's a nice
black rather than a little bit of a blue.
| | 04:16 | Okay, well, we have all these different
pins, we can click on those,
| | 04:21 | and as we do that we also
will see this mask overlay.
| | 04:24 | Well, what's that about?
| | 04:25 | You can see it kind of turns
blue in the area that I've adjusted.
| | 04:28 | Well, if you scroll
down to the bottom,
| | 04:31 | you have this ability to
turn on the mask permanently.
| | 04:34 | You can do so by clicking
on this checkbox here.
| | 04:38 | You can also click on your Color Chip
| | 04:39 | and you can change the color that
you want to display this masked area,
| | 04:43 | because certain images, different colors
will help you see that perhaps more clearly.
| | 04:48 | You may want to do this so that it can
show you what area you've affected,
| | 04:53 | like with this adjustment I've
affected too much of the photograph.
| | 04:57 | Well, now, to change that I
can go to my Erase option here,
| | 05:01 | and then I'll just click and paint
this away from this part of the jacket.
| | 05:05 | In doing this it then won't
affect that part of the image.
| | 05:09 | So sometimes what you'll do is you'll
turn on the Show Mask here to help you
| | 05:14 | see what part of your image you've
worked on, or with this option off,
| | 05:17 | you can just hover over that and
get that view really quickly there.
| | 05:21 | Another way that you might want to work
with these pins is you might want to
| | 05:24 | click on one of the pins and then
go back and make other adjustments.
| | 05:28 | Let's say that was too bright
or not bright enough,
| | 05:31 | you could then dial that
in with these controls.
| | 05:34 | And then finally, last but not least,
the last thing you might want to do
| | 05:38 | with these pins is you
may want to hide those.
| | 05:40 | Do you remember the shortcut
key for that? It's the V key.
| | 05:43 | Think of the visibility, V
for visibility of those items.
| | 05:47 | You can also turn those on and
off by clicking on this icon here.
| | 05:51 | What I like to do is I like to
turn off the visibility of those.
| | 05:55 | And before I leave this tool, I want
to see my preview of what I've done,
| | 05:59 | the before and after.
| | 06:00 | So here's our before and then here's our after.
| | 06:04 | The image is looking much nicer.
| | 06:06 | And then to simply apply these settings
or to move on to making other adjustments,
| | 06:10 |
all that you need to do
is to select another tool.
| | 06:13 | Here I'll go ahead and
click on the Zoom Tool.
| | 06:16 | That will then take us out
of the Adjustment Brush
| | 06:19 | so that we could make other
adjustments to the overall image.
| | Collapse this transcript |
| Working with Auto Mask| 00:00 | Now that we know how we can start to
use the Adjustment brush in order to
| | 00:04 | paint in adjustments into particular areas
of our picture, in really a free-form way,
| | 00:09 | here what I want to do is focus in on how
we can start to work with Auto Masking,
| | 00:14 |
which allows us to paint in
adjustments that are limited,
| | 00:19 | based on where we are painting
or how we're using this brush.
| | 00:23 | So let's go and select the Adjustment
brush, and to do that press the K key.
| | 00:27 | Next, let's say that what we
need to do for this image is that
| | 00:30 | we need to change the jersey
or the shirt color here.
| | 00:34 | Well, to do that, we're
going to dial in a few settings.
| | 00:37 | First, we're going to desaturate, so I'll click
and drag this Saturation amount to the left.
| | 00:43 | Next, underneath the Color options
here, if you click on this little chip,
| | 00:47 | it will open up the Color Picker and here
I'm going to choose a really bright and
| | 00:50 | vibrant green, then I'll click Ok.
| | 00:54 | Next, let's scroll down to
the options for our brush.
| | 00:57 | Here I have some options for my Brush
Size, also the Feather amount and the Flow;
| | 01:01 | I'll bring my Flow up a little bit, and
then finally we have what's called Auto Mask.
| | 01:07 | You can turn this on and off by pressing
the M key and that's an important shortcut,
| | 01:12 |
because as you'll see later,
there will be certain areas
| | 01:15 | where you'll want to use Auto
Mask, other times you won't.
| | 01:18 | So just know that the M key
will toggle this on and off.
| | 01:22 | And for now let's leave this
off, and then what I want to do,
| | 01:26 | is I'm going to hover over the image and the
crosshairs here in the center of the circle,
| | 01:31 | I'm going to position them over the blue
of the jersey and just click and paint down.
| | 01:36 | As I do that, you can see that I'm affecting
the jersey but all of a sudden he's starting
| | 01:41 |
to look like the Incredible Hulk a little
bit, because his arm is turning green.
| | 01:46 | That definitely didn't work.
| | 01:49 | So we'll press the Delete key
in order to undo that adjustment.
| | 01:53 | Now we'll press M or we'll
click on the Auto Mask button.
| | 01:57 | I'm going to make that
same exact adjustment here,
| | 02:00 | crosshairs are just covering the Blue,
and in this way you can see that
| | 02:03 | what's happening is all of a sudden, this
adjustment is just limited to that area.
| | 02:10 | Well, how this works is with
your Brush even this big,
| | 02:14 | Camera Raw prioritizes the pixels
underneath the crosshairs.
| | 02:19 | It then goes out towards those edges
| | 02:21 | and it looks for some sort of an area
of contrast or where there is some edge.
| | 02:26 | Then it stops the adjustment there.
| | 02:28 | For more precision, we can
have a smaller brush as well,
| | 02:31 | and here what I want to do is just go
ahead and start to paint across the jersey.
| | 02:35 | And in doing that you can see
how we're building up this effect
| | 02:39 | in order to change the color
of this part of our image.
| | 02:42 | In order to get into the collar area,
I'm going to zoom in a bit more closely,
| | 02:46 | and next, I'll make my brush smaller.
| | 02:48 | Again, when you need to work on precise
areas and really get this type of an
| | 02:52 | adjustment into a precise area, you'll want
to get close and work with a smaller brush.
| | 02:56 | That being said, sometimes you'll start
out with a bigger brush a little bit more
| | 03:01 | zoomed out in order to make the
adjustments into those bigger areas.
| | 03:06 | Then you'll zoom in and kind of go back
and forth changing your brush size.
| | 03:09 | Well, here I'm just going to
paint over the rest of the jersey,
| | 03:12 | making sure I have a
nice selection there,
| | 03:14 | making sure we're able to
change all the color of that,
| | 03:17 | and if we zoom out a little bit, we
can look at that before and after
| | 03:20 | by clicking on the Preview icon.
| | 03:22 | Here is before and now here's after.
| | 03:26 | We were able to make this adjustment
because Auto Mask allowed us to limit
| | 03:31 | that area that we were then modifying.
| | 03:33 | What's interesting about using Auto Mask
and about working with this is that we
| | 03:37 |
can do things like change color, or we could
change the overall density of that area,
| | 03:41 | if we wanted it to be a little bit
darker there, not quite so bright.
| | 03:45 | In doing that, that of course
affected the Hue of the color.
| | 03:50 | We can also bring up our Contrast,
our Clarity of this area,
| | 03:53 | so I could have a little bit more
texture in that part of the photograph.
| | 03:57 | And again, by making all of these
adjustments limited to this area,
| | 04:01 | it gives us a lot of control about how
we're changing this part of our photograph.
| | 04:06 | Alright, well let's evaluate that
overall before and after; here it is.
| | 04:10 | There is before. We'll
click on that again.
| | 04:13 | Now here's after.
| | Collapse this transcript |
| Changing the background color| 00:00 | Here with this portrait that I captured, let's
say that the client comes back to us and says,
| | 00:04 |
hey, love the portrait, but I just
wish you could change the background,
| | 00:09 |
maybe change the Hue or the
Brightness value of the background.
| | 00:12 | And so we would then go
back say to Camera Raw
| | 00:15 | and work with our Adjustment
Brush to do that.
| | 00:17 | Here I want to look at how we can use
the Adjustment Brush and also Auto Mask
| | 00:22 |
when we have a situation where
our edges aren't as defined
| | 00:25 |
as they were like in
the previous movie.
| | 00:28 | So let's press the K key in order
to select the Adjustment Brush.
| | 00:32 | Next, what I want to do, is I'm going to go
ahead and scroll down to my Brush options,
| | 00:37 |
and in the Brush options what I want you to
do is to choose a relatively small brush here.
| | 00:41 | I want you to turn on Auto
Mask, and then also Show Mask.
| | 00:46 | We're going to do this so that we
can really see the edges of our mask.
| | 00:50 | Now I'm going to have this nice small
brush and I'm going to start to paint
| | 00:55 | over the background, and I'm doing
this with Auto Mask turned on,
| | 00:58 | and a lot of times when you have images
like this where you have less defined edges,
| | 01:04 |
you'll work on the outer
edge of the picture
| | 01:07 | and then we'll turn Auto
Mask off in just a moment,
| | 01:10 | and we'll do that so that we can then
work on the other area of the image,
| | 01:15 | but first, we'll just
focus in on this area.
| | 01:17 | Alright, well for the most
part this is looking okay;
| | 01:20 | I just need to kind of clean up
a couple of little edges there.
| | 01:23 | Next I brought in a little bit too much of
this adjustment on this side on the shoulder,
| | 01:28 |
so we'll click on the Erase
button, press the left bracket key
| | 01:31 | to make our brush nice and small.
| | 01:32 | Make sure Auto Mask is turned on here
as well, that way we can use this
| | 01:36 | Auto Mask feature on this side of
the image as well as the other side.
| | 01:41 | So again we're adding or removing.
| | 01:43 | I'm going to add that, I'm going to try
to make my brush a little bit smaller
| | 01:46 | to bring in a little
bit into that area,
| | 01:50 | brought in too much, so I'll just
go ahead and paint that out there,
| | 01:54 | and again it's just some back-and-forth
painting, between Add and Erase.
| | 01:59 | One great way you can toggle between those
two, is if you hold down the Option key;
| | 02:03 | that will toggle to Erase, then if you let go
of that, that will bring back that to Add.
| | 02:09 | Okay, well now that I've done that, I'm going
to go ahead and just kind of finish this off,
| | 02:12 |
see a few little areas where I need
more, and then I'll turn Auto Mask off,
| | 02:16 |
and I'll zoom out, and I'll make my
brush a little bit bigger here.
| | 02:20 | And I'm doing that so I can just kind of
quickly paint over the rest of the background.
| | 02:24 | In other words, we just use
Auto Mask where we needed it.
| | 02:27 | You want to make sure you're not using
Auto Mask say on the background;
| | 02:30 | otherwise the adjustment will kind of have
some almost spotty sort of a look to it.
| | 02:37 | Now with Auto Mask turned off, what you want
to do is crank up your Feather all the way,
| | 02:42 |
make your brush nice and small and then
just kind of approach some of the edges,
| | 02:47 | because this will soften
up some of those areas,
| | 02:49 | so they don't look quite so crunchy,
and this is just going to create
| | 02:53 | a little bit of a nice softening
effect here on the edge.
| | 02:57 | Now why not just do
this from the start?
| | 02:59 | Well, what we're doing here is we're
combining the best of both worlds;
| | 03:02 | we're using Auto Mask to give us a good edge,
and then we just kind of slowly, subtly
| | 03:09 | backed it off a little bit, so
there's a bit of a transition.
| | 03:12 | Well, so far we've just been making this
adjustment with Show Mask turned on,
| | 03:17 | we've done that to be able to see that area.
| | 03:20 | Now let's turn Show Mask off, and let's
actually make the adjustment to the image.
| | 03:24 | Well, what kind of an adjustment
might we want to make here?
| | 03:27 | Well, we could control the overall Brightness
of the background as I mentioned,
| | 03:30 | or another thing that we might want to
do is perhaps remove some of the color,
| | 03:34 | so I'll desaturate, and then
add some color on top of it.
| | 03:38 | We've seen how this works before;
we can use this color chip here,
| | 03:42 | try to find a nice perhaps Blue, and then
maybe dial in the overall density of that,
| | 03:48 | so that I can then kind of
control how this color looks here.
| | 03:50 | And by doing that, you can see we've really
changed the overall mood of this picture.
| | 03:56 | We could make this perhaps less dominant
there if we wanted a little bit more
| | 03:59 | of a subtle Blue, but you can see
how you can kind of customize this
| | 04:03 | and get this to feel like
it's nice and cohesive.
| | 04:06 | So if we look at the overall before
and after, what we've done is,
| | 04:09 | we've been able to paint in this
adjustment into this part of our image.
| | 04:13 | We were able to do that to create a
different mood or feeling with this picture.
| | 04:18 | So as you're starting to see here, we
can use this Adjustment brush to make
| | 04:23 | corrections or changes to our photograph
and also to further the creative vision
| | 04:27 | that we have for our photographs.
| | Collapse this transcript |
| Changing the color temperature| 00:00 | Ideally when working with Camera
Raw we can make our color correction
| | 00:04 | adjustments by using the Basic Panel
or by using the White Balance tool.
| | 00:09 | Yet there are certain situations
where these tools just won't work,
| | 00:13 | like with this portrait that I captured
here; you can see that it's color correct,
| | 00:18 | except there is this blue color cast
on the top of the head in the hair.
| | 00:23 | Now where did that come from?
| | 00:25 | In this case that came
from reflected light.
| | 00:29 | So what I need to do is I need to color
correct just a part of this picture,
| | 00:33 | and again, this is the photograph
straight out of the camera.
| | 00:37 | The photograph looks great,
you look at the subject's eyes,
| | 00:39 | everything is wonderful, but then
you notice this color problem up top.
| | 00:44 | So let's go ahead and zoom in
on the picture a little bit
| | 00:47 | and let's explore how we can fix
this part of this portrait here.
| | 00:51 | To do this we're going to obviously
use the Adjustment Brush,
| | 00:54 | press the K key in order
to select the tool.
| | 00:57 | Next, what I want to do is I'm going to
click on the Minus icon for Saturation.
| | 01:01 | This will allow me just to desaturate this
a little bit; that's probably a bit too far.
| | 01:07 | Next, I know that the
opposite of blue is yellow,
| | 01:09 | so I'm also going to click to drag my
Temperature slider to the right here
| | 01:13 | to add a little bit of a
color correction to that area.
| | 01:16 | Next, we'll scroll down to change
our Brush Size, Feather, and Flow.
| | 01:21 | For the Brush Size, actually
this brush size looks okay.
| | 01:25 | I'll press the Right Bracket key or just
click and drag this a little to the right.
| | 01:29 | We want a nice soft edge,
so we increase the Feather,
| | 01:31 | and then for the Flow we'll bring this
down to somewhere less than 50 or so.
| | 01:36 | Here in this situation we definitely
have to have Auto Mask turned off.
| | 01:41 | Next, we'll go ahead and just
start to paint over this area,
| | 01:44 | because we have a little bit of a
lower opacity and a pretty big brush,
| | 01:47 | we want to be careful that
we don't go too far out here.
| | 01:51 | I'm going to go ahead and decrease my Brush
Size by pressing the Left Bracket key;
| | 01:55 | it looks like it was too big,
at least at this zoom rate,
| | 01:58 | and here I'm just going to try to
remove some of this color cast.
| | 02:02 | In doing this I'm painting
around these different areas,
| | 02:05 | I'm just trying to do this in a
kind of a back-and-forth soft way.
| | 02:08 | And here, if we desaturate a little bit
more and then go back up to the top
| | 02:13 | and perhaps decrease our
Exposure, maybe to darken that,
| | 02:16 | and also change that color Temperature,
you can see how we can control this area,
| | 02:21 | and I'm just going to dial this in
until I think that it looks pretty good.
| | 02:24 | Alright, that looks pretty good;
let's click on the Preview button.
| | 02:28 | There is before, it's all Blue, let me zoom
in a bit more so you can see that even better,
| | 02:32 |
and then click on Preview
again and there is after.
| | 02:36 | And by using this tool to paint that
adjustment into that really specific area,
| | 02:41 | you can see that you can White Balance or
Color Correct different parts of your images,
| | 02:46 | and this is critical, because so often
we have these different light sources
| | 02:51 | or maybe we have reflected
light like I had here,
| | 02:54 | which is kind of contaminating the color
temperature, or the color in our photograph.
| | 02:59 | By using this tool, we can
quickly paint that away.
| | 03:02 | Well, here with this image it was
pretty simple and straightforward,
| | 03:06 | yet what I want to do is also take a
look at a scenario where this will be
| | 03:10 | a little bit more complicated, and
so let's do that in the next movie.
| | Collapse this transcript |
| Making multiple color and tone adjustments| 00:00 | In this movie, we'll be working with this
fun photograph of my daughter Sophia here,
| | 00:04 | who is very intently making and decorating
cookies, and one of the things that I
| | 00:09 | notice with this picture is that there
are some issues with the background.
| | 00:13 | You can see there's a
color shift on the right,
| | 00:15 | that's a little different than the
color or brightness on the left.
| | 00:19 | So I want to dial in a few
adjustments using the Adjustment Brush,
| | 00:23 | and then also make a couple of subtle
adjustments using the Basic Panel
| | 00:27 | and try to combine all of these tools
together in order to improve this picture.
| | 00:32 | Alright, well let's select the
Adjustment Brush by pressing the K key.
| | 00:36 | Next, I'm going to first increase
my Exposure on the right-hand side.
| | 00:40 | So I'll click and drag this
a little bit to the right.
| | 00:42 | If you've made other adjustments previously, it
may be helpful just to click on the Plus icon
| | 00:46 |
for your Exposure and then go ahead
and decrease that a little bit.
| | 00:50 | The reason why that might be helpful is
because that will reset those other sliders.
| | 00:55 | Next let's scroll down.
| | 00:57 | Here we want to have a
relatively high Feather amount.
| | 01:00 | For Flow, I'll decrease that a little
bit and also decrease my Brush Size.
| | 01:05 | With this image, I want to turn
Auto Mask on and off quite a bit.
| | 01:08 | So you can press the M key to
toggle back and forth between that.
| | 01:12 | Let's start with Auto Mask on, and
let's click along these edges here.
| | 01:16 | This well help us just get some good,
kind of edge work on the image.
| | 01:20 | Next press M to turn that off and now let's
paint in the other area of the photograph.
| | 01:25 | Here the more we paint in certain areas,
the more we can build up, in this case,
| | 01:29 | this increased Exposure, and then I'll
press M again and I'm going to go ahead
| | 01:33 | and just paint along this edge down here,
and I think we have a pretty decent
| | 01:37 | selection on the right side of the image.
| | 01:40 | Next, I want to work on its overall color.
| | 01:42 | One way that you can do this, is you can
desaturate, and so by desaturate,
| | 01:47 | I can remove some of the color I'm
seeing there in the background.
| | 01:49 | I could also click and drag my
Temperature slider to left a little bit.
| | 01:54 | In this way it's now much
more neutral. I like that.
| | 01:57 | Yet it's not quite bright enough.
| | 01:59 | So I'm going to click New
to create a new adjustment.
| | 02:02 | Here I'll decrease the
Exposure even more.
| | 02:05 | I'm just going to paint over some
of the areas where I think this is
| | 02:09 | still a little bit too bright.
| | 02:10 | So in other words, in this case I'm
kind of stacking up these adjustments,
| | 02:15 | so that I have one on top of another and
I've done that so that I can start to
| | 02:20 | kind of work with the shadows there
and kind of brighten up that area.
| | 02:23 | Now it looks a little bit too
cool, a little bit too neutral.
| | 02:27 | Yet we'll be fixing that in a moment.
| | 02:30 | Next, I want to work on the
other side of the image.
| | 02:32 | So once again, let's click New.
| | 02:34 | Here on this other side, what I
need to do is I need to remove
| | 02:38 | some of the color I'm seeing here.
| | 02:40 | So I'm going to click on the
Minus sign for Saturation.
| | 02:43 | I'm also going to increase my
color Temperature just a bit.
| | 02:47 | Next, we'll go down to our
Brush options here, Brush Size.
| | 02:50 | We know how that works right?
| | 02:51 | Pretty small brush size here.
| | 02:53 | We want to turn on Auto Mask.
| | 02:55 | We want to turn that on, as
we start to work on the edges
| | 02:59 | and you typically want to
do that around the subject.
| | 03:02 | After you've made that first pass around
the subject and if you feel like you have
| | 03:06 | some good edges there, well then
you can go ahead and turn that off.
| | 03:10 | To turn off Auto Mask press the M Key
and then paint away in the other areas.
| | 03:16 | As we make these adjustments,
I'm not looking to make
| | 03:18 | really big, bold, dramatic,
huge adjustments.
| | 03:22 | Rather, I want these
to be pretty subtle.
| | 03:24 | So let's go back to the top here, and
you can see how we can warm that up
| | 03:28 | a little bit more and also perhaps
increase the Exposure there as well.
| | 03:33 | In doing that, really I'm just find
it kind of neutralize my background.
| | 03:37 | Click on the Preview button
and you can see before;
| | 03:40 | let's zoom in a little bit more,
so you can actually see that.
| | 03:43 | Here's is before, and then we'll
click again and you can see after.
| | 03:46 | Alright, now that I've made those corrections,
just a little bit more that I need to do.
| | 03:52 | On this side, I'm not really feeling
the green, so I'm adding some Magenta.
| | 03:57 | Okay great, well now that we've
made all those adjustments,
| | 04:00 | I'm going to go to the Basic
Panel and in the Basic Panel,
| | 04:04 | we're going to make some Color
and Tone and Contrast adjustments.
| | 04:07 | So we'll click on the Zoom Tool.
| | 04:10 | Here I'll increase my overall color
Temperature just a few points,
| | 04:13 | because I want this
to be nice and warm.
| | 04:15 | Let me zoom out and
show you what I mean.
| | 04:17 | So here we can see we're adding a
little bit of this warming effect.
| | 04:21 | Next I'll increase my Clarity a little
bit, also a touch of Contrast there,
| | 04:25 | and maybe bring in some
details into the Shadows.
| | 04:28 | And by using these controls,
what I'm basically doing now
| | 04:31 | is I'm bringing out
some more of my colors.
| | 04:34 | You can see, I'm using Vibrance and
Saturation and Exposure, Shadows;
| | 04:38 | I'm basically using my typical
Basic Panel workflow.
| | 04:42 | With this workflow, I can apply these
adjustments because I've already kind of
| | 04:46 | previously corrected
the major color issues.
| | 04:50 | This then allows me to bring
in some more of these colors.
| | 04:53 | Let me try to get a good zoom right
here, so you can see this a little bit,
| | 04:57 | so that here we have our
before and then now our after.
| | 05:01 | Had we not made those Adjustment Brush
corrections, well these corrections would
| | 05:06 | have exaggerated the problem, and it
just would have kind of looked weird.
| | 05:11 | So we first needed to navigate
to the Adjustment Brush.
| | 05:14 | With the Adjustment Brush we're able
to get into some of those specific areas
| | 05:18 | and deal with a couple of issues, and
then together by combining all of these
| | 05:23 | adjustments, it allowed
us to improve this image.
| | 05:26 | So as you start to work
with the Adjustment Brush,
| | 05:29 | start to think about how you can
make these specific corrections,
| | 05:33 | but then also keep in mind that these corrections
many times don't live by themselves.
| | 05:38 | Rather, you're going to integrate this
tool into the rest of your workflow,
| | 05:42 | and by doing that, many times, you
can come up with even better results.
| | Collapse this transcript |
| Enhancing the color, tone, and sharpness of the eyes| 00:00 | So far we've taken a look at how we can
use the Adjustment Brush in order to
| | 00:04 | make bigger or broader adjustments, say
to exposure or to working with backgrounds.
| | 00:09 | Well, here we're going to
focus on something specific.
| | 00:12 | We're going to look at how we can
work with the Adjustment Brush
| | 00:14 | and say improve the eyes
or change the eyes.
| | 00:18 | This is a photograph
of my daughter, Annie.
| | 00:20 | Let's zoom in on this picture,
if you can grab the Zoom Tool,
| | 00:23 | we'll click a few times so that we can
focus in on one area of our picture.
| | 00:28 | Then next, let's press the K key
to select the Adjustment Brush,
| | 00:32 | and here what I want to do with the eyes
is I'm going to change the overall color,
| | 00:36 | the contrast, the clarity.
| | 00:37 | In order to do that, let's first
click on the Plus icon for Exposure,
| | 00:41 | just so we have a slight
increase in Exposure,
| | 00:44 | we'll then dial in the rest of
the adjustments after the fact.
| | 00:48 | Next, we'll scroll down.
| | 00:50 | Here in regards to our
Brush Size and Feather,
| | 00:53 | it's really hard to know
how to change these options.
| | 00:57 | We want to turn Auto Mask off,
but how big should my brush be
| | 01:00 | or how much Feather? I don't know.
| | 01:02 | So position your cursor over the image,
over the small area that you want to modify.
| | 01:06 | Here you can see my brush is way too
big, so I'll press the Left Bracket key
| | 01:11 | in order to decrease the size of the brush,
or we can go back to the Size slider.
| | 01:16 | I always like pressing
those shortcut keys,
| | 01:17 | because they help me get
to exactly what I need.
| | 01:21 | Now once your brush gets
down to a really small size,
| | 01:24 | you may not be able to
see the Feather amount.
| | 01:26 | So how then can we change that?
| | 01:28 | Well, you can change your Feather
by clicking on the Shift key
| | 01:31 | and then pressing Left Bracket to decrease the
Feather or Shift+Right Bracket to increase it.
| | 01:37 | Because you can't see it here,
because the brush is so small,
| | 01:40 | we're just going to have
to assume that it's there.
| | 01:43 | You may want to dial this in with the
slider or you may want to use the shortcuts.
| | 01:47 | Next, I want to start to paint around.
| | 01:49 | In this case, because the
shape of the eye is round,
| | 01:52 | you can see I'm trying
to follow that shape.
| | 01:55 | You want to be really careful to
follow the Flow and the Shape of
| | 01:59 | whatever object it is that
you're trying to work on.
| | 02:01 | Well, now here the eyes are
bright, perhaps too bright.
| | 02:05 | We can see that if we go
back to our Exposure slider,
| | 02:07 | we can then control the
brightness of the eyes.
| | 02:10 | Well, now that we have that, the
next thing that I want to do
| | 02:13 | is increase my Contrast a little bit.
| | 02:15 | Also, I want to bring in some Sharpness,
| | 02:17 | I want to have a little bit more
detail there, and some Clarity.
| | 02:21 | As we start to make these adjustments, you
can see how those are affecting the eyes.
| | 02:26 | What about color?
| | 02:27 | Well, for color, we could
use our Temperature slider.
| | 02:30 | Here I could cool this
off to add in more Blue.
| | 02:33 | In doing that though, I notice
I missed a little area up here,
| | 02:37 | so I'll just go ahead
and paint that in.
| | 02:39 | I'll make my brush a
little bit smaller.
| | 02:41 | I'm just going to paint in
this adjustment into this area.
| | 02:44 | You also may notice as you start to
make these adjustments that you brought
| | 02:47 | the adjustment into an
area in too strong of a way.
| | 02:50 | Well, you can always
click on Erase and then
| | 02:53 | kind of subtly back it off in
order to remove some of that.
| | 02:56 | Well, here with my Temperature slider, I'm not
really liking the color that was brought in;
| | 03:01 | I don't think it works very well.
| | 03:02 | So another way that we could do this,
so we can click on the Color Chip.
| | 03:06 | We've seen this before, how we can select
this and we can choose different hues here
| | 03:09 | in order to add a little bit of a color
change to this area of the image.
| | 03:13 | Alright, let's click OK.
| | 03:15 | Next, I obviously need to hide
that visibility of the pin;
| | 03:20 | that's incredibly distracting.
| | 03:21 | To hide that, press the V key.
| | 03:23 | Here now we can look at our Preview
and you can click on the Preview icon
| | 03:27 |
to see your before and after.
| | 03:30 | When making adjustments to areas
like this, we also need to zoom out.
| | 03:35 | You can zoom out by pressing Command+Minus
on a Mac or Ctrl+Minus on Windows.
| | 03:40 | Why is zooming out important?
| | 03:42 | Well, it's important because sometimes
we can be so focused on a little area
| | 03:46 | that we're not really seeing how this
is fitting into the overall picture.
| | 03:50 | The further I zoom out, the
more that I realize, gosh,
| | 03:53 | I have just completely overdone this.
| | 03:56 | So by seeing this from
this pulled-back perspective,
| | 03:59 | it can then help me dial in
the overall settings here.
| | 04:03 | And basically what it looks like that
I need to do is I need to just kind of
| | 04:06 | diminish everything that I did,
because it was a color that I created,
| | 04:10 | a brightness level, which
didn't quite fit the photograph.
| | 04:13 | Well, now that I can see what fits,
I can look at my before and after.
| | 04:17 | And in this case, I think that's
looking a little bit better.
| | 04:20 | Still though I think I have perhaps a bit
too much in regards to that overall effect.
| | 04:25 | When it comes to working on the eyes, I
typically want to keep things really subtle.
| | 04:30 | I don't want to draw too much
attention to that area of the face.
| | 04:33 | Alright, well, let's evaluate how we've done.
| | 04:35 | We can press the P key to
look at our before and after
| | 04:37 | and I'll zoom in a little bit more
so you can see that up close.
| | 04:41 | And here it is, I'll
press the P key one last time.
| | 04:44 | There's our before and
now here's our after.
| | 04:47 | And perhaps most importantly, we've
now started to see how we can work with
| | 04:51 | little teeny areas and how as we do
that, we're going to want to zoom in,
| | 04:57 | paint in the adjustment, work with
our sliders, and then also zoom back
| | 05:01 | in order to evaluate that, so you'll be
changing your zoom rate in order to
| | 05:06 | really determine how those adjustments
best fit into the overall photograph.
| | Collapse this transcript |
| Whitening teeth| 00:00 | Sometimes when we're working with
specific areas of our photograph
| | 00:03 | or making enhancements, perhaps like
enhancing the eyes, in other situations,
| | 00:07 | like with this photograph, we're going
to look at how we can make corrections.
| | 00:12 | Here what I want to do
is whiten the teeth.
| | 00:14 | So let's zoom in on
the image a little bit.
| | 00:17 | Next, let's select the Adjustment
Brush by pressing the K key.
| | 00:21 | Here, we will go ahead and click
on the Minus icon for Saturation
| | 00:24 | and then let's scroll down to the bottom,
and here at the bottom of this dialog,
| | 00:29 | you want to make sure
Auto Mask is turned on.
| | 00:32 | Do you remember the
shortcut to turn that on?
| | 00:33 | It's the M key; so press the M
key or click on this checkbox.
| | 00:38 | I also want you to turn on your Mask.
| | 00:40 | You can toggle this mask on by pressing
the Y key; you can remember that shortcut
| | 00:45 | by thinking, why am I doing this,
or why am I working on this area?
| | 00:49 | Well, this mask will show you.
| | 00:52 | Next, we want to choose a
nice, bright vivid color,
| | 00:55 | so we can focus in on the
area that we're working on.
| | 00:57 | In regards to our Brush Size, it
looks like a pretty small brush size
| | 01:01 | will probably work well here.
| | 01:02 | And next, we're just going to start to
click and paint over this part of our image.
| | 01:06 | As we do that, we want to be really
careful that the crosshairs are
| | 01:10 | just touching the teeth, that
nothing else is touching that area.
| | 01:13 | Next, make the brush smaller
by pressing left bracket,
| | 01:16 | and then go ahead and paint
across the bottom teeth here.
| | 01:19 | We're going to color correct the top.
| | 01:21 | We also need to color correct the bottom.
| | 01:23 | You may notice there is a little bit of a
gap between the teeth that isn't selected.
| | 01:28 | To select that, I'll press the
M key to turn off Auto Mask
| | 01:31 | and I'm just going to paint on that.
| | 01:32 | I'm also going to try to
soften my edges here a little bit.
| | 01:36 | Looks like I went just a touch too far
in one spot, so I'll go ahead and click
| | 01:40 | on Erase and then I'm just going to
Erase that from this top area here.
| | 01:44 | And why am I using this mask, or
why do I have this mask turned on?
| | 01:49 | Well again, we use that so that we can
see the area that we are working on,
| | 01:53 | and also so that we can see how our
adjustment is going to affect that area
| | 01:57 | and what are the edges or the
borders of what we've just painted in?
| | 02:00 | Well, now that we can see we have a
good selection, we turn off Auto Mask.
| | 02:05 | Next, we'll back to our controls
and here if we desaturate,
| | 02:09 | you can see that we can
remove a lot of the color.
| | 02:12 | Click on Preview; here is before,
click again, there's after.
| | 02:16 | Yet I also notice that the
teeth are a bit too bright.
| | 02:20 | When something has color
in it, it can be brighter,
| | 02:23 | but once that color is removed it
almost looks like they are shining.
| | 02:27 | Now we don't want that.
| | 02:29 | So here we can then use our other controls
and we have to be careful with these.
| | 02:33 | Say Highlights, we can click
and drag these to the left,
| | 02:36 | if we go to far things are just
going to look really, really bad.
| | 02:39 | So again, that's why
you need to be careful.
| | 02:41 | But typically, by just kind of nudging
this over a little bit, this can help out.
| | 02:46 | Next, we can work
with our Saturation.
| | 02:48 | We don't need our teeth to
go completely pure white;
| | 02:52 | rather, you need to remove a
little bit of that yellowing.
| | 02:55 | Click on Preview, you can see there
is the before and now here's after.
| | 02:59 | And what I want to do is just dial
in just the right amount of all of
| | 03:03 | these settings here, so I'll experiment
with my sliders a little bit,
| | 03:06 | till I get it just right, and
then there is our before and after.
| | 03:11 | And as you can see here, we can use
this Adjustment Brush to make these
| | 03:15 | really essential corrections that will
help our photographs look their best.
| | Collapse this transcript |
| Brightening shadows and darkening highlights| 00:00 | Here we're going to look at another way that
we can paint in corrections to our photograph,
| | 00:04 |
and that is how we can paint in
corrections into areas of shadows.
| | 00:09 | If we double-click our Zoom Tool on
this image, it will take us to 100%.
| | 00:14 | Then press the Spacebar key and click
and drag, so that we can see the face.
| | 00:18 | Well, with this portrait
what you can see is that
| | 00:20 | there are these dark
shadows here around the eyes.
| | 00:23 | I want to brighten those up.
| | 00:25 | So press the K key to
select the Adjustment Brush.
| | 00:29 | Next, because these are shadows, I'm
going to work with my Shadows slider.
| | 00:33 | Here we'll click and
drag this to the right.
| | 00:36 | I also want to increase
the Exposure just a touch.
| | 00:38 | After having dialed in those settings,
I'll go down and change my Brush Size.
| | 00:43 | Here I need my brush to
be quite a bit smaller.
| | 00:45 | I'm also going to
decrease my Flow.
| | 00:47 | When you're working with light, you
want to have a relatively low Flow,
| | 00:51 | so you can slowly
bring this amount up.
| | 00:54 | Alright, well, I'm going to
decrease my Brush Size even more,
| | 00:57 | so I can really get
into those shadows.
| | 00:59 | What I'm looking to do here is to try to bring
out those shadows, or brighten up those shadows.
| | 01:05 | What's great about this is that this
control allows us just to target this
| | 01:09 | little area of the tonal range of the
image, and by doing that we can then
| | 01:14 | correct this image in a
pretty interesting way.
| | 01:16 | Here you can see my Shadows slider.
| | 01:18 | It allows me to bring up
some of the detail there.
| | 01:20 | So I'll just find the
right spot for that.
| | 01:22 | I'm also going to decrease a
little bit of the Contrast as well.
| | 01:26 | Next we'll press the V key to
hide the visibility of our pin,
| | 01:31 | because that's obviously distracting.
| | 01:33 | Then we'll press the P key to look at
that before, and then here, the after,
| | 01:39 | and by panting this adjustment in what
you can see is we're bringing in this
| | 01:42 | brightening effect into the eyes, which helps
draw the viewer in to this part of our picture.
| | 01:48 | Again, after having increased
my Exposure a little bit more,
| | 01:52 | here it is, our before and then after.
| | 01:55 | Now because this area of the
forehead is really bright,
| | 01:58 | it's kind of competing for the way
that the eye is looking at the image,
| | 02:02 | because we're attracted to
focus and also brightness.
| | 02:05 | So I want to darken that.
| | 02:07 | We'll click on New and then here
I'll go ahead and go to my Highlights,
| | 02:11 | and click on the Minus icon.
| | 02:13 | I want to decrease those Highlights
and then with these same settings,
| | 02:16 | I'm just going to paint over this area
here, and by doing this you notice that
| | 02:19 | if I paint over an area which isn't highlights,
well it's not going to really do that much,
| | 02:24 | because it's just working
on those brighter tones.
| | 02:27 | So I'm just kind of tapping
down these highlights a little bit.
| | 02:30 | We can control that more or less, by using
this slider here, and again it's just
| | 02:34 |
going to subtly bring that down and it'll
also bring my exposure down just a little bit.
| | 02:40 | Next, we can click on our Preview icon
and you can see how we're redirecting
| | 02:44 | the way that someone is
going look at this image.
| | 02:46 | There it is, our before
and then here, our after.
| | Collapse this transcript |
| Creating a black-and-white effect| 00:00 | In this movie, we'll be working on
two images and we're going to perform
| | 00:04 | a similar technique, yet we're
going to do it two different ways,
| | 00:08 | and the technique is going to be to
desaturate a large area of our photograph.
| | 00:13 | I'll show you this technique, one, because
it's just kind of fun, and then two,
| | 00:16 | I think it will help you understand
how we can work with the Adjustment Brush
| | 00:20 | and also how we can work with Auto Mask.
| | 00:23 | Alright, well let's press the K key
to select the Adjustment Brush.
| | 00:26 | What I want to do with this
adjustment is I want to desaturate.
| | 00:30 | So I'm going to click on the Minus
icon for Saturation so that I can
| | 00:33 | then remove all of the color from
the background so that the color is
| | 00:38 | in black-and-white and the
subject is still in full color.
| | 00:42 | Now if you have a large area like this, you
probably want to start off with a large brush.
| | 00:46 | So I'm going to press the Right
Bracket key to increase my Brush Size.
| | 00:50 | The brush now is huge.
| | 00:52 | The next thing I'm going
to do is turn on Auto Mask.
| | 00:55 | You can do that by pressing M
or by clicking on this icon.
| | 00:59 | Then here we're just going to start to
click and paint around the background.
| | 01:02 | In doing that, you'll see that we'll
be able to start to begin to remove
| | 01:06 | the color from the background.
| | 01:08 | This will then give us some
really big bold adjustments,
| | 01:11 | yet it also will limit our
adjustments to a few areas.
| | 01:15 | If you look, you can see that I wasn't able to
remove all of the color there in the background.
| | 01:19 | So in order to get the rest of that out,
| | 01:21 | what I'm going to need to
do is to turn off Auto Mask.
| | 01:24 | So first, let me just go around here, try to
cover all these areas with this adjustment.
| | 01:29 | Next, I'll press the M
key to turn off Auto Mask,
| | 01:33 | then press the Left Bracket
key to decrease my Brush Size.
| | 01:35 | Here I need to be a little bit more
careful because with Auto Mask turned off,
| | 01:41 | I need to just paint over the
area that I want to desaturate.
| | 01:45 | In this case, the photograph
is looking pretty good,
| | 01:48 | except I notice that I desaturated
a little bit on his face.
| | 01:51 | So we'll click on Erase and then here,
we'll go ahead and clean that up
| | 01:55 | by erasing that desaturation
from this part of the picture.
| | 01:58 | I just want a nice little small brush
there in order to be able to do that.
| | 02:02 | And here you can see that by
working with a big brush first,
| | 02:06 | with Auto Mask turned on, it allowed
us to really target that area,
| | 02:11 | so that we're able to remove all of the
color or maybe even darken that background
| | 02:15 | a little bit so that we now have this
kind of interesting or creative effect.
| | 02:21 | Another way that we can accomplish
this effect is by doing something
| | 02:25 | which is similar but almost the opposite.
| | 02:27 | Let me show you what I mean.
| | 02:28 | Here I'll click on this next image that
I have open and with this photograph,
| | 02:33 | I want everything desaturated
except the pumpkin.
| | 02:37 | How can we do that?
| | 02:38 | Well, once again with no Saturation
or -100 Saturation, I should say,
| | 02:44 | and then with a really big brush,
I mean, a gigantic brush.
| | 02:47 | In this case, I'm going to make it
huge, bring my Flow all the way up.
| | 02:50 | I'm going to turn Auto Mask off and
I'm just going to paint across the image.
| | 02:54 | So I'm just desaturating everything
with a few brush strokes. Color is gone.
| | 02:59 | Well, how then can we
bring some color back?
| | 03:03 | Here, we can click
on the Erase option.
| | 03:06 | When you choose Erase, notice that it
changes the settings for your brush.
| | 03:11 | Here we can have a
little small brush.
| | 03:13 | We could have a lot of Feather.
| | 03:15 | We could also increase the Flow, and also,
last but not least, turn on Auto Mask.
| | 03:21 | Now with Auto Mask turned on, what I
can do is I can start to paint around
| | 03:25 | this pumpkin here and I
can really work on the edges.
| | 03:29 | What I'm doing in this case is I'm erasing the
desaturation from this area of the photograph.
| | 03:35 | Rather than adding it, I
added desaturation everywhere
| | 03:39 | and then just erased
it to this picture.
| | 03:41 | I'll zoom in a little bit more on the
pumpkin so I can do some of my detail work
| | 03:44 | and then with a nice small brush, I'm going
to go ahead and paint across the stem here.
| | 03:48 | Now the challenge is that when you have Auto
Mask turned on, it's not going to be perfect.
| | 03:53 | So you almost always have to press the
M key and then go back over your image
| | 03:59 | in order to try to bring in the detail
in kind of a cohesive or consistent and
| | 04:04 | smooth way, and in doing that, you will
invariably make a few little mistakes.
| | 04:09 | No big deal; just go back to Add, but this
time now, of course, we need a really small
| | 04:15 | brush and then here we can start to add that
desaturation back into a few areas that
| | 04:20 | we might have kind of messed up
a little bit there on the edges.
| | 04:23 | In doing this, by working with Erase
and also by working with the Add amount,
| | 04:28 | we're able to create this
effect where with this image,
| | 04:30 | we have everything desaturated
except for the pumpkin.
| | 04:35 | So here you can see you can
start to create this effect
| | 04:38 | whether you're going to get rid of all
color and then bring some back with Erase,
| | 04:42 | or if you just want to use that approach
where you're making a gigantic selection
| | 04:48 | using Auto Mask and then
desaturating that area.
| | 04:52 | And here again, this effect is kind of fun,
yet you won't always use this technique.
| | 04:58 | What you will use is this approach
in regards to selecting an area.
| | 05:03 | And perhaps the idea here isn't
to desaturate the background,
| | 05:07 | but maybe what you really need to
do, let me select that adjustment,
| | 05:11 | is just to darken that up a bit or change
the overall color temperature of that area.
| | 05:15 | And by using this approach, you
can start to use these techniques.
| | 05:19 | These will allow you have to have this
specific control whether or not you want
| | 05:23 | to make these early creative or
kind of dramatic effects where
| | 05:26 | you're desaturating everything or if it's
just that you need to know how to select
| | 05:31 | large areas and apply
adjustments to those areas.
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| Removing moiré patterns| 00:00 | The Adjustment Brush allows you to paint
in so many different types of adjustments,
| | 00:04 |
whether that's noise reduction or
sharpening or working on exposure,
| | 00:08 |
and it also helps with images like
this that have a moire pattern.
| | 00:13 | Double-click the Zoom tool,
that will take the image to 100%.
| | 00:17 | You can see there is
this moire pattern.
| | 00:19 | It's almost like this watery
reflection across the photograph.
| | 00:23 | This happens when you're photographing
close sometimes with digital capture.
| | 00:27 | To remove this, press the K key
to select your Adjustment Brush.
| | 00:31 | Next in the Adjustment Brush settings,
we want to go ahead and click and drag
| | 00:35 | our Moire Reduction up to the right.
| | 00:38 | Then next let's dial in
these brush settings.
| | 00:40 | Here we want to have
a lot of Feather.
| | 00:42 | Our Flow amount, we'll take
this down just a little bit here
| | 00:45 | and we want to turn Auto Mask on so
that we can start to work on the edges.
| | 00:49 | Here I'm just going to
paint along these edges here,
| | 00:52 | and then once you've worked on the edges
and you've reduced the moire pattern
| | 00:57 | along those edges, you'll want
to then turn the Auto Mask off.
| | 01:01 | So here we'll turn Auto Mask off, and then
we can work on the other part of our image.
| | 01:06 | In doing this, what you'll see is we
can't make this exactly 100% perfect.
| | 01:11 | But it does really help reduce
that strange kind of moire pattern.
| | 01:16 | Click on Preview and let
me zoom in a little bit;
| | 01:18 | you can see there's before, now here's after.
| | 01:21 | One of the things you also might notice
though is that it kind of feels like
| | 01:25 | the color of the jacket
is a bit more subdued.
| | 01:29 | So as you make these changes, you may need to
also saturate and also brighten a little bit.
| | 01:35 | So here I'll go ahead
and go into my Exposure.
| | 01:37 | I'm going to brighten
that up a little bit,
| | 01:39 | add just a touch of Contrast there and
so you may need to dial in this effect,
| | 01:44 | so that it can then kind of bring back some
of that color that was there in the garment.
| | 01:48 | So here as you can see, we can use this
tool to paint away this type of problem.
| | 01:53 | Now while we focused on Moire Reduction
in this movie, keep in mind that you can
| | 01:58 | also reduce noise, you can soften an image
by adding a negative amount of Sharpness.
| | 02:04 | You can paint in so many
different types of adjustments,
| | 02:07 | and what you'll want to do is keep
experimenting with how you can use this tool
| | 02:11 | and I think you'll discover,
as many others have discovered,
| | 02:14 | that the more that you can integrate
this tool into your workflow the better.
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| Creating Adjustment Brush presets| 00:00 | Here I want to take a look at how we can
create presets with the Adjustment Brush
| | 00:04 | in order to speed up our workflow.
| | 00:07 | In one of the previous movies,
we worked with this image;
| | 00:10 | we looked at how we could brighten
shadows and darken highlights.
| | 00:14 | Well, as you work on your images, you
may find that you're doing a lot of this,
| | 00:18 | again and again, you're working on shadows
and highlights or whatever technique it is.
| | 00:23 | Well, if ever you find yourself
needing to repeat certain settings,
| | 00:27 | you might as well create a preset.
| | 00:29 | Here's how its works.
| | 00:30 | You go ahead and select
the Adjustment Brush.
| | 00:32 | Next what you're going to do is dial
in the Settings, in this case,
| | 00:35 | let's say with Highlights we want to
darken those, and with this Preset,
| | 00:39 | we also want to reduce our
Exposure a little bit as well.
| | 00:42 | The next step is to click
on this fly-out menu.
| | 00:45 | Now when you do that, it'll
look kind of interesting,
| | 00:47 | because it gives you the option to
create a New Local Correction Setting.
| | 00:51 | Here we can click on that in order to
create one, and I'll call one Highlights.
| | 00:55 | Next, we'll click OK.
| | 00:58 | Now if we go ahead and reset these
controls or perhaps do something else;
| | 01:02 | we're working on an image and we want
to go back to recovering those highlights,
| | 01:07 | or darkening those highlights, well, to do
that, you can just click on this fly-out
| | 01:10 | menu and then you can choose that option
and it'll go exactly to that preset.
| | 01:15 | So, therefore, as you work with the
Adjustment Brush, keep that in mind,
| | 01:20 | that if you find yourself doing something
repetitively or if you just find yourself
| | 01:24 | wishing you had those settings that
you dialed in on a particular image,
| | 01:28 | well just go ahead and
save them out as a preset,
| | 01:31 | so that you can then access
those settings at any time.
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|
|
13. Making Adjustments with the Graduated Filter ToolEnhancing the foreground and background of an image with the Graduated Filter tool| 00:01 | I want to introduce you
to the Graduated Filter.
| | 00:03 | This is a tool which
allows us to make linear,
| | 00:09 | sweeping adjustments across
large areas of our photograph.
| | 00:11 | Let's take a look at how this tool works
| | 00:12 | and then let's also explore how we can correct
or enhance this picture with this tool.
| | 00:17 | To select the tool, press the G key or
click on it in the Tools Panel up here.
| | 00:23 | Next, first I'm going to dial in an
adjustment which won't look very good,
| | 00:27 | but it will help us
understand how the tool works.
| | 00:30 | And the adjustment I'm going to
dial in is a negative Exposure;
| | 00:33 | here I'm going to click and drag
this all the way to the left.
| | 00:37 | As you look at these sliders and
controls, they may look really familiar;
| | 00:40 | that's because you've already
seen them with the Adjustment Brush.
| | 00:43 | These are identical to what we have
there minus the settings for the brush.
| | 00:48 | Because a Graduated
Filter, it isn't a brush.
| | 00:51 | Rather when you hover over your
image, you'll see this Plus icon.
| | 00:55 | Next, click and drag.
| | 00:57 | When you click and drag, you'll
see these overlay visuals.
| | 01:00 | Once again, you can turn these
on and off by pressing the V key.
| | 01:04 | Typically, you want these
on, at least initially,
| | 01:06 | so you can kind of see how
your adjustment is being made.
| | 01:09 | Well what these actually mean?
| | 01:11 | Well, green stands for where the full
intensity of this effect, in this case,
| | 01:16 | decreased exposure, is being applied.
| | 01:18 | We can move that by clicking and dragging.
| | 01:21 | Next, the red determines
the overall transition.
| | 01:24 | If we want a really long
and smooth transition,
| | 01:27 | make the distance between
these two points really far.
| | 01:30 | We can also change
the overall angle.
| | 01:32 | You can do that by simply
clicking and dragging,
| | 01:34 | you can see how I'm changing
different parts of my image.
| | 01:37 | Well, this adjustment, obviously doesn't look
very good, and doesn't work with this image.
| | 01:42 | What might work here?
| | 01:44 | Well, let's delete this by pressing
Delete or Backspace and then rather
| | 01:49 | than decreasing our Exposure that far,
let's double-click that slider and
| | 01:53 | just decrease this a little bit.
| | 01:54 | Let's also drop down our Highlights
and see how this might help the sky
| | 01:59 | because the sky here is too bright.
| | 02:00 | Here we'll go ahead and just
click and drag across the sky.
| | 02:04 | As we do that, we may need to bring
down this top point, so that that brings
| | 02:07 | down the full intensity of this
effect a little bit more low.
| | 02:11 | Next, we'll want to dial in our settings,
in this case, decrease my Highlights,
| | 02:16 | increase the Clarity and Contrast to
bring in a little bit more texture to
| | 02:20 | the sky and then I'll go ahead and
decrease my Color Temperature.
| | 02:23 | In doing that, you can see I'm bringing
in some blue hues up there to the top
| | 02:28 | of the sky area of this photograph.
| | 02:30 | We can make really subtle adjustments
or we can go really dramatic.
| | 02:34 | The trick with this is to try to find
that sweet spot where you're modifying
| | 02:38 | the overall color and tone, but perhaps
you're not doing it too much in a way
| | 02:42 | that's kind of over-the-top or
drawing attention to itself.
| | 02:45 | Let's see how we've done.
| | 02:47 | Press the V key; it hides
these overlay elements.
| | 02:51 | If you forget it, click
on this icon here.
| | 02:54 | After having done that, press the P
key or click on the Preview button;
| | 02:58 | here's before, click
again, here's after.
| | 03:01 | And again, you could correct
more or less to your own liking,
| | 03:04 | and you'll want to try to figure that
out so that it looks good with your intent
| | 03:08 | or with your vision for a photograph.
| | 03:10 | And as you start to work with this tool,
| | 03:13 | also keep in mind that you
can make multiple adjustments.
| | 03:16 | Let me show you what I mean.
| | 03:17 | Here turn back on Show Overlay.
| | 03:20 | Next to create a new adjustment, you can either
click New or you can just click and drag.
| | 03:25 | And in clicking and dragging, you can
see that I now have an adjustment
| | 03:28 | coming from the bottom of
the image towards the top.
| | 03:31 | Here I can move this around so I
can control this effect in this area.
| | 03:35 | Well, in this case, rather than cooling
that off, I want to warm up that area.
| | 03:39 | I also don't necessarily need to recover
my highlights, but I might want to just
| | 03:44 | work on the overall tone or contrast
or clarity in this area of the picture.
| | 03:49 | So I'll change my sliders in order to
control the foreground in this case.
| | 03:53 | So now I have two adjustments;
| | 03:55 | one for the sky, another
one there for the foreground.
| | 03:59 | In other situations as you'll see,
we might use this tool in order to
| | 04:03 | add a little bit of a creative
effect to our photographs.
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| Reducing exposure with the Graduated Filter tool| 00:00 | Let's continue to explore how we
can work with the Graduated Filter
| | 00:04 | in order to improve our photographs.
| | 00:06 | There is just too much brightness
in these surrounding areas;
| | 00:09 | let's fix that with the Graduated Filter.
| | 00:12 | Press the G key to select the Graduated
Filter or click on the icon here.
| | 00:17 | Next, we'll go ahead and decrease our
Exposure and also our Highlights,
| | 00:21 | and then click and
drag across this area.
| | 00:24 | In doing that we can
control this angle
| | 00:26 | which is following the way that the light
is falling, in this case on the subject,
| | 00:30 | here we can decrease our Exposure to
darken that area, yet as I do this,
| | 00:35 | it looks like we also need a little
bit of color in this part of the image.
| | 00:39 | We could either add that color here with
this adjustment or you can click on New.
| | 00:44 | Next we could then increase our Color
Temperature a little bit by clicking on
| | 00:48 | the Plus icon and then you could
click and drag across this area.
| | 00:52 | Did you notice now with that
adjustment this now has a better Hue?
| | 00:55 | It's not quite so dark, but it looks a little
bit more uniform like that golden sunlight
| | 00:59 |
is coming in; it's not a dingy
brown, it's a nice warm yellow.
| | 01:04 | Alright, well what about the
other side of the photograph?
| | 01:07 | Well, let's also work on this side. Rather
than modifying our sliders after the fact,
| | 01:11 | again let's click New; this gives us the
ability to then dial-in some new settings,
| | 01:16 |
say with Exposure and also
decreased highlights here,
| | 01:20 | and then we'll click and drag
across this side of the image.
| | 01:23 | In doing this what we're looking to
do is to try to bring a little bit
| | 01:26 | more focus to the subject here.
| | 01:28 | So we're decreasing some of the brightness
that we have in these surrounding areas.
| | 01:32 | I'm going to click on this one and
just darken that up a little bit more;
| | 01:36 | recover a bit more of those Highlights.
| | 01:38 | Well, now we have all of
these overlay visuals;
| | 01:41 | it's hard to tell what's happening.
| | 01:43 | Press the V key to hide those.
| | 01:45 | Next look at our before and after;
here is before and then here is after.
| | 01:50 | The last thing that I want to do is
actually leave the Graduated Filter
| | 01:54 | and I want to use our good old
Adjustment Brush to brighten up her face.
| | 01:58 | So here we'll click on the
icon for the Adjustment Brush
| | 02:02 | and then I'll click on
the Plus icon for Exposure,
| | 02:04 | just to bring up a little bit
of the Exposure and Shadows,
| | 02:08 | and then I better check the brush settings;
I'm going to have a relatively low flow here.
| | 02:13 | I'm just going to paint over the face, because
I want the photograph to be about her.
| | 02:18 | So I'm just going to brighten
up a few little elements here,
| | 02:21 | and just paint around
this area here a bit.
| | 02:23 | Next I'll go ahead and modify
the overall intensity of that
| | 02:26 | decreasing my Exposure there a bit.
| | 02:29 | In this last adjustment, it's just adding a
bit of brightness to that part of the image.
| | 02:34 | The reason why I'm including that
into our workflow again is to highlight
| | 02:37 | this whole concept that as we
work with our Graduated Filter,
| | 02:42 | it isn't a tool which stands by itself.
| | 02:44 | Rather, it's a tool that we can use
in combination with our other tools.
| | 02:49 | By applying these adjustments here to
the brightness and then this adjustment,
| | 02:53 | well it helps us come up
with a better way to process,
| | 02:56 | and ultimately a better
look for this photograph.
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| Exploring creative effects with the Graduated Filter tool| 00:00 | Now that we know a little bit about
working with the Graduated Filter,
| | 00:04 | here I want to take a look at how
we can create multiple adjustments
| | 00:07 | and how we can do so by way of a
shortcut and I also want to explore
| | 00:11 | how we can come up with some creative
effects with this photograph.
| | 00:15 | So let's press the G
key to select this tool.
| | 00:18 | The next thing that I want you
to do is to go ahead and click
| | 00:21 | on your Saturation slider and
just click on the Plus icon.
| | 00:24 | We're going to increase the
color saturation in the sky;
| | 00:27 | I don't want to increase it quite that
much, so I'll bring this down.
| | 00:31 | I will bring in a little bit of blue and
also a bit of a magenta color shift there,
| | 00:35 | and here we'll just click
and drag across the sky.
| | 00:38 | I'm interested in having these
really bright, vibrant colors.
| | 00:41 | Take a look; here's our before,
now here's our after.
| | 00:45 | We could even go further with this
by dragging these sliders out more
| | 00:48 | in order to bring in more color
into that area of the photograph.
| | 00:51 | Well now that we've done that, I
also want to work on the foreground.
| | 00:56 | In order to create a new Graduated Filter,
just like with the Adjustment Brush,
| | 01:01 | you can press the N key, that will then give
you the ability to have some new settings.
| | 01:06 | Here, we'll click on the
Saturation adjustment slider,
| | 01:08 | the Plus icon there just so we
have a little bit of saturation
| | 01:12 | and then I want to cool this
off and we'll click and drag up.
| | 01:14 | This will give us the ability to bring out a
lot of those blues in that area of our photograph.
| | 01:20 | In doing that, if we look
at that before and after,
| | 01:23 | we have this nice really
vibrant color palette here.
| | 01:26 | Another thing we might want to do
is work with the overall sharpness.
| | 01:30 | Maybe we want to create kind
of a tilt shift type of effect.
| | 01:34 | Again, press the N key to select New.
| | 01:37 | Next here, let's decrease our Sharpness.
| | 01:40 | This time I am going to click
and drag and in doing that,
| | 01:43 | you can see that what's happening is
I'm clicking and dragging this way
| | 01:46 | so that much of the image is out of focus.
| | 01:49 | I don't necessarily need my
Saturation and Temperature amounts.
| | 01:52 | So I'll double-click those sliders
as we can do all over Camera Raw;
| | 01:56 | when you double-click the Slider tab, it
will then go back to that default setting.
| | 02:01 | In this way, I'm creating kind of
this blur or out of focus look here
| | 02:04 | on this side of the image.
| | 02:06 | I also want to do the
same on the other;
| | 02:08 | just press the N key
and then click and drag.
| | 02:11 | In doing that, you can see it's
almost like we have this tilt shift,
| | 02:15 | just a small area of focus.
| | 02:17 | Of course, now, it's impossible to see
the picture with all of these overlays.
| | 02:22 | To hide those, press the V key.
| | 02:24 | After having done that, press the P
key or click on the Preview button,
| | 02:28 | here's before and then here's after.
| | 02:32 | Part of the reason why I wanted to include
this last image in this last project here
| | 02:36 | was to get you thinking about how you
might use this tool in creative ways,
| | 02:40 | because typically, you're going to use
it to make corrections, yet just because
| | 02:45 | it works well with corrections, doesn't
mean that it can't help you out to come
| | 02:49 | up with some creative ways to
process your images as well.
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|
|
14. Working with DetailsExploring noise reduction | 00:00 | In this chapter, we're going
to focus in on the Detail Panel.
| | 00:04 | You can navigate to this panel
by clicking on this tab here,
| | 00:08 | and here we'll find some controls
for sharpening and noise reduction.
| | 00:12 | And you know almost every digital image
will need a certain amount of sharpening
| | 00:16 | and noise reduction applied to it.
| | 00:18 | Now we want to think of this as input
sharpening or input noise reduction
| | 00:23 | because this is what you're going to
apply initially here in Camera Raw.
| | 00:26 | Well, with this photograph, grab the Zoom
Tool and let's click and drag over the face,
| | 00:30 | that will help us to zoom in on this image,
| | 00:33 | we could click a few more
times too to get even closer.
| | 00:36 | As we get closer, what we'll discover is
there's a lot of noise in the background.
| | 00:41 | Let's explore how we can remove that.
| | 00:44 | Here you can see there are two different
types of noise that we can remove,
| | 00:47 | either Luminance or Color.
| | 00:49 | If you click and drag the Luminance
noise slider to the right,
| | 00:52 | you'll see that the brightness values in
the background will start to disappear.
| | 00:57 | If we click and drag the Color slider to
the right, well then it removes all of
| | 01:01 | that color variation, yet at the same time,
the image becomes a little bit more soft.
| | 01:07 | That's why noise reduction and sharpening
controls are located right next to each other.
| | 01:12 | The more we sharpen the more noise we
typically introduce,
| | 01:16 | the more noise we reduce, well then, the
more sharpening we might need to do.
| | 01:20 | Yet let's look at our noise reduction controls
and see how we can make this one even better.
| | 01:25 | If we click on the Preview icon, you
can see there is our before, click again,
| | 01:30 | you can see there is the after.
| | 01:31 | Well, you'll notice that you have these
sliders here which we haven't talked about;
| | 01:35 | Luminance Detail, Contrast
and also Color Detail.
| | 01:39 | Well, how do these work?
| | 01:40 | Well, if we click and drag this to
the right or compare this to the left,
| | 01:44 | what you're going to see is you're
going to have either a softer image,
| | 01:47 | in this case, it looks almost like it has a
little bit of a Gaussian blur applied to it,
| | 01:51 | or if we drag to the right, we'll have more
texture and detail and grit in the image.
| | 01:56 | If you look at your before and after,
you can see that this is now bringing
| | 02:00 | back a lot of the original
luminance detail that was in the image.
| | 02:04 | So as you increase your Luminance slider,
you can also fine-tune this with this
| | 02:09 | Luminance Detail control here.
| | 02:11 | Now Contrast allows you to bring up
some of the contrast in some of these
| | 02:16 | areas where it's minimized contrast.
| | 02:19 | In other words, because luminance is
trying to remove highlights and shadows,
| | 02:23 | that may remove a bit of
your contrast in your image,
| | 02:27 | You can bring that amount up
to bring some of that back.
| | 02:30 | As you use these controls,
you're very rarely going to
| | 02:33 | bring these all the
way over to the right;
| | 02:35 | rather typically, they are going to sit
somewhere around the middle of the frame.
| | 02:38 | Of course, that will depend upon
your photograph, how it was captured,
| | 02:42 | etcetera, etcetera.
| | 02:43 | Well, next with Color and Color
Detail, when we remove the color noise
| | 02:49 | from a photograph, we're also
removing a little bit of texture.
| | 02:52 | By dragging to the right,
we can bring in more texture;
| | 02:55 | drag to the left,
those areas become softer.
| | 02:59 | So with a photograph like this, what
I think I'm going to do is decrease
| | 03:03 | my Luminance Detail slider
here a little bit,
| | 03:05 | bring in a touch of Contrast, and then
press the P key to look at my before
| | 03:10 | and then after in order to determine if we
have effectively reduced the noise in this image.
| | 03:16 | This one looks great.
| | 03:18 | Well, after we've reduced the noise,
we also need to apply some sharpening.
| | 03:23 | So let's take a look at how we
can do that in the next movie.
| | Collapse this transcript |
| Applying input sharpening| 00:00 | Continuing with where we left
off with this photograph,
| | 00:02 | here we're going to look at how
we can now sharpen this image
| | 00:08 | since we've already applied
some noise reduction to it.
| | 00:10 | In the Sharpening controls
that you'll find at the top,
| | 00:12 | we have four different sliders and I want
you to really get to know these sliders,
| | 00:17 | so that you can figure out how
to best sharpen your images.
| | 00:20 | The Amount slider is
pretty straightforward.
| | 00:22 | This increases the overall
intensity of the sharpening
| | 00:25 | that's going to be
applied to your image.
| | 00:27 | Let's click and drag this to
the right to an exaggerated level
| | 00:31 | so that we can really understand
the other three sliders.
| | 00:34 | Well, what's Radius about?
| | 00:36 | If you click and drag Radius to
the right, again, exaggerating that,
| | 00:41 | you can see that you'll
have these haloed edges.
| | 00:43 | Click and drag to the left and you're
going to see that the sharpening
| | 00:46 | is much more focused on smaller details.
| | 00:49 | If you hold down a modifier key
with any of these four sliders,
| | 00:53 | you get a really interesting perspective
which can help you understand them.
| | 00:57 | Press Option on a Mac or Alt on
Windows, then click on Radius.
| | 01:01 | Watch how the halo glows
as we drag to the right
| | 01:03 | and then watch how it decreases
as we drag to the left.
| | 01:07 | In Sharpening, what's happening is it's
trying to build up some sort of contrast.
| | 01:11 | And when you look at that Radius view,
| | 01:14 | you can really see how those edges
or how that Radius is glowing.
| | 01:18 | So typically, your Radius
is going to be pretty low.
| | 01:22 | That's why, if you look at this slider,
it only goes up to a value of 3.
| | 01:26 | They could have made this up to
a value of 30 or 50 or whatever,
| | 01:31 | but that wouldn't really make sense because
Radius, you want to have a low amount;
| | 01:35 | the lower the resolution of the file,
also, typically, the lower the radius.
| | 01:39 | Well, what about detail?
| | 01:42 | Hold down Option on a Mac, Alt on Windows
and click and drag your Detail slider.
| | 01:47 | If you drag to the left, you'll see that
there's very little texture which is sharpened.
| | 01:51 | The small details, they're ignored.
| | 01:54 | Click and drag to the right, and you see it
brings out all of those teeny little details.
| | 01:58 | Well, what about masking?
| | 02:01 | Once again, pressing Option or
Alt and clicking and dragging,
| | 02:04 | you can see it creates this mask where
black conceals and white reveals.
| | 02:09 | In other words, with a Masking level of
85, only the edges and everything that
| | 02:14 | you see covered in
white will be sharpened.
| | 02:17 | Here if we click on the Preview button, you
can kind of see how that's being applied here.
| | 02:21 | The sharpening effect is
limited to these areas.
| | 02:24 | Now these amounts are obviously
way over exaggerated,
| | 02:27 | but I'm hoping that they helped you
to kind of understand how these work.
| | 02:32 | Next, let's double-click these
sliders to take them back
| | 02:34 | to their default settings where
they previously were when we started.
| | 02:38 | You'll notice that our Radius and
Detail sliders are up just a bit.
| | 02:43 | They're up there to give you kind of a
starting point, because if you have no
| | 02:47 | Radius, when you increase your
Amount, you won't see anything at all.
| | 02:50 | With this image, I'm going to bring my
Sharpening Amount up to about 80 and then
| | 02:54 | I'm going to drop my Radius down
and remove the Detail altogether.
| | 02:59 | Typically, with people photographs,
you want a very low Detail amount.
| | 03:02 | Next, I'll go ahead and click and drag the
Masking slider up, and as I'm doing that,
| | 03:07 |
I could press Option or Alt to kind of
see how I can mask off the background.
| | 03:11 | There's no need to sharpen all of these
other details here in the background.
| | 03:16 | Once I've done that, I can then change my
Sharpening amounts as well as my overall Radius.
| | 03:20 | Then I might sharpen this image in
the detail area of the photograph.
| | 03:25 | Now that we've done all of that, let's
press our P key and you can see there's
| | 03:28 | our before, without noise
reduction or sharpening.
| | 03:32 | Press the P key again and you can see
the after, and you can see how the image
| | 03:36 | still has a lot of its
original characteristics.
| | 03:39 | It's just that we've removed
a lot of that noise
| | 03:42 | and we've created what's
called input sharpening.
| | 03:45 | In this image, well, it had a
few problems to start off with.
| | 03:49 | There was with all of this noise due to
shooting this in a way where it was underexposed.
| | 03:54 | By increasing the exposure, I
brought out some of these issues
| | 03:57 | so we then looked at how we could use
these controls in order to correct that.
| | 04:02 | Well, let's go ahead and continue to take
a look at how we can work with these controls,
| | 04:06 |
and let's do that in the next few movies.
| | Collapse this transcript |
| Using the Basic and Detail panels together| 00:00 | Now that you know a little bit
about the Detail panel,
| | 00:03 | I want to take a look at a quick example
where we start off in the Basic panel
[00:00:07 .96]
and then we jump to the Detail
panel to finish off our photograph.
| | 00:12 | Let's go ahead and grab the Zoom tool
and click a few times on this image in
| | 00:15 | order to zoom in on it so we can see some
of the details that we have to work with.
| | 00:19 | Before you get to the Detail panel,
you need to dial in your basic settings;
| | 00:23 | whether you're going to add Contrast or
Clarity or change the overall Exposure,
| | 00:28 | because all of these controls will
affect how much noise you have to reduce
| | 00:33 | or how much you need to
sharpen this photograph.
| | 00:35 | And one of things that I'm noticing
with this image right out of the gate
| | 00:39 | is that it's in a really good shape.
| | 00:41 | There's not a lot that needs to be
done, even here in the Basic panel.
| | 00:45 | Perhaps, I'll just add a little bit
more warmth, and then I think that's it.
| | 00:49 | If we click on the Preview button here, you
can see there's our before and then after.
| | 00:54 | After having dialed in these different
amounts with these basic sliders,
| | 00:59 | you then next are ready to
go to the Detail panel.
| | 01:02 | You want to think of this as the place
where you're doing your input sharpening.
| | 01:07 | So here I'll zoom in a little
bit more so I'm at 100% view,
| | 01:11 | so I can see the face
and also the background.
| | 01:13 | Well, what about the sharpening amount?
| | 01:15 | Here I'm going to bring this up
while holding down the Option key.
| | 01:18 | This is going to show me
how high I can take this.
| | 01:21 | With this image because it's in such
good shape, I can really crank this up.
| | 01:26 | Yet in doing that, I brought in a
little texture here in the background.
| | 01:30 | So here I'll go ahead and modify my
Radius, I'm going to bring this up as well.
| | 01:34 | This is going to be higher than
normal, again, because this was shot
| | 01:38 | with a really nice photograph, a really
phenomenal lens, and the image is in good shape.
| | 01:43 | In regards to the Detail amount, here I'm
going to drop this back just a little bit,
| | 01:48 | and then for my Masking, of course, hold
down Option or Alt and click-and-drag that,
| | 01:52 |
so that we can limit the sharpening
to specific areas of the picture.
| | 01:57 | Next, for the Noise Reduction, just a
touch of Luminance and also just a little
| | 02:01 | teeny bit of Color noise reduction, and
I'm going to have a real low amount with
| | 02:06 | both of these sliders because, again,
this image is in pretty good shape.
| | 02:10 | Here we'll click on the Preview
button to look at our before and after.
| | 02:15 | And what you should see is just
this really subtle kind of a snap.
| | 02:20 | As I look on my monitor, I can
see that and it looks pretty nice.
| | 02:23 | It may be tricky to see, so let me try to
zoom in even a little bit closer past 100%
| | 02:28 | to see if I can highlight
how this might appear.
| | 02:32 | We'll click on that Preview button;
| | 02:33 | you can kind of see around
the eyelashes and the eye here,
| | 02:36 | it's a little bit soft.
| | 02:38 | We click on that and it just kind of
snaps or lifts out some of those details.
| | 02:42 | Of course, when we go back to the 100%
view, that's going to be much more subtle.
| | 02:48 | So why then have I taken
you through this process?
| | 02:51 | Well, I wanted to show you one image where
you didn't need to do a ton of work on it.
| | 02:56 |
Also, where the image
was in pretty good shape,
| | 02:59 | because I think that's
important to highlight.
| | 03:02 | And then a lot of times, you'll have
these problem images where you need to
| | 03:05 | really boost some shadows and
you brought in all this noise.
| | 03:08 | Well, then, you're going to need to use
your sliders a little bit more aggressively.
| | 03:12 | Even though we didn't need to do a
lot, these steps are really important,
| | 03:16 | because these steps are bringing this
file to a good spot so that we can
| | 03:20 | then take it further
once we get to Photoshop.
| | 03:23 | Let's take a look at our
preview before and after.
| | 03:26 | We'll click on that, it'll be
difficult to see, but there's our before,
| | 03:30 | and then once that comes in,
you can see there's the after.
| | Collapse this transcript |
| Edge sharpening an architectural photograph | 00:00 | With certain photographs, whether
it's an architectural shot or maybe
| | 00:04 | an interior shot with a lot of
interesting details, you can apply an
| | 00:08 | edge sharpening effect, which can give
your photographs that extra little snap.
| | 00:13 | Let's take a look at how we can work on these
two photographs to apply this technique.
| | 00:17 | Here I'll click on the Detail panel.
| | 00:19 | I'll start off by increasing my amount
and the next I'm going to hold down
| | 00:23 | the Option key on a Mac, Alt on Windows
and click and drag the Masking slider,
| | 00:28 | so that the sharpening will just be
applied to the edges as you can see here.
| | 00:31 |
I'll zoom in a little bit, so we can see some
of the details that we have to work with,
| | 00:36 |
and next what I'll do is I'll
click on my Details slider while
| | 00:39 | holding down the Option key
again to see the details here.
| | 00:43 | For architectural work, typically
bringing up the Details slider
| | 00:46 | and also the Masking slider can help
limit the sharpening right to the edges,
| | 00:52 | so here I'll go ahead and just
bring these values up a bit more
| | 00:54 | and then zoom in a little bit
more closely, so you can see this.
| | 00:58 | See how it's just adding that extra
little bit of a snap to those edges.
| | 01:02 | Here I'll decrease the Radius amount, so
it's a little bit of a tighter edge there,
| | 01:07 | then also with my masking until I get
a nice detail snap in the picture.
| | 01:11 | Well, what about a photograph,
say like this one?
| | 01:14 | Well, this one as well
can benefit from this.
| | 01:17 | Again, increase your amount and
then of course go to Masking.
| | 01:21 | When we go straight to masking
while holding out Option or Alt,
| | 01:23 | because we want to limit
this to these edges,
| | 01:26 | so the edges really
kind of shine or snap.
| | 01:30 | Next we'll work with this
Detail slider to bring that up.
| | 01:34 | And what this can do for us is while we
have a really high amount of detail masking,
| | 01:40 | is it can just limit that to those edges.
| | 01:41 | If I zoom in on this picture a little
bit, and then reposition everything is
| | 01:46 | a bit more sparkly, a
little bit more alive.
| | 01:49 | Now while this works really well with
architectural or interior shots like this,
| | 01:54 | it doesn't necessarily
work very well with people,
| | 01:57 | because you'll start to notice that edge and
it doesn't really draw your eye very well,
| | 02:02 | it'll kind of be a little bit distracting
or it will seem a little bit fake,
| | 02:07 | yet with images like
this as you can see here,
| | 02:09 | it really helps add that extra little
bit of vitality to your photographs.
| | Collapse this transcript |
|
|
15. Using the HSL ControlsIntroducing HSL| 00:00 | When it comes to making changes to your
photographs that are related to color,
| | 00:04 | the HSL panel gives us
some fascinating controls.
| | 00:08 | So here we'll start off with this demo file.
| | 00:11 | We'll jump over to the HSL panel
by clicking on the fourth tab.
| | 00:16 | You can see we have
different sub-tabs;
| | 00:18 | Hue, Saturation, and Luminance.
| | 00:21 | Let's start off with Hue.
| | 00:22 | What does this actually do?
| | 00:24 | Well, Hue allows us to shift color;
| | 00:26 | we can make this red more orange, or we
can make it a little bit more magenta.
| | 00:31 | By dragging this slider, we can actually
change the color in our photograph,
| | 00:35 | as you can see here
in this before and after.
| | 00:39 | And what's interesting about
this is we can change these colors,
| | 00:42 | so that we can change the
overall mood or feeling,
| | 00:44 | or really, we can change our vision for
our photographs by using these sliders.
| | 00:49 | To reset any of these Hue
sliders, just click on Default.
| | 00:53 | Next, we have Saturation.
| | 00:55 | This is really straightforward;
| | 00:56 | we can either increase or decrease
saturation, and in this way, we could remove
| | 01:02 | a lot of the saturation from a number of the
different colors, so that only a few remain.
| | 01:07 | Again, we can click on Default.
| | 01:09 | Well, how then does Luminance
fit into the picture?
| | 01:12 | Well, luminance has to do
with brightness value.
| | 01:15 | Here we can either darken or brighten up
those oranges and as we make those changes,
| | 01:21 | you can see how it's affecting that
real specific area of our picture.
| | 01:25 | Another way that we can work with these
controls is with the targeted adjustment tool.
| | 01:31 | You can click on that
here in the Tools panel.
| | 01:34 | Next, when you're in one of these tabs,
you can go ahead and click and drag and
| | 01:38 | whatever tab you're in, it will
then make the change for that tab.
| | 01:42 | Here you can see I'm dragging to either
increase or decrease saturation.
| | 01:47 | Or we can go to the Hue tab and than
hover over a color and then click and drag
| | 01:52 | and you can see how we can then
change the hue of that area.
| | 01:55 | Well, now that we've seen how these
controls and also how the targeted
| | 01:59 | adjustment tool basically works,
let's go ahead and take this knowledge
| | 02:04 | and apply it to working on a photograph
and let's do that in the next movie.
| | Collapse this transcript |
| Enhancing color and tone| 00:00 | Let's explore how we can create some
really vivid colors in this photograph
| | 00:05 | while using the HSL panel controls.
| | 00:08 | You know, if you're in any of your panels
and you decide that you want to go over
| | 00:12 | to the HSL panel, one easy way to do
that is to click on the icon for the
| | 00:17 | Targeted Adjustment Tool.
| | 00:20 | Then select the area
that you want to go to.
| | 00:22 | In this case, let's say we want to go
to the Hue tab, when you click on that
| | 00:26 | it will open up the HSL
Panel and target the Hue tab.
| | 00:30 | Next we can hover over the image and
Click+Drag down to make the tent say
| | 00:34 | more Orange or drag up to make
it a little bit more Yellow.
| | 00:38 | Alright well, next I want to
work on the color of the Tent.
| | 00:41 | Yet if we click and drag here what will
happen is we're going to actually affect
| | 00:46 | more of the Yellow tent
than we are of the Green tent.
| | 00:49 | This doesn't really work well here.
| | 00:51 | So sometimes what you'll need to do is
you'll need to go to the slider itself
| | 00:55 | and just drag this over, in order to
change that part of the photograph.
| | 00:59 | Next we could also work on our blues.
| | 01:01 | Here I'll just click and drag
that to the right a little bit.
| | 01:05 | Well let's go to the Saturation tab.
| | 01:07 | Here under the Saturation tab,
| | 01:09 | I also want to bring out a
little bit more of the greens.
| | 01:11 | So I'm going to click and drag this over
| | 01:13 | and I'm going to bring in even
more yellow into this photograph.
| | 01:17 | Again, I'm going for really
punchy, really vivid colors.
| | 01:21 | What about Luminance?
| | 01:23 | With Luminance, I'll
brighten up the tent here,
| | 01:25 | and I'll darken my sky by
clicking and dragging these down.
| | 01:29 | We could use the sliders, or
just hover over the image
| | 01:31 | in order to make those changes.
| | 01:34 | Let's evaluate. Click on the Preview button.
| | 01:37 | There is our before
and then here's our after.
| | 01:40 | And so by working with these sliders
what we can do is Shift Color and
| | 01:44 | Color Saturation and also Color Brightness.
| | 01:47 | And sometimes, by making these changes we can
change the overall mood or feeling in a image.
| | 01:52 | In this case, by darkening those yellows,
| | 01:55 | it feels a little bit more
subdued, a little bit more quiet.
| | 01:58 | But when we crank those up it's
a bit more of a happy photograph.
| | 02:02 | In other situations you might use these
controls in order to make corrections.
| | Collapse this transcript |
| Using the Basic and HSL panels together| 00:00 | The HSL Panel is not an island.
| | 00:03 | It doesn't live by itself.
| | 00:05 | Rather, it will use these controls in a way
that will integrate them into our workflow.
| | 00:09 | So this movie, it's all about workflow.
| | 00:12 | Well, the first thing that I want
to do is modify my overall exposure.
| | 00:16 | So I'm going to navigate
down to the Exposure Slider,
| | 00:18 | and just click and drag
that up a little bit.
| | 00:21 | Next, I'm going to increase
the Contrast just a touch.
| | 00:24 | The Highlights, I need to recover those.
| | 00:26 | So I'm going to drag this really far
over here to the left in order to bring
| | 00:30 | some detail into this area of the photograph.
| | 00:32 | Now I want to bring some light
and life into those shadows,
| | 00:36 | and then I'll deepen the blacks just a
bit, add a little bit of clarity here,
| | 00:40 | and the image is now
looking a lot better already.
| | 00:44 | Next, I'll increase my color temperature.
| | 00:46 | I'm going to do that to create a nice
warm color palette with this photograph.
| | 00:50 | Well, let's evaluate our
Basic Panel adjustments.
| | 00:54 | Here we have the before,
and now the after.
| | 00:57 | Well, now that I've
made these adjustments,
| | 00:59 | what I want to do next is just
customize them a little bit,
| | 01:03 | lower my Exposure just a touch, and I
want to modify the reds of the strawberries,
| | 01:09 | and this aqua or cyan color
here in the container.
| | 01:13 | So let's go to our HSL Panels.
| | 01:16 | We'll click on this tab.
| | 01:17 | I'm going to start off on Saturation, and
just bring up the reds of the strawberries.
| | 01:23 |
Or we could always use the Targeted
Adjustment Tool, and just click on those,
[00:01:27.o8]
and here we could drag up to bring
out more color in those areas.
| | 01:31 | Next, we'll also do the same
thing with this container here.
| | 01:34 | We'll just modify that a little bit.
| | 01:36 | Then I'll go into the Luminance Panel,
| | 01:39 | and I want to brighten up
the strawberries even more.
| | 01:41 | So I'm clicking and dragging up, and then
I'll do the same thing on this container,
| | 01:45 |
brightening that up
here just a little bit.
| | 01:48 | Now, all of these HSL
adjustments are kind of minor.
| | 01:51 | If you look at our preview of before,
here's before, and then here's after.
| | 01:56 | Yet, they're important and they work
well because we integrated those into
| | 02:01 | the other adjustments that
we did in the Basic Panel.
| | 02:05 | If we click on one of the last
tabs here say like Presets,
| | 02:08 | we can now see our overall before
and after; let's take a look.
| | 02:12 | We click on Preview; there's before,
the original image, and now click again,
| | 02:17 | and there's after, after we worked on this
image in both the Basic and the HSL Panels.
| | Collapse this transcript |
| Removing colors with HSL| 00:00 | Let's look at another workflow example,
and in this example with this really fun
| | 00:05 | wedding photograph, we'll make a few
minor adjustments in the Basic panel,
| | 00:09 | we'll jump straight to HSL,
and there what I want to do is
| | 00:12 | remove almost all of the color in the
image except for the color of the car
| | 00:17 | and then we'll finish off this
project using the Adjustment brush.
| | 00:21 | Well, for starters, you typically
begin in the Basic panel.
| | 00:24 | You make really simple adjustments like
increasing the Contrast or the Exposure,
| | 00:29 | bringing up some Shadow detail or maybe
adding a touch of Clarity or Vibrance
| | 00:33 | or Saturation and here again, all I'm
looking to do is to just change this image
| | 00:38 | a little bit, so that it
looks appealing to my eye.
| | 00:41 | Well, if we click on the Preview button,
we see there is our before and after,
| | 00:45 | basically just a few minor adjustments.
| | 00:48 | So make whatever minor adjustments you feel
are needed and then let's go to the HSL panel.
| | 00:55 | Here in the HSL panel, we're going
to Saturation and in Saturation,
| | 01:00 | what I want to do is I want
to get rid of all of the color.
| | 01:03 | So I'm going to go ahead and click
and drag all of these down to 100,
| | 01:07 | and then I want to remove all
of the color except for the reds.
| | 01:11 | Well, so far, this is looking pretty
good except you can see there's still
| | 01:15 | some red on their faces, on the background,
on the shrubs here, also on his shoes.
| | 01:21 | Let's fix up the reds and then let's
go ahead and explore how we can get rid
| | 01:25 | of the rest of the reds there and
here I'll go to the Luminance panel
| | 01:29 | and modify the reds there, also the Hue, just
to change the overall look of that red until
| | 01:35 |
I get it exactly where I want it.
| | 01:37 | Well, how then can we kind of finish this off?
| | 01:39 | Well, next, we'll grab the Adjustment brush.
| | 01:42 | With the Adjustment brush, we want to
make sure we have no saturation and
| | 01:47 | then scroll down, crank up the
Flow and Density to 100;
| | 01:51 | Feather, relatively high
feather amount would be nice.
| | 01:54 | We'll have probably a pretty
small brush size.
| | 01:57 | So I'll go ahead and decrease
that just a little bit.
| | 02:00 | Then next, I'm just going to paint
around these areas in the photograph,
| | 02:04 | and I'm going to start working on
these areas that are really easy;
| | 02:06 | the background elements,
their faces are pretty easy.
| | 02:09 | I want to be careful not to modify
the car at all, color in his shoes,
| | 02:12 | and then I'll go up and work
on some of these other details.
| | 02:17 | As we work on the people,
you'll want to turn on Auto Mask.
| | 02:20 | This will then help you so that you
only are removing color from that area.
| | 02:24 | Make sure the crosshairs are just covering
the color that you want to get rid of
| | 02:29 | and there you have it; we now have
removed all of this color.
| | 02:33 | We've come up with this kind
of fun and creative effect.
| | 02:36 | Now last but not least, you may
want to go back to the Basic panel;
| | 02:40 | you can do that by clicking on your
Zoom tool and then clicking on Basic,
| | 02:44 | and you may want to change your overall
Clarity amount or Exposure in order to expose
| | 02:50 | for this black-and-white conversion, so
that this conversion looks interesting.
| | 02:54 | Then in this case, I'm just going to
make a few minor adjustments there.
| | 02:58 | Well, that wraps up our
work on this project.
| | Collapse this transcript |
| Making color changes| 00:00 | So far we've explored how we can enhance
or draw out colors that are already there.
| | 00:06 | Well, here, I want to have some fun, and I
want to have some fun with changing color.
| | 00:10 | We'll be working with two different images.
| | 00:13 | So let's go ahead and select
this first one: fashion.jpg,
| | 00:16 |
and then let's click on our Targeted
Adjustment tool and jump right to Hue.
| | 00:20 | In the Hue tab what you can do is hover over
your image and click and drag up or down,
| | 00:25 | and here we can change that
overall color of the dress.
| | 00:28 | Now as you change these
colors or make these changes,
| | 00:31 | what you'll also want to do
is navigate to the other tabs,
| | 00:35 | like the Saturation tab, so that we can
change the Saturation level of that color,
| | 00:40 | and also so that we can
change the Luminance value,
| | 00:42 | and by doing that you can see
that we have this huge range.
| | 00:46 | We can either make this really
dark or almost bright and neon.
| | 00:50 | We could also change the background.
| | 00:52 | Click on the background and then drag and
you can again change the Luminance there,
| | 00:55 | or we could go into our Saturation sliders here
and change the look and feel of that color in
| | 01:01 |
the background either by clicking
and dragging on the photograph,
| | 01:05 |
or by clicking and
dragging with our sliders.
| | 01:08 | In this case, we're just having fun
and we've modified this color in some
| | 01:12 | pretty creative and interesting ways.
| | 01:14 | Yet sometimes what you'll need to do
isn't something maybe that's so creative.
| | 01:19 | Maybe you'll need to work on skin tones.
| | 01:21 | Well, you could do that, again by using
this tool, just click on the skin and
| | 01:25 | then drag up or down to modify the Hue
to make them more orange and yellow
| | 01:30 | or maybe a little bit more red, or
perhaps the skin is too saturated.
| | 01:35 | Again, just use this tool
to click and drag up or down
| | 01:38 | so that you can get
this to look at its best.
| | 01:41 | If we go to Luminance and work with skin,
you're going to see that we can change
| | 01:44 | the brightness value of that, and
sometimes that can help out as well
| | 01:47 | in regards to coming up with a
nice way to represent the skin.
| | 01:51 | Let's work with one more image just
to draw out a few more colors here.
| | 01:56 | I'll go to my Saturation tab and I'm
going to click on this parasol here
| | 02:01 | on this hand-painted sign.
| | 02:03 | Next, I'll go to Luminance and I
can change the brightness of that,
| | 02:06 | I want to brighten that up.
| | 02:07 | I also want to work on my greens here.
| | 02:09 | I'm going to bring out some of those
greens that I see in the picture.
| | 02:13 | Go to the Saturation tab and just drag those
out, right there I think that's kind of fun,
| | 02:18 |
and here what we can do is we can just
click in our image or use these sliders
| | 02:21 |
to try to bring out some of these different
colors, and some of the fun color combinations
| | 02:26 |
that we can create with these
controls really are kind of amazing.
| | 02:31 | So if we click on our Preview button, here
is that before and then now here's after.
| | 02:36 | So sometimes, it's really dramatic, like
changing the color of a background or a dress.
| | 02:41 | Other times, it's making these color
changes that might be even a little bit
| | 02:45 | more interesting or different.
| | 02:47 | So with this one, what we could do
is we could change the look of that
| | 02:50 | background here by modifying the color
and we could start to see how these
| | 02:54 | different colors relate to each
other and affect the overall image.
| | 02:58 | Well, as you can see, here these
HSL controls, are a ton of fun.
| | 03:03 | If you haven't experimented with them,
I definitely recommend that you do so
| | 03:07 | because they can help you come up
with some interesting and creative color
| | 03:10 | combinations with your photographs.
| | Collapse this transcript |
|
|
16. Creating Compelling Black-and-White ImagesUsing the black-and-white controls| 00:00 | There is something moving and appealing
about a strong black-and-white image
| | 00:05 | and here, in this chapter, we're
going to focus in on how we can convert
| | 00:08 | our images to black-and-white.
| | 00:10 | We've seen this demo file before;
| | 00:12 | this is a file where we
have these different colors.
| | 00:15 | And the reason we have this is because
it'll help us understand how we can most
| | 00:19 | effectively convert our
images to black-and-white.
| | 00:21 | Here in the Basic panel, we can
obviously de-saturate our image.
| | 00:25 | Yet, simply by removing the color,
it doesn't really look very good.
| | 00:29 | We don't have a lot of contrast
or control over the photograph.
| | 00:33 | And when you de-saturate, this
particular grayscale conversion,
| | 00:36 | it's just based on your
overall color temperature.
| | 00:39 | So if we change our color temperature,
well it changes the characteristics of
| | 00:42 | this black-and-white image.
| | 00:44 | Well rather than doing that, let's go ahead and
double-click the slider there, take it to 0.
| | 00:48 | Let's go over to our HSL panel.
| | 00:50 | In the HSL panel as you've
noticed, there is a /Grayscale.
| | 00:54 | We can use these controls in the same
conceptual way of affecting different
| | 00:58 | areas of our image by clicking
on Convert to Grayscale.
| | 01:02 | In doing that, you'll notice it
now limits this to the one tab,
| | 01:05 | and we have these various colors.
| | 01:06 | Here what we can do is we can select
a color and we can darken or brighten
| | 01:11 | those different areas of our photograph.
| | 01:13 | We can also navigate to the Targeted
Adjustment tool, and here use this in
| | 01:18 | our Grayscale panel, and by doing that,
we can click and drag up or down
| | 01:22 | in order to brighten or darken colors.
| | 01:25 | If ever you want to return this to the
default settings, you can click on Default,
| | 01:28 | or if you prefer to use an automatic black-
and-white conversion, you can click on Auto.
| | 01:34 | Alright, well now that we've seen how these
controls work, let's go ahead and apply this
| | 01:38 | logic to working on a few different images, and
let's do that in the next couple of movies.
| | Collapse this transcript |
| Exploring simple black-and-white conversion| 00:00 | In this movie we're going to convert
this portrait that I took the other day
| | 00:03 | to black and white.
| | 00:05 | Yet, before we jump over to our
Grayscale panel, we want to become familiar with
| | 00:09 | the colors in the photograph,
because if we can identify the colors clearly, we
| | 00:14 | can then take advantage of that in
order to change the luminance or the
| | 00:18 | brightness value of the
different areas of our picture.
| | 00:21 | And in this picture, I was using natural light.
| | 00:23 | Here I was capturing this image in open
shade and you can see that there's some
| | 00:27 | blue in the hat and also a
little bit in the background.
| | 00:30 | There's also kind of this magenta or
red or a little bit purple background,
| | 00:34 | and then in the face we have
a lot of yellows and oranges.
| | 00:38 | One of the ways that you can become
even more familiar with the colors in your
| | 00:41 | image is you can make a saturation
adjustment and you can bring up or bring
| | 00:46 | out all the saturation.
| | 00:47 | This won't make your image look good, but it
will help you get familiar with the colors.
| | 00:52 | So, sometimes, as you're starting to work
with black-and-white conversions, it may
| | 00:56 | be helpful to crank up
your saturation all the way.
| | 00:59 | Again, here we can really
see these colors in vivid ways.
| | 01:02 | This obviously doesn't look good, yet
it helps me know what color is there; it
| | 01:06 | helps me realize, oh, there's a little
bit of blue in the background, and gosh,
| | 01:10 | I didn't realize how blue the hat actually is.
| | 01:13 | Next, we can double-click this to
set it back to 0 and then we can go to
| | 01:17 | the Grayscale panel.
| | 01:18 | We can go to the Grayscale panel by
either clicking on the HSL/Grayscale tab
| | 01:23 | or you can click on the Targeted Adjustment
tool and then hold down and select Grayscale Mix.
| | 01:28 | This will convert our image to
grayscale with some auto settings.
| | 01:32 | The minute we do that, it's so easy to
forget about all of the different colors
| | 01:37 | that we had there in our photograph.
| | 01:39 | So for example, we may forget that the
hat was actually blue, but because we
| | 01:43 | kind of focused on that, we now know
that we can control the brightness value of
| | 01:47 | that area of the picture.
| | 01:48 | We can either make that brighter or darker.
| | 01:51 | Also, we remember that background color
there. It was kind of purple or magenta, and
| | 01:55 | here you can see how I can darken that up.
| | 01:58 | Let me zoom in on this picture.
| | 01:59 | Here I'm going to zoom in on the face,
because on the face what you may have
| | 02:03 | remembered is that there was a
lot of yellows and oranges here.
| | 02:07 | If we click this preview off
momentarily, we can really see that.
| | 02:10 | We can see that the freckles kind of
have a little bit of a darker orange and
| | 02:14 | then the face, it has a bit more yellow.
| | 02:17 | So here if we go back to turn on our
preview, we can then control those freckles.
| | 02:21 | I could darken them, as I'm doing here,
and again, this doesn't look very good--
| | 02:25 | I'm trying to exaggerate so you
can see how we can do this--or I can
| | 02:28 | brighten them or lessen them.
| | 02:30 | And you can see how by being aware of
the color can help me change the way that
| | 02:34 | I process the photograph.
| | 02:36 | Now, what about the reds?
| | 02:37 | Well, the reds, we could work on the
lips there a little bit and a few other
| | 02:40 | areas in our picture.
| | 02:42 | And then of course we have a little bit
of yellow as well, and here I just want
| | 02:44 | to brighten that up.
| | 02:45 | And by doing that, it's creating kind of this
nice, kind of a bright, clean type of a look.
| | 02:51 | With this black-and-white conversion, it's
just a little bit brighter than I'm happy with.
| | 02:55 | Yet I'm going to do that because I'm
going to go next to the Basic panel to
| | 03:00 | really finish this off and deepen up
my blacks a little bit. All right!
| | 03:03 | Well, after having made these adjustments,
I should also point out that we could
| | 03:08 | obviously just hover over our image
using the Targeted Adjustment tool and here
| | 03:12 | we could click and drag and that would
help us tap into making adjustments into
| | 03:16 | specific areas of our photograph.
| | 03:18 | Yet, still, I think it's helpful to
really identify the colors in order to get
| | 03:22 | familiar with how we can do these
type of black-and-white conversions.
| | 03:25 | Well, next, let's go back to the Basic panel.
| | 03:28 | Here in the Basic panel, I'm
going to increase my Contrast;
| | 03:30 | that will deepen some of those blacks.
| | 03:32 | I'll also deepen those blacks by clicking on
the Blacks slider, moving that to the left.
| | 03:36 | Next, I'll bring in a little bit of
light to the shadows here, and I'll also
| | 03:40 | add a bit of clarity.
| | 03:42 | These adjustments really help
me kind of finish this image off.
| | 03:45 | I'm just going to make a few subtle
adjustments with these controls in order to
| | 03:48 | kind of affect the drama of
this black-and-white conversion.
| | 03:51 | If we click on the preview now, you can
see the before and after, and by using
| | 03:56 | these different techniques together it
can help us come up with these kind of
| | 04:00 | fascinating conversions.
| | 04:01 | After you've made some basic
adjustments, you may want to go back to the
| | 04:05 | HSL/Grayscale tab in order to make
some further adjustments. Perhaps, like, you
| | 04:10 | want to brighten up the reds there a
little bit, because you didn't like the
| | 04:13 | density in this part of the image.
| | 04:15 | As you focus in on your
image, as we're doing here--
| | 04:17 | we're zoomed in--we also need to zoom out.
| | 04:19 | Press Command+Minus on a Mac for Ctrl+Minus on Windows.
| | 04:23 | When we zoom out, I really like the
overall look and feel of this photograph,
| | 04:27 | but I've decided that I also want to darken
up some of this lower area of the image.
| | 04:33 | I could either do that, say, with
an Adjustment Brush or maybe with a
| | 04:37 | Graduated Filter adjustment.
| | 04:38 | So let's select one of those tools.
| | 04:40 | Let's try the Graduated Filter.
| | 04:42 | Here if we go down to the Graduated
Filter controls, I'm just going to click on
| | 04:46 | the Minus icon for Exposure.
| | 04:48 | This allows me to decrease the exposure.
| | 04:50 | I'm also going to drag my
Highlights value way down.
| | 04:53 | Next, we can click and drag across the image.
| | 04:56 | In doing that, you can see how I can
bring in this darkening effect to this
| | 04:59 | area of the picture.
| | 05:00 | Click on the green tab to bring that up or down.
| | 05:03 | Click on the red tab to
change that transition area.
| | 05:06 | And in doing this, I'm looking to try
to just bring down that a little bit
| | 05:09 | here. And if we click on the preview, you can
see here's before and then now here's after.
| | 05:14 | In this way, at least with this
photograph, I kind of like it, because all the
| | 05:18 | light now is really focused
or directed towards the face.
| | 05:22 | If we want to darken the top of the
image, we'll just go ahead and click and
| | 05:25 | drag over that area and we
could apply a similar adjustment.
| | 05:28 | And so here, as I've mentioned in
other places, what we can do is we can
| | 05:33 | navigate to different panels.
| | 05:34 | We can work with our HSL controls in
order to convert our image to black and white.
| | 05:39 | We can also go to the Basic panel and
make some adjustments which will help us
| | 05:43 | strengthen this overall conversion.
| | 05:45 | One way that we could see the before
and after of this is if I click on the
| | 05:49 | Default button right here, you can see
this is without those basic adjustments.
| | 05:53 | Then press Command+Z on a Mac or
Ctrl+Z on Windows to undo that.
| | 05:58 | Notice how that just adds that nice
depth and contrast and feeling to this black-
| | 06:02 | and-white conversion. All right!
| | 06:03 | Well, after having used those HSL
controls, some basic adjustments, and also our
| | 06:09 | Graduated Filter and kind of combining
all these different skills together, we
| | 06:13 | now have a powerful and
intriguing black-and-white conversion.
| | Collapse this transcript |
| Using multiple panels to create a black-and-white image| 00:00 | Here we're going to explore how we can
convert this beautiful wedding day photograph
| | 00:04 |
to black-and-white, and we'll look at
how we can use the Grayscale Panel,
| | 00:08 | and also how we can use a few other
settings and controls in different panels
| | 00:11 | and tools in order to make a
nice black-and-white conversion.
| | 00:15 | Alright, well with this image, let's
navigate to the Grayscale Panel
| | 00:19 | and select the Targeted Adjustment
Tool by way of a shortcut.
| | 00:23 | On a Mac you press Shift+Option+Command+G,
on Windows that's Shift+Alt+Ctrl+G.
| | 00:30 | That takes us to this panel,
converts our image to Grayscale,
| | 00:34 | and then also leaves active
the Targeted Adjustment Tool.
| | 00:38 | Well now here with this image, this
black-and-white conversion is just okay.
| | 00:42 | One of the things that I notice is that
this skin, the skin tones are just too dark.
| | 00:46 | I need to brighten those up.
| | 00:48 | I also might want to brighten the
trees and make a few other adjustments
| | 00:51 | in the photograph as well.
| | 00:52 | Well, with this tool what we can do is
simply hover over what we want to brighten
| | 00:56 |
and then click and drag up and
you can see how we can add
| | 00:59 | a nice brightening effect
to that part of the image.
| | 01:01 | Already this photograph
looks a ton better.
| | 01:04 | Next, we could click and drag up
over the trees and we could bring
| | 01:08 | in a little bit of light into that
area of our picture as well.
| | 01:11 | Here just bringing in some nice Brightness
value into those shrubs over there
| | 01:14 | on the right and left hand
side of the picture.
| | 01:16 | Well, after having made some
of those minor adjustments,
| | 01:20 | next, let's go back
to the Basic Panel.
| | 01:22 | Here we'll click on
the tab for Basic.
| | 01:24 | It's kind of funny that the
Basic Panel is called Basic,
| | 01:26 | because really it's anything but basic;
| | 01:28 | it's where we perform most
of our major adjustments.
| | 01:31 | And here what I want to do is I
want to work on my overall Exposure.
| | 01:35 | I want to increase this.
| | 01:36 | One way to do that in a real small
incremental way is to hover over
| | 01:40 | the word Exposure and
then just click and drag,
| | 01:43 | and then this way you can
make smaller adjustments.
| | 01:45 | I also want to bring up my Whites.
| | 01:47 | So I'm going to click and drag there.
| | 01:49 | And then I'll click and drag and bring
down my Highlights, kind of just trying
| | 01:52 | to even out a few things in
regards to the brightness,
| | 01:54 | or recover a little bit of
the highlight detail there.
| | 01:57 | Next, I'll bring up my Contrast and then
I'm going to darken my Blacks to deepen those.
| | 02:03 | Next, after having made
all those adjustments,
| | 02:05 | I also want to increase
my Exposure a little bit.
| | 02:07 | Well, now that we've made
these adjustments here,
| | 02:10 | we can kind of see that before
and after with these adjustments.
| | 02:13 | I also want to paint in a bit more brightness
into the faces of the subjects.
| | 02:20 | So let's zoom in. Here I'll press Command+Plus
on a Mac or Ctrl+Plus on Windows.
| | 02:23 | I'm just going to zoom in a little
bit in order to make some adjustments
| | 02:28 | on specific areas of the image.
| | 02:30 | Select the Adjustment
Brush by pressing the K key.
| | 02:33 | We'll click the Plus icon for
Exposure and also we'll bring up our
| | 02:38 | Shadows here a little bit as well.
| | 02:39 | Now we want to go down to our Brush options.
| | 02:42 | We want a relatively small brush.
| | 02:43 | Let's see, probably something around maybe
5 or so, with an image of this resolution.
| | 02:48 | Next, for the Flow we want a really low Flow
amount, and then a nice high Feather amount.
| | 02:53 | You want to have Auto Mask turned off
for adjustments like this, because
| | 02:56 | you want these to be really kind of free
flowing, and you're painting with light
| | 03:00 | and you're just trying to brighten things.
| | 03:01 | So you want to do this in kind of a subtle way.
| | 03:04 | With this nice low Flow amount, what
it will help us to do is to slowly paint
| | 03:08 | this in into different areas of our
picture, and I'm just trying to bring
| | 03:11 | a little bit of focus into this part
of the photograph, because the eye
| | 03:15 | is attracted to areas of brightness, also
to areas of sharpness, and so here we're
| | 03:20 | just brightening up a few of
these little elements here.
| | 03:23 | Now that I've painted that in, you notice
that he pen is just really distracting.
| | 03:27 | It's right on her eye; that's horrible.
| | 03:30 | We can hide that by pressing the V key.
| | 03:32 | So the V key toggles the visibility
of those pens on and off.
| | 03:36 | So let's press the V key
to hide that for a moment.
| | 03:38 | Next, I'm going to bring up a
little bit of Sharpness here.
| | 03:40 | I also want to bring up a little bit
of Clarity, and then some Contrast.
| | 03:44 | I'm just dialing this in so that I
can have control over these areas,
| | 03:48 | and by doing this and
by making these adjustments,
| | 03:50 | you can kind of see how we're boosting
this part of our photograph.
| | 03:53 | It's kind of bringing those elements forward
so there's a bit more life in those areas.
| | 03:58 | I want to darken the groom here; his
shirt it a little bit too bright.
| | 04:03 | So I need to make a new adjustment.
| | 04:05 | Do you remember the shortcut to make a new
adjustment with the Adjustment Brush?
| | 04:09 | It's the N Key. So when we press
the N Key, then I'll go ahead and
| | 04:12 | click on Minus for Highlights,
and I'll click and drag this down.
| | 04:16 | And then I'm next going to go down to
my Auto Mask option and either press
| | 04:21 | the M Key to turn that on
or click on this option here.
| | 04:24 | Next, I want to make sure that the crosshairs
are just covering the white of the shirt,
| | 04:28 | and I want to try to bring
down the Highlight there on that.
| | 04:32 | That got a little bit
too bright for my liking.
| | 04:35 | And if there are any other areas that
you notice that might benefit from
| | 04:38 | this type of an adjustment, well, you
could paint over those areas as well.
| | 04:42 | Well, now that we've made these adjustments
here, let me just go back and forth a
| | 04:45 | little bit more to try to get
this down a little bit further.
| | 04:48 | Let's take a look at that
before and after. Here it is.
| | 04:51 | There's our before; now here's our after.
| | 04:53 | And if we zoom out a little bit, either
with the Zoom Tool or by clicking on
| | 04:58 | the Zoom controls down here, we can see
this image a little bit more clearly.
| | 05:02 | We can see all of this here.
| | 05:04 | And as we look at that before and after,
we can see how we're able to bring out
| | 05:07 | a little bit more of the character
and personality in a picture like this.
| | 05:11 | We're able to create a more compelling
black-and-white conversion.
| | 05:14 | Let's go to the Zoom Tool, that will then
allow us to go back to our regular panels,
| | 05:20 |
and here we'll click
on the Preview button.
| | 05:21 | We can see that before and then after,
and after we've gone through this process
| | 05:26 | of starting off with that shortcut to use
or access the Targeted Adjustment Tool
| | 05:30 | for the Grayscale Panel, and remember
that was Shift+Option+Command+G on a Mac,
| | 05:35 | Shift+Alt+Ctrl+G on Windows, we made
some adjustments there, and then next
| | 05:39 | we jumped to the Basic Panel.
| | 05:40 | Here's where we dialed in our
Exposure, Contrast, etcetera.
| | 05:44 | And then after having made
all of those adjustments,
| | 05:46 | we finished this image off
by using the Adjustment Brush.
| | 05:49 | The shortcut key for
that one is the K key,
| | 05:52 | and we painted in a few
different adjustments.
| | 05:54 | If you press the V key, you can see
how we have an adjustment for the skin
| | 05:58 | and the face and also one here for the
shirt, and by dialing in those specific
| | 06:02 | adjustments, and also by hiding those
pins by pressing the V key, we were able
| | 06:07 | to bring in a little bit of focus or
interest into that part of the image,
| | 06:10 | and all of these steps together helped
us create an intriguing and compelling
| | 06:15 | black-and-white conversion.
| | Collapse this transcript |
| Creating a dramatic black-and-white landscape| 00:00 | I don't know if this happens to you
in your own photographic journey,
| | 00:04 | but for me there are times when I take
pictures and I really like the photographs,
| | 00:08 | but then eventually I just
kind of grow tired of them.
| | 00:11 | But then there are other
pictures, like this one here,
| | 00:14 | that you take and you don't initially like,
but then as more and more time passes,
| | 00:18 | they just get better and better.
| | 00:20 | You enjoy them more and more.
| | 00:22 | And I really like this picture.
I think it's the leading lines.
| | 00:25 | Also it was the experience of
being out there in the desert
| | 00:28 | and all of the wildflowers
and the sky and the clouds.
| | 00:31 | And with this picture what I want
to do is I want to create a dynamic
| | 00:35 | and really engaging
black-and-white conversion.
| | 00:39 | This is where we can really get creative
with how we use the HSL controls
| | 00:43 | and also our other controls,
like the Adjustment Brush.
| | 00:46 | So let's see how we can convert
this image to black-and-white.
| | 00:49 | First, let's select the Targeted
Adjustment Tool for the Grayscale Panel
| | 00:53 | and let's again use that
shortcut just to practice it.
| | 00:56 | On a Mac it's Shift+Option+Command+G,
on Windows that's Shift+Alt+Ctrl+G,
| | 01:02 | or if you forget the shortcut you
can just click on this icon here
| | 01:06 | and then choose Grayscale Mix.
| | 01:08 | Now that we've done that, the first thing
that I need to do is to deal with the sky.
| | 01:12 | All of a sudden I don't like the image.
| | 01:14 | It doesn't work at all for me,
because the sky is too bright
| | 01:17 | and compared to the ground being
dark, it's just kind of lost.
| | 01:20 | I don't know where to look.
| | 01:21 | So here if we click on the sky and drag
down, you can see that it's moving my blues.
| | 01:26 | Now, you may think, well, why
not just reach for the blues?
| | 01:29 | Well, we might not want to do that,
because if we click and drag
| | 01:31 | near the horizon, notice that
it's also darkening the Aquas.
| | 01:35 | I didn't realize that this was
one of the colors in the sky,
| | 01:38 | and you can see how that's
working near the horizon.
| | 01:40 | And so sometimes by using this tool can help
us target different areas of the picture.
| | 01:46 | Next, we can click around here, I
can go ahead and click on the grass
| | 01:49 | and I could darken that or brighten that.
| | 01:51 | What I actually want to do is I
want to change this a little bit
| | 01:53 | so I have a nice brightness level there.
| | 01:55 | Then I'm going to click on the path.
| | 01:56 | I want to try to change my overall path,
| | 01:58 | but as I do that, it's also affecting
the hills in the background.
| | 02:02 | So what I need to do is I need to
paint in some adjustments into the path.
| | 02:06 | To do that, let's use the Adjustment Brush.
| | 02:09 | Here I will press the K key.
| | 02:10 | Once you've selected the Adjustment Brush,
go ahead and click on the Plus icon for
| | 02:13 |
Exposure and then drag
this over a little bit
| | 02:16 | and let's also increase our
Contrast. Next, scroll down.
| | 02:20 | We want to turn on Auto Mask.
| | 02:22 | You can do that by pressing the M
key or by clicking on this icon here.
| | 02:26 | For the Flow, we want a relatively low Flow
amount, and then a medium amount of Feather.
| | 02:31 | Next, we are going to go ahead and
click and paint across this path,
| | 02:34 | and what I want to do is paint back and
forth in a way that I can brighten this up,
| | 02:39 | because for me this is really what
a lot of the photograph is about.
| | 02:42 | It's about this area of the image and
about how the eye is drawn into this.
| | 02:46 | It's almost like you want to go down
that road and see what lies ahead.
| | 02:50 | Here I will press the Left Bracket key
| | 02:51 | to make my brush smaller to kind of
get back down here into these areas.
| | 02:55 | Right Bracket key makes it bigger and I'm just
going to keep painting in these adjustments.
| | 02:59 | And because I have such a low
flow, I need to go back and forth
| | 03:03 | from side to side to
make these adjustments.
| | 03:05 | And so I'll just kind of go
back and forth and make those.
| | 03:07 | We could also increase them by
clicking and dragging that Contrast up
| | 03:12 | and increase our Exposure as well, so I should
say we can increase the adjustments there.
| | 03:16 | In doing that, that's now starting
to work for me in an interesting way.
| | 03:19 | I'm going to bring up some Clarity.
| | 03:21 | That will bring in some nice texture into the
path, and then lower my Exposure a little bit.
| | 03:25 | Well, now that we have done that,
if we click on the Preview icon,
| | 03:28 | you can see here is our before.
| | 03:30 | We use to think that path
really let us in, but now, whoa,
| | 03:33 | it's like all of a sudden
it really literally is.
| | 03:36 | The next thing you might want to do
with an image like this is do some
| | 03:40 | either brightening or darkening in
different areas of the photograph.
| | 03:43 | So let's press the N key
to create a new adjustment.
| | 03:46 | Then in order to simplify
our settings here
| | 03:48 | we'll just click on the
Plus icon for Exposure.
| | 03:51 | Then scroll down, and with
my overall Flow amount,
| | 03:54 | I want to take this even lower and
then make my brush a little bit smaller.
| | 03:58 | And by having a small brush what I
want to do is just start to bring out
| | 04:00 | a little bit of the highlights I'm
seeing in a few areas of the picture,
| | 04:04 | make my brush even a little bit smaller
and then zoom in on the picture,
| | 04:07 | so press Command+Plus or Ctrl+Plus.
| | 04:09 | And by zooming in, this will
then allow me to kind of paint in
| | 04:12 | a little bit of brightness here.
| | 04:13 | And what you want to do a lot of times
with black-and-white photographs
| | 04:17 | is you want to build a little bit
of sense of dimension or of drama
| | 04:21 | and by brightening or darkening different
areas of your photograph you can do that.
| | 04:25 | It makes it feel a little more
dynamic or like there is more depth.
| | 04:29 | So these brush strokes, I'm just kind
of going along some of these lines
| | 04:32 | I'm noticing, painting these in, and
a lot of this work may not seem like
| | 04:36 | it's really even worth it, but I think it is.
| | 04:38 | Here we'll zoom out a bit.
| | 04:41 | Next, create a new adjustment
by pressing the N key.
| | 04:43 | This time I'll go back to
my Exposure slider up here
| | 04:47 | and I'm going to press the Minus sign.
| | 04:48 | I just want to decrease
the Exposure in a few places.
| | 04:51 | And again, I'll just go through and make
a few little darkening adjustments here,
| | 04:55 | brush strokes, darkening up some of
these hillsides, trying to build up
| | 04:59 | a little bit of that dimension and drama,
and just kind of having fun with that.
| | 05:03 | Alright, well let me zoom out.
| | 05:04 | Now that we have made all of
these different adjustments,
| | 05:07 | we can press the V key to hide those different
pins and then we can press the P key,
| | 05:12 | or we can click on the Preview button
to look at our before and after,
| | 05:16 | and you can see how what's happened
is all of a sudden the whole image,
| | 05:19 | it's like it has more
kind of life to it.
| | 05:22 | My darkening effects look
though a little bit too strong.
| | 05:25 | So I'll press the V key
and I'll target that pin.
| | 05:29 | You can see these brush strokes here,
they're a little bit too much,
| | 05:32 | actually those are the brightening ones.
| | 05:33 | I need to go to this one, there are my darkening
effects, and those are a bit too strong.
| | 05:37 | So here I'm going to diminish
those by taking that back;
| | 05:40 | I don't want quite as
much of a darkening effect.
| | 05:42 | I also don't necessarily like this one
on the hillside, so I'll click on Erase
| | 05:46 | and then I'll get rid of that one over there.
| | 05:48 | Well, now that we have made these
wonderful adjustments to this picture,
| | 05:52 | the next thing I'm going to do
is go back to my Basic Panel.
| | 05:55 | So press the Z key or select the Zoom
Tool to exit out of the Adjustment Brush
| | 05:59 | and then click on the Basic Panel.
| | 06:02 | Finally, we want to add some
overall Clarity to the picture,
| | 06:05 | also some overall Contrast, deepen some of
those nice dark Shadows that we have there,
| | 06:11 | work on our Exposure just a touch here as well
and recover some of our Highlight detail.
| | 06:15 | And by making some of these adjustments
what we are able to do here is just kind
| | 06:19 | of control some of these final elements
of the picture so that now we have this
| | 06:24 | deep and rich and engaging
black-and-white conversion.
| | 06:27 | If we click on the Preview button, you
can see, well, here is our before and
| | 06:31 | now here is our after.
| | 06:33 | And now here in seeing this
black-and-white conversion,
| | 06:35 | I realize there's one more
thing I want to do here.
| | 06:37 | I want to darken up some of the
sky and also some of the clouds.
| | 06:41 | So let's do that by using
our Graduated Filter.
| | 06:43 | We can click on the
Graduated Filter icon.
| | 06:46 | Then next thing I'm going to do is
click on the Minus sign for my Exposure
| | 06:49 | and I'll click and drag that down.
| | 06:51 | I'll also decease the Highlights value
here, and in doing this I want to
| | 06:55 | darken up this area of the sky, so I'll
go ahead and click and drag across the sky.
| | 06:59 | This will then allow me to create a
little bit of a deeper sky there and
| | 07:03 | also recover some of the details that I'm
seeing there in that part of the image,
| | 07:07 | so here we can modify the overall
Exposure and also the Highlights.
| | 07:11 | This then just allows us to kind of
darken up that area of the photograph
| | 07:14 | so we have little bit better detail
there, in that part of the picture.
| | 07:17 | Alright, well, now that we have
that, I'll click on the Zoom Tool,
| | 07:21 | that wraps up our work on this image.
| | 07:23 | And as you can see here with this
photograph, like with our other photographs,
| | 07:27 | it really was the combination or the
integration of working with the HSL controls,
| | 07:31 |
with some of our other panels and
tools, which led us to creating this
| | 07:36 | compelling black-and-white photograph.
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|
|
17. Using the Split Toning ControlsExploring traditional black-and-white toning| 00:00 | In the previous chapter, we converted
this image to black-and-white.
| | 00:04 | Well, here in this chapter, I
want to work with this same image
| | 00:06 | and I want to talk about how we can
add some toning to our photograph
| | 00:09 | and how we can apply some
split toning effects as well.
| | 00:13 | So let's navigate over
to the Split Toning panel.
| | 00:16 | You can find this panel here.
| | 00:17 | Once you click on the icon, you
notice you have a few controls.
| | 00:20 | You can either work on the
highlights or the shadows
| | 00:23 | or you can control the
balance between the two.
| | 00:26 | Well, how do these controls work?
| | 00:28 | In order to understand how they work,
let's just tinker with them a little bit
| | 00:31 | and play, so that we can exaggerate
the effects so that we can see how these
| | 00:35 | different settings can affect our image.
| | 00:38 | Well, for starters, you can choose a Hue;
| | 00:39 | let's say that we choose a Hue
like this red or orange here.
| | 00:43 | Next you can click and
drag up the Saturation.
| | 00:45 | In doing that, you can see that I'm bringing
this color primarily into my highlights.
| | 00:49 | If I drag this to another
color, let's say like blue,
| | 00:52 | you can see how that's affecting
the brighter colors of my image.
| | 00:56 | On the other side of the equation,
we can work with our shadows.
| | 00:59 | Here we can choose a color, let's say
like red, and then click and drag this over.
| | 01:03 | You can now see how I have this
kind of interesting effect.
| | 01:06 | Well, what about balance?
How does that work?
| | 01:08 | Well, if you drag the Balance slider to
the left, it's going to prioritize the
| | 01:12 | Hue and Saturation that you
brought in via the shadows;
| | 01:15 | drag to the right, well, it's going to
then prioritize the highlights.
| | 01:19 | Alright, well so far these color
effects aren't interesting really at all,
| | 01:23 | but hopefully, by moving those sliders in
that way, it's started to get you familiar
| | 01:27 | with how you can work with them.
| | 01:28 | Let's reset all the sliders
by double-clicking the tabs;
| | 01:32 | this will take these back
to their default settings.
| | 01:34 | How might we more realistically
work with these controls?
| | 01:38 | Well, one thing that we might want
to try perhaps is some subtle toning.
| | 01:42 | Perhaps we want to bring in
some yellows into the highlights;
| | 01:45 | we could choose a yellow there and
then just slowly bring up our saturation.
| | 01:49 | In this way, it's going to create
just a little bit more of a warm
| | 01:52 | black-and-white photograph or,
on the other side of the equation,
| | 01:56 | we could also bring in some
colors into our shadows here;
| | 01:59 | perhaps we want to go for a little
bit of a sepia tone type of a look.
| | 02:02 | And in this way, we have
this interesting color palette;
| | 02:05 | here's the before, now here's the after.
Or rather than apply a look like this,
| | 02:11 | which really is just primarily one or two
tones, which are similar to each other,
| | 02:15 | maybe we want to do something which
is a little bit more dramatic,
| | 02:18 | a little bit more variety
in regards to the color.
| | 02:21 | Something we might try is to bring in
some yellows into our highlights and
| | 02:24 | then maybe the complementary color like the
blues into the shadows and here you can
| | 02:29 | see that we can create almost this
dreamscape like of an ascetic here
| | 02:34 | by dialing in this exact color here.
| | 02:36 | Let me just find a nice yellow for this.
| | 02:38 | Also, the amount of saturation that we
want in regards to working with the blues
| | 02:42 | and also the yellows there, and in doing
this, we can control this effect either
| | 02:46 | by kind of backing it off and making it
really subtle, or by cranking it up and
| | 02:51 | in this case, we have this
split tone type of an ascetic.
| | 02:54 | Here it is, there is our
before and now our after.
| | 02:58 | So the split toning controls, as you can
see here, allow you to apply interesting
| | 03:02 | color combinations to your photograph.
| | 03:04 | You can do this as we've done here on
top of a black-and-white photograph
| | 03:09 | or on top of a color image.
| | 03:11 | Well, now that we've seen how this
works with a black-and-white picture,
| | 03:14 | let's go ahead and take a look
at working with color photographs
| | 03:16 | and let's do that in the next movie.
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| Adding split toning to color photographs| 00:00 | Let's take a look at how we can use the
Split Toning Controls in order to modify
| | 00:04 | the color of two different color photographs.
| | 00:07 | We'll start off with this image here.
| | 00:09 | Let's go ahead and jump straight
to the Split Toning Panels.
| | 00:13 | In the Split Toning Panels, one of the
things that we've discovered is that
| | 00:16 | we can have a low saturation amount
and than we can select a color.
| | 00:20 | Yet, sometimes when you try to select
the color when you have low saturation,
| | 00:24 | it's hard to really pick the color,
because you can barely see it.
| | 00:27 | Well, one way to see that more clearly is
to hold down the Option key on a Mac,
| | 00:31 | Alt key on Windows and then
to click on the slider.
| | 00:34 | When you do that, it then
takes this value to 100%
| | 00:38 | and here you can see it's
completely saturated.
| | 00:40 | In this case, I want to add a little bit
of a yellow effect into the highlights.
| | 00:44 | So go ahead and find that yellow,
then let go of Option or Alt,
| | 00:48 | that will then take it back
to that saturation level of 10.
| | 00:52 | Next, in regards to the shadows, I'll
bring this over to my blues here,
| | 00:55 | hold down Option or Alt, so I can find just
the right blue, one that isn't very purple,
| | 01:00 | and so I'll try to find a nice blue
there and then I'll click-and-drag
| | 01:04 | my Saturation Slider up a little bit.
| | 01:06 | Well, now that I've made these subtle
adjustments, I'll go back to the Basic Panel.
| | 01:10 | In the Basic Panel, I'm going to bring
up my clarity just a little bit here.
| | 01:14 | Also, bring up some Vibrance,
and a touch of saturation,
| | 01:18 | and then I'll change
my color temperature.
| | 01:20 | I'm just going to warm
this image up overall.
| | 01:23 | By making these adjustments, you can
see that this image now takes on
| | 01:27 | a different kind of a feel, it looks like
perhaps a fashion image that you would
| | 01:31 | see in an editorial magazine.
| | 01:33 | If we click on one of our last
tabs over here Snapshots or Presets,
| | 01:37 | we can see our overall before and after.
| | 01:39 | Here's before and then
click again, and here's after.
| | 01:42 | If I zoom in a little bit more, so you can
see more of the details of the photograph,
| | 01:46 |
sorry I was zoomed out so far;
here is again that before and after.
| | 01:51 | These adjustments here aren't huge,
but they do help create a little bit
| | 01:55 | different of a mood or feeling.
| | 01:57 | Okay, well let's take a look at
another example, but this time,
| | 02:00 | let's apply the similar effect,
but do so in a way that's stronger.
| | 02:03 | So here, we'll click
on this other image.
| | 02:06 | This is a photograph of Jeff Lipsky, a
good friend, and an amazing photographer.
| | 02:10 | Here, what I want to do is start off
in the Basic Panel and I'm going to
| | 02:13 | go ahead and remove some of the color here
by decreasing my Vibrance and Saturation.
| | 02:18 | So I'm just going to get rid of some
of the color that I have in the picture.
| | 02:21 | Next, I'll increase the clarity, I'm
also going to work on my overall contrast,
| | 02:25 | modify the blacks, and my
shadows, decrease my highlights.
| | 02:29 | I'm just kind of stepping through
these different controls to create
| | 02:33 | a different aesthetic here.
| | 02:34 | Here's our before and after.
| | 02:36 | It's really kind of a
muted color palette.
| | 02:39 | Well, now that I've muted or subdued
the other colors or the image and the
| | 02:43 | contrast a little bit here, I'm going
to then go to my Split Toning panels.
| | 02:47 | Once again, I'll select yellow
by holding down Option or Alt,
| | 02:51 | and I'll bring in
some of this yellow.
| | 02:53 | Then, I'll go to my blues,
holding down Option or Alt,
| | 02:56 | try to find a nice blue and then
I'll crank up this blue amount here,
| | 03:00 | and really bring up a lot
of this color into the image.
| | 03:03 | Well, now that we've brought in all
of this yellow and blue here into
| | 03:07 | the photograph, I'll then
go back to the Basic Panel.
| | 03:11 | Here in the Basic Panel, I'm going to modify
this even further, bringing my blacks down,
| | 03:15 |
also bring in my Exposure up and by
working with these different controls,
| | 03:20 |
you can see that in this case, we created
this different color palette completely.
| | 03:24 | It's almost like a creative
way to process an image.
| | 03:27 | It looks like we used a filter
or a special effect in Photoshop.
| | 03:30 | If we press the P key here, you can
see, here's the before or after with
| | 03:35 | or without the Basic Panel adjustments, and
then if we click on one of our last tabs,
| | 03:39 | we can see that overall
before, and then after.
| | 03:43 | And again, I'll zoom in a little bit more,
so you can see some of those details;
| | 03:46 | here it is, the before and the after.
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| Creative toning of a color photo| 00:00 | This is a photograph of a really
amazing and artistic family.
| | 00:04 | I captured this in their living
room, and what I want to do here
| | 00:08 | is have some fun with the overall
color, look and feel of this picture.
| | 00:12 | And you know, when you're working
with a camera phone, there are so many
| | 00:14 | different apps that you can use in
order to apply interesting color effects.
| | 00:18 | Whether you're shooting with
Hipstamatic or Instagram
| | 00:21 | or maybe you're just applying
a creative filter in Photoshop.
| | 00:24 | Well, we can do some similar
things inside of Camera Raw.
| | 00:26 | So let's have some
fun with this picture.
| | 00:29 | Here, I'll go ahead and navigate
to the Split Toning Panel.
| | 00:32 | What I'm going to do is I
want to change my shadow color.
| | 00:35 | I'm going to change the shadow color
so that I have a nice red there.
| | 00:38 | I'm just going to increase the Saturation.
| | 00:40 | Next, we'll bring in some
yellow into the highlights,
| | 00:43 |
and you know yellow in the highlights
works really well with so many different
| | 00:46 | color combinations, whether we're going to
change the shadows to blue or maybe to green.
| | 00:51 | You can see we can create these kind
of vintage or almost cross-pop process
| | 00:55 | type of looks here with our photographs.
| | 00:57 | Well, what we're really looking to do
is to try to dial in just the right type
| | 01:00 | of a look for the image.
| | 01:02 | Next, go to the Basic Panel.
| | 01:04 | In the Basic Panel, we'll go
through a lot of these sliders.
| | 01:07 | We'll make adjustments here
just so that the image changes.
| | 01:11 | Here, I'm going to increase the clarity,
also deepen the blacks, bring up my shadows.
| | 01:15 | There is no real rhyme or reason to how
you want to adjust these controls except
| | 01:20 | you're just looking to do
something that's extreme.
| | 01:22 | That's why those camera phone apps are
so fun, because it's just so different.
| | 01:27 | It's also a little bit nostalgic.
| | 01:29 | Alright, well, after having done
all that, what about a vignette?
| | 01:33 | To add a vignette, we could either go to
our fx panel or to our Lens Corrections Panel.
| | 01:38 | Let's start off at fx.
| | 01:41 | In the Effects Panel, here we can click-
and-drag down a little bit of vignetting.
| | 01:45 | And just to kind of show you how this works,
I know we've talked about this before,
| | 01:48 | but we can control the overall shape
of this, and you can see how I can
| | 01:52 | control the shape, and I
can also limit where this is.
| | 01:55 | Let's just push this out to the edge
here, and here if we change the shape,
| | 01:59 | we can then also remove a little bit
of the feather as you can see so here
| | 02:03 | and then just diminish that.
| | 02:05 | In doing that, we're just darkening
those outer edges or maybe we want to
| | 02:08 | brighten them up and change the shape,
and here by doing that, you can see how
| | 02:12 | you can create kind of
a flare type of a look.
| | 02:14 | Again, as you work with these vignetting
type of options, just have some fun,
| | 02:19 | get a little bit creative, experiment.
| | 02:21 | Well, in my case, rather than brightening,
I'm going to darken that and so I'll go
| | 02:25 | ahead and just bring down a little bit of
that effect here, just darkening that edge.
| | 02:29 | Finally, you may want to
use your adjustment brush.
| | 02:32 | Here, we can click on the Adjustment
Brush in the Tools Panel, and then,
| | 02:36 | I'll scroll up to the top.
| | 02:38 | I'm just going to click
on Plus for my exposure.
| | 02:40 | You may want to paint in brightness into
certain areas of your image, especially
| | 02:44 | when you're using so
much contrast and color.
| | 02:47 | So, we can then scroll down to the bottom,
use a little bit of a lower flow amount,
| | 02:52 |
a little bit of a smaller brush size,
then I'll just paint in a bit of a
| | 02:55 | brightness here on this
family, sitting on the couch.
| | 02:58 | I'm just going to paint across this area,
looking to try to bring in a little bit more,
| | 03:03 | just a little bit more focus on this,
also brighten up the painting there
| | 03:07 | on the wall a little bit.
| | 03:08 | Then, you want to get a little quirky
too, just brighten up a few other things.
| | 03:11 | Again, make this a little
bit more just kind of curious.
| | 03:15 | Next, we'll add a little bit of clarity
and sharpness to those areas as well.
| | 03:19 | And I think that's a wrap, we
had some fun with this photograph.
| | 03:22 | Click on our Zoom Tool and then click on
one of these final tabs here, and then
| | 03:27 | when you do that, you can press the P
key to see your overall before and after.
| | 03:32 | The trick with all of this of course
is to not really hold yourself back.
| | 03:36 | Sometimes, you'll process an image like this
and you may not like the results; that's okay.
| | 03:41 | By tinkering or playing or experimenting,
it can often lead you to learning how
| | 03:45 | these tools and sliders work, and
sometimes, it can help you come up with some
| | 03:50 | creative ways to process your photographs.
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|
|
18. Making Lens CorrectionsRemoving extreme distortion with a lens profile| 00:00 | The next panel that we'll encounter in
Adobe Camera Raw is for lens corrections.
| | 00:06 | So let's click on that tab
to open up these controls.
| | 00:09 | We'll start off working with this photograph
which I captured with a fisheye lens.
| | 00:13 | So here we have this
really exaggerated distortion.
| | 00:16 | Yet I want to use this image, because
I think by showing you one with
| | 00:20 | exaggerated distortion it can help
you understand these controls,
| | 00:23 | yet also keep in mind that later in this
chapter we'll use photographs that have less
| | 00:27 | distortion, so we can see how we can make
corrections which are more subtle as well.
| | 00:31 | Let's start off in the Profile tab.
| | 00:34 | Up top we have this option which
we can turn on which is called
| | 00:38 | Enable Lens Profile Corrections.
| | 00:39 | When you turn that on what will happen
is Camera Raw will tap into this database
| | 00:44 | of information that it has embedded into it.
| | 00:47 | There's information about different
cameras and lenses and about how these
| | 00:51 | various combinations can
cause or create distortion;
| | 00:55 | it will then correct any issues.
| | 00:57 | Well, you can see that what it's
done here is actually pretty dramatic.
| | 01:00 | Here's the before, now here's the after.
| | 01:02 | It picked up that I used a Canon camera
and that I also was using this fisheye lens.
| | 01:08 | Than next underneath you notice
we have these correction amounts,
| | 01:12 | we can either bring back some of the original
distortion that was there in the file
| | 01:16 | or we can remove even more and by
clicking and dragging this to the right,
| | 01:20 | you can now see we're really
removing a lot of the distortion.
| | 01:24 | We also have a Vignetting slider; drag
to the left we'll see more vignetting,
| | 01:28 | drag to the right we'll see less.
| | 01:29 | With this image because it's so dark
we're not going to see that very well,
| | 01:34 | so I'll show you that
control on another image.
| | 01:36 | Next at the bottom we have
Remove Chromatic Aberration,
| | 01:39 | you almost always want to turn that on.
| | 01:42 | I'll talk more about
that in a subsequent movie.
| | 01:44 | Well here under the Profile tab you can
see that you can turn this option on and
| | 01:48 | again it can help to correct some of
the distortions or some of the problems
| | 01:52 | that you may have with your photographs.
| | 01:54 | Well, now that we've seen how this
profile tab works, let's also explore how
| | 01:58 | the manual controls work and
let's do that in the next movie.
| | Collapse this transcript |
| Working with the manual Lens Correction controls| 00:00 | After having looked at how we can work with
the Automatic Profile Lens Corrections,
| | 00:05 |
let's also take a look at how
we can work with the manual controls.
| | 00:09 | So click on the Manual tab and here
you can see you have a set of controls.
| | 00:12 | These controls allow us to modify
different types of Distortion whether
| | 00:16 | it's barrel or keystoning distortion,
we can rotate and scale the image.
| | 00:21 | We can also add or remove a vignette.
| | 00:23 | Let's start off with the controls at the top.
| | 00:25 | In regards to these here what we can do is
we can change the overall barrel distortion.
| | 00:29 | You can see as I move this in and out, I
can control how the image will be distorted.
| | 00:34 | Now as we try to correct the image, you
may see that it's going to bring in part
| | 00:38 | of the image that's been modified,
so that there aren't any pixels there.
| | 00:42 | Well if you see that, you can always crop
that out or you can use the Scaling Slider
| | 00:47 |
in order to scale in so that that area
isn't visible inside of the document frame.
| | 00:52 | Next with this slider we can control this
vertical issue here and here you can see
| | 00:56 | that what's happening is rather than having
the image look like it's leaning back,
| | 01:00 | we can click and drag to left so that everything
is a little bit more straight up and down.
| | 01:05 | Next we have Horizontal,
here we can control our axis;
| | 01:09 | if we're a little bit off
axis, we can then change that.
| | 01:11 | And in this case this helps a little bit
because you can see how I was a bit off axis
| | 01:14 |
on that side, so by bringing that around,
it just levels things out a little bit.
| | 01:20 | We can also Rotate in order to change
the perspective that we're seeing here,
| | 01:24 | and then finally as I mentioned
before, we have the Scale option.
| | 01:27 | Now when making these adjustments with the
manual controls, we have a lot of power.
| | 01:32 | With the Profile it kind
of did it all for us.
| | 01:35 | Here, we're dialing it
in slider by slider.
| | 01:39 | If we click on the Preview button you can
see here's our overall before and after.
| | 01:43 | And really, we're not able to accomplish
such dramatic distortion removal
| | 01:48 | without using both of
these tabs together.
| | 01:51 | Yet with other photographs you may find
that it will work just fine working
| | 01:55 | with one of these two tabs.
| | 01:56 | May be the Profile Correction will
do everything that you need it to do
| | 02:00 | and you'll be done.
| | 02:01 | Yet in other situations, like with this
photograph, it may be helpful to work
| | 02:04 | with both tabs and both sets of controls.
| | 02:07 | And then again before we wrap up this
movie, I just want to highlight that we
| | 02:11 | also have Lens Vignetting Controls here.
| | 02:13 | Now we won't really be able to see these
because this image is already so dark.
| | 02:17 | You can kind of see it slightly
darkening or brightening the edges.
| | 02:20 | Yet I do want to show you how you
can work with these controls
| | 02:23 | with another photograph.
| | 02:24 | So let's go ahead and continue talk about
how we can correct and enhance our photographs
| | 02:28 | using the Lens Corrections panel and
let's do that in the next few movies.
| | Collapse this transcript |
| Improving a portrait with lens corrections| 00:00 | Now that we know a little bit about
working with our Lens Corrections panels,
| | 00:04 | let's apply our skills to
working on this photograph.
| | 00:07 | We'll start off in the Profile tab and
here we're going to click on the option
| | 00:10 | for Enable Lens Profile Corrections.
| | 00:13 | In doing that, you can see that this is
removing some of the subtle distortion
| | 00:18 | that we have from this lens;
this is a 35 mm lens.
| | 00:22 | And by removing that distortion it just
creates a little bit more of a correct
| | 00:25 | perspective which is especially helpful
when we're photographing a person.
| | 00:29 | Next, you also notice that it's
brightening up these edges as well.
| | 00:33 | Now if we want to increase the brightening
effect on the vignetting around the edges,
| | 00:37 | we can click and drag this to the right.
| | 00:39 | You can see here how I can control
those edges with this slider, either
| | 00:43 | bringing them up back to the original
state or removing that even further.
| | 00:47 | The same thing is true with Distortion.
| | 00:49 | Here's how the image was captured, and
now here is after we've removed it and
| | 00:53 | we can dial in even more distortion removal.
| | 00:55 | Well with this picture these
adjustments look really nice,
| | 00:59 | but I want to make even a few more.
| | 01:01 | So we'll go over to our Manual tab.
| | 01:03 | One of the things that I notice is that the
subject is a little bit over to the left
| | 01:07 | in the frame and this shoulder here is
extending too far to the right of the frame.
| | 01:12 | So I'm going to change my horizontal axis.
| | 01:15 | To do that, I'm going to go ahead
and click and drag to the left.
| | 01:18 | You can see how it's almost like I'm
turning the subject around a little bit.
| | 01:21 | It's almost as if we asked the subject just
to rotate her shoulders a little bit back.
| | 01:26 | By doing that, I'm able to
correct this little problem here.
| | 01:29 | Next I also want to remove just a little bit
more distortion, that will then correct that,
| | 01:34 |
and then I'm going to click my Vertical
slider, and drag this to the left.
| | 01:38 | This will stretch the
photograph out just a bit.
| | 01:40 | Now all of these
adjustments, they're pretty minor.
| | 01:44 | So let's then finish this off by modifying our
scale and then we'll look at our before and after.
| | 01:49 | Here I'm going to change the scale so
I can kind of zoom in on the picture.
| | 01:53 | If we click on our Preview button,
you can see here is our before,
| | 01:57 | click again, there is our after.
| | 01:59 | Let me zoom in a little bit more closely
so you can focus in on the face and
| | 02:03 | see how it's affected this
part of the photograph.
| | 02:05 | Here is that before,
now here is the after.
| | 02:08 | Another way we might want to
modify this image is by using
| | 02:12 | this Vignetting control slider here.
| | 02:14 | Here I'll zoom back out and now
that we can see more of the image
| | 02:18 | and let me double-click say the Hand Tool,
so it fits in view, we can then add more
| | 02:22 | vignetting, here I can darken those edges.
| | 02:24 | And by darkening the edges, you can see it's
bringing focus into the center of the frame.
| | 02:29 | If I want even it even more focused on the
center I can drag my Midpoint to the left,
| | 02:33 | so now this darkening effect is really
all around this area, or conversely
| | 02:38 | we can have that brighten up those
areas, and then again that Midpoint
| | 02:42 | it controls how far out that effect or how
far in I should say that effect extends
| | 02:47 | into the center of the frame.
| | 02:48 | Now, to reset these I'll double-click
the Amount icon and what I want to do is
| | 02:52 | just brighten up those edges
there just a little bit more.
| | 02:55 | Alright, well now that we've made those
adjustments, again in this case pretty
| | 02:59 | subtle adjustments, we can see that overall
before and after by clicking on the Preview icon.
| | 03:04 | Here is before and then
click again, here is after.
| | 03:08 | And what you'll discover is that you
can use these Lens Correction Controls
| | 03:12 | in order to make really dramatic
changes to your photographs,
| | 03:15 | as we saw in the previous movie.
| | 03:17 | Or other times, you may be interested in
making those subtle yet significant changes,
| | 03:22 |
like we've made here with
this photograph in this movie.
| | Collapse this transcript |
| Adding a darkening vignette effect| 00:00 | Now that we know quite a bit about the Lens
Corrections Panel, I want to dig even deeper.
| | 00:05 | I want to focus in on how
we can work with a jpg file
| | 00:09 | and also how we can add
an Effect to this picture.
| | 00:12 | Because so far, we've looked at
how we can correct our photographs,
| | 00:16 | but let's say that what we want to do
here is we want to darken up the edges.
| | 00:19 | All right let's start off in the
Profile Tab and in the Profile tab
| | 00:23 | if we click on Enable Lens Profile
Corrections, we notice that Camera Raw
| | 00:28 | can't figure out how this image was
captured, that's because this is a jpg file
| | 00:33 | and the Metadata isn't embedded
in this particular jpg.
| | 00:37 | So if ever you encounter this with your
files, just go ahead and select this
| | 00:41 | pull down menu here and try to make a choice.
| | 00:44 | As you do that you can see that
it will try to figure things out.
| | 00:47 | In this case it did a great job, it figured
out that I used this 70 to 200 mm lens,
| | 00:52 | and here we can see our before and after.
| | 00:55 | Alright, well, now that we seen how
we can make Custom Selections from our
| | 00:59 | Lens Profile menus, let's go to the Manual Tab.
| | 01:02 | Here underneath the Manual tab what
I want to do is darken those edges.
| | 01:05 | So I'll click and drag this to left,
and I'll also click and drag
| | 01:09 | my midpoint slider to left.
| | 01:11 | And so now I have this
darkening effect.
| | 01:12 | Here is my overall before,
and now my after.
| | 01:16 | And really in this brief movie, I just
wanted to highlight how we can use these
| | 01:20 | controls to correct our images and
also to apply Effects, like this
| | 01:24 | Lens Vignetting Effect, which we've
applied to our photograph here.
| | Collapse this transcript |
| Combining lens corrections with creative cropping| 00:00 | Here we're going to look at how we
can use our Lens Corrections controls
| | 00:04 | in order to make some corrections and also
to further our vision for our photographs.
| | 00:09 | We're going to get a little bit creative here.
| | 00:10 | We'll talk about how we can work with
the Crop Tool, and how we can integrate
| | 00:14 | that into our workflow
with Lens Corrections.
| | 00:17 | Well, this is the photograph
straight out of the camera;
| | 00:20 | this is the full RAW file.
| | 00:22 | So, what I know I need to do is to turn
on my Enable Lens Profile Corrections.
| | 00:27 | In doing that, we can see that it really
brightens up the edges of the photograph.
| | 00:31 | Here's the before and
then here's the after.
| | 00:34 | Next, I want to brighten
up those edges even more.
| | 00:37 | So I'll go down to my Vignetting
slider and drag that to the right.
| | 00:40 | You can see how we're adding
more light to this picture.
| | 00:43 | Next, I also want to remove a bit more distortion,
so I'll drag that to the right as well.
| | 00:48 | We can press the P key or click on the
Preview to see the before and after.
| | 00:52 | Alright, well so far, so good!
| | 00:54 | The next thing I'm going to
do is click on the Manual Tab.
| | 00:57 | In the Manual Tab, I want to brighten those
edges and the overall exposure using this.
| | 01:02 | So I'll click-and-drag to the right,
| | 01:04 | and then I'm going to drag
my midpoint to the left.
| | 01:06 | This is going to extend this over
a larger area of the photograph.
| | 01:10 | And in doing this, really what we're
doing is just brightening up this picture,
| | 01:14 | brightening up those edges as well.
| | 01:16 | Well now that I've done that, I'm
going to go ahead and crop this image,
| | 01:20 | because I kind of like the graphic elements
and the lines and whatnot in this photograph,
| | 01:25 |
and I want to zero in on those.
| | 01:27 | So here we'll select our Crop Tool.
| | 01:29 | You can do so by pressing the C key or
you can just click on it in the Tools Panel.
| | 01:34 | Next, click and drag over your image, so that
we've extended this over all of the photograph.
| | 01:38 | Then hold down the Shift key, and click
and drag one of the corner points, and
| | 01:42 | here we're just going to go ahead and
make a smaller crop and then reposition
| | 01:46 | this crop onto our image, and
then press Enter or Return.
| | 01:49 | Alright, well what's the big deal,
and why did we do that?
| | 01:52 | Well, I wanted to do that to
highlight how we can also use some
| | 01:56 | of these controls with the crop,
and that is how we can rotate.
| | 02:00 | Here, because I've cropped this, I can
then rotate the image, and I can rotate
| | 02:03 | pretty far until I start to
see the edge of the photograph.
| | 02:07 | And in doing this, sometimes it can
help you come up with some creative ways
| | 02:10 | to maybe process the picture.
| | 02:12 | Perhaps, we could create a little bit
of a lean back like that, or maybe
| | 02:16 | we want to have a little bit more of a
lean forward, and here I can again extend
| | 02:20 | this until I see that edge of the frame.
| | 02:22 | Next, you can press the C
key to reactivate your crop
| | 02:26 | and then you can click
and reposition that.
| | 02:28 | Then, press Enter or Return to
apply and then rotate even more.
| | 02:33 | In doing that you can start to see how
we're changing really this overall
| | 02:37 | look here with this photograph.
| | 02:38 | Alright, we'll go ahead and rotate that,
press the C key to activate my Crop Tool,
| | 02:43 | then I need to hold down the Shift key
and just crop this in a little bit more,
| | 02:47 | in order to be able to fit that into this
area, and in order to have all of that there.
| | 02:52 | Then I'll press Enter or
Return in order to apply that.
| | 02:56 | And so in doing this, and using our
Profile and Manual Corrections,
| | 03:00 | we've really changed the
whole focus of this image.
| | 03:03 | We've changed our vision for this
picture, and that's one of the things
| | 03:06 | that's great about Camera Raw;
it gives us this extra flexibility.
| | 03:10 | We can do this really quickly
without really much effort at all,
| | 03:14 | and also it's nondestructive; we can
always undo any of these adjustments.
| | 03:18 | Alright, well here is before, before we applied
any adjustments with the current crop,
| | 03:23 | and then when we click Preview
again, we can see the after.
| | 03:26 | After we've worked on this image
in the Lens Corrections Panel,
| | 03:30 | and also after we've applied this
creative crop to our photograph.
| | Collapse this transcript |
| Adding distortion for a creative effect| 00:01 | In this movie we're going to have a little
fun and we're going break some of the rules.
| | 00:05 | We're going to break some rules when
working with the Lens Corrections Panel.
| | 00:08 | So let's go ahead and click on that Panel
tab and then rather working with Profile,
| | 00:12 | we're going to go straight to Manual.
| | 00:15 | What I want to do with this image is I
actually want to Increase or Add Distortion.
| | 00:20 | One of the assumptions of working with
Lens Corrections is that Distortion is
| | 00:25 | a bad thing, but it isn't
necessarily always the case.
| | 00:29 | Like with this photograph of
this Renowned Backcountry Skier,
| | 00:32 | let say that we're going to use this and
perhaps a ski-film or something like that.
| | 00:36 | We have this still image, yet he's
a little bit too lost in the frame.
| | 00:41 | We want to add some distortion;
| | 00:42 | we want to bring him forward.
| | 00:44 | Well, to do that what I'm going to is go
ahead and click on my Distortion slider
| | 00:48 | and I'm going to
bring in more distortion.
| | 00:51 | This is starting to simulate how this image
might appear if I were using a Fisheye Lens.
| | 00:56 | Next I am going to use this Rotation
slider in order to change the angle.
| | 01:00 | Rather than flattening it out
and maybe correcting this,
| | 01:03 | I want to increase it, so that
we have even more of an angle.
| | 01:06 | Now that I can see the angle, now
I'm going to add even more Distortion.
| | 01:10 | I'm also going to modify the
overall Vertical here Adjustment,
| | 01:14 | increasing that, kind of
stretching it up a little bit.
| | 01:15 | I'm looking for kind of the
cinematic over distorted kind of
| | 01:19 | fun in-your-face type of a look.
| | 01:21 | And again, here I'm just using these sliders
and then I'll modify my overall scale,
| | 01:25 | so that I can scale that
into the edge of the image.
| | 01:28 | Now this doesn't look that extreme, yet,
if we look at our before and after,
| | 01:32 | we'll start to see the difference.
| | 01:34 | Here I'm just going to bring this up even more,
so we can kind of get a sense for this effect.
| | 01:39 | Next, I'll select my Crop Tool here,
we'll go ahead and click on the Crop Tool,
| | 01:43 | and then I'm going to click and drag
over the image, hold down the Shift key
| | 01:47 | to constrain the proportions to the
original photograph and then reposition my
| | 01:52 | crop just a little bit here and
then press Enter or Return.
| | 01:55 | Well, now that I've this new crop
and also this different distortion,
| | 02:00 | let's evaluate the image.
| | 02:01 | We'll click on the P key or click on
this icon here, here is our before,
| | 02:06 | or now here's our after.
| | 02:07 | Now with this photograph we can see
that we've created a different mood
| | 02:11 | or feeling with this picture.
| | 02:13 | And so as you work on your own
photographs keep that in mind,
| | 02:16 | that while the majority of the time,
you're going to be using these controls
| | 02:20 | in order to correct problems,
| | 02:21 | sometimes it can be kind of fun to
introduce problems into your pictures
| | 02:26 | in order to come up with some
different creative effects.
| | Collapse this transcript |
| Correcting chromatic aberration and defringing| 00:00 | Last but not least, I want to
talk about how we can remove
| | 00:03 | chromatic Aberration
from our photograph.
| | 00:06 | Now chromatic aberration
is kind of a funny word
| | 00:08 | and basically what this
refers to is color fringing.
| | 00:12 | You will see this sometimes when
you're working with a wide angle lens,
| | 00:16 | and this is an image that I've been
using for a few versions of Photoshop
| | 00:19 | in order to illustrate how we
can remove Chromatic Aberration,
| | 00:23 | and typically what I would show
is how you can use these sliders
| | 00:26 | in order to kind of dial away
or control away the problem.
| | 00:29 | Well, now here in this version,
it's actually really incredibly easy.
| | 00:34 | So here I'm going to go ahead and
zoom in on an area of the image.
| | 00:36 | I'll grab the Zoom Tool and I'm
going to click and drag over an area
| | 00:40 | of the photograph and I'm doing
this just so that we can see
| | 00:42 | the Chromatic Aberration
or the Color Fringing.
| | 00:45 | You can see the color on
the edge of these branches;
| | 00:48 | it looks kind of strange.
| | 00:49 | It's either red or cyan and you'll see
this in different places around
| | 00:54 | these edges of this photograph.
| | 00:55 | Well, if we click on this checkbox to
Remove the Chromatic Aberration,
| | 00:59 | all of a sudden it's gone.
| | 01:01 | It just takes care of it completely.
| | 01:03 | So really there isn't a lot to teach
you, except to say that you want to
| | 01:08 | have that option on, and if ever
you notice that color fringing,
| | 01:11 | well turn on that option and Camera Raw
will take care of that issue for you.
| | Collapse this transcript |
|
|
19. Working with the Effects PanelUnderstanding the effects controls| 00:00 | In this chapter we're going to
focus in on the Effects Panel.
| | 00:04 | In the Effects Panel,
we can add Film Grain;
| | 00:07 | we can also add some interesting
Post Crop Vignetting Effects.
| | 00:11 | Well, let's start off with Grain.
| | 00:13 | Here I'll grab the Zoom Tool and I'll
zoom in a little bit on this gray
| | 00:16 | document that I've created here.
| | 00:18 | There is nothing else in
this file, except for gray.
| | 00:21 | Well, if we click and drag on our Amount
slider, we're going to see that all of
| | 00:25 | a sudden we have this Grain, which is
kind of embedded and part of the image.
| | 00:30 | Well, as we increase the Amount, how then can
we change the Grain with Size and Roughness?
| | 00:35 | Let me decrease the Roughness for a
moment, so we can focus in on Size.
| | 00:39 | Well, Size is pretty straightforward.
| | 00:41 | We can either have smaller, fine-grain
or as we click and drag this to the right,
| | 00:46 | you'll notice that the grains
are a little bit more spread out;
| | 00:49 | the granules are a little bit bigger.
| | 00:51 | Roughness, as you drag this to the
right, it introduces this randomization,
| | 00:56 | this different pattern that you
can see across your photograph.
| | 01:00 | Now here I've exaggerated the
Amount, Size, and Roughness.
| | 01:03 | More realistic might be that what you would
do is you'd dial in your overall Amount here.
| | 01:08 | Next you're going to control the
Size and then dial in some Roughness,
| | 01:12 | so that, that will then match or enhance the
style of the photograph that you want to create.
| | 01:18 | What about Post Crop Vignetting?
| | 01:20 | For that let's go to our next file.
| | 01:22 | Let's go to this one here which is
demo02 and then let's select our Crop Tool.
| | 01:28 | When you select the Crop Tool, what you can
do is you can click can drag across the image.
| | 01:32 | Here I'll go ahead and click and drag,
and then I'll press Enter or Return
| | 01:36 | in order to apply that.
| | 01:38 | Well, once we have cropped an image,
we can't really affect the edges of
| | 01:43 | the photograph, because
we've cropped those out.
| | 01:46 | So if we were to try to go to say our
Lens Corrections and Lens Vignetting,
| | 01:50 | we would see that that effect, primarily
it's affecting these outer edges here,
| | 01:54 | it's not reaching far
enough into our inner edges.
| | 01:57 | This is especially true if we have an
image that's cropped really dramatically.
| | 02:02 | These adjustments, they just won't make
their way all the way into this crop area.
| | 02:06 | Well, in ordered to have a
Vignette effect that fits the crop,
| | 02:10 | we need to go to the fx panel
and here what will happen is,
| | 02:13 | once we've applied the crop,
it will then follow that.
| | 02:16 | As I drag my Amount down, you can
see that it's following or tracking
| | 02:21 | with whatever size and shape
I've determined for my crop.
| | 02:25 | You can see how it's also kind of
changing the overall characteristics
| | 02:28 | of that vignette effect.
| | 02:30 | So let's crop the image a little
bit here and press Enter or Return
| | 02:34 | and see if we can't understand how
these different controls work.
| | 02:38 | The Amount slider allows us to
either darken or brighten the edges.
| | 02:43 | Next, after that we have Midpoint.
| | 02:45 | This is how far in this effect goes
towards the middle of this cropped area.
| | 02:51 | But then we have Roundness,
and Feather, and Highlights.
| | 02:54 | What are these about?
| | 02:55 | Well, if you drag Roundness down, you can make
this crop area a little bit more of an oval.
| | 03:01 | Then as we decrease Feather, we are
going to remove that soft edge so that
| | 03:05 | we now have a pretty hard edge.
| | 03:08 | And so by using these different controls,
we can either brighten or darken the edges
| | 03:12 | of our photograph by dialing this in,
in regards to the overall shape of this,
| | 03:16 | and here you can see we can come up
with some pretty fascinating results.
| | 03:20 | Well, let's go to a little bit
more of a traditional result.
| | 03:24 | Let's say that what we want to do is, we
want to darken the edges, and we want to
| | 03:28 | do so in a way that we have kind of
this subtle sort of a darkening effect,
| | 03:32 | which just comes in around
the edge of our photograph.
| | 03:34 | So I'm just going to try to dial in a shape
that might work for, trying to do that.
| | 03:39 | Well, now that we've done that,
let's look at our different styles.
| | 03:44 | If you click on this pull down menu, you see
that you have Highlight and Color Priority.
| | 03:48 | These two are really similar.
| | 03:50 | What Highlight Priority does is it
tries not to apply the Vignette over
| | 03:54 | highlighted areas, because a real Vignetting
Effect wouldn't be as dark over a highlight.
| | 04:00 | So it kind of protects those areas.
| | 04:02 | We can also bring those highlights back
as you can see here - let me make this a
| | 04:05 | little bit more intense, so you can
see that with this Highlight slider.
| | 04:09 | I should also point out if you are
brightening your image, well then
| | 04:13 | that's going to disable the highlights,
because you obviously can't use those or
| | 04:16 | you don't need to use those, because
it's brightening, rather than darkening.
| | 04:20 | So with highlight priority, we
can use this Highlight slider.
| | 04:24 | With Color priority, if we had a color
image, it would be a very similar vignette,
| | 04:27 |
but it would just try to protect the
colors, so that the Vignette Effect
| | 04:31 | didn't shift the Hue or the Color of the
area where the vignette was covering.
| | 04:37 | Last but not least,
we have Paint Overlay.
| | 04:40 | This is just kind of like having a
darkening effect over an image that
| | 04:45 | doesn't really pay attention
to Brightness value at all.
| | 04:48 | It's almost like a traditional vignette
that we would see if we were just to
| | 04:51 | paint black around the edges of our
images, or for that matter if you we
| | 04:56 | were to paint gray or maybe
even white over those edges.
| | 04:59 | So this is much more uniform of an affect.
| | 05:02 | Well now that we've seen this on a
demo file, let's take a look at how
| | 05:06 | we can apply these on a color image.
| | 05:09 | Here I will click on this file here
and what I want to do is apply this
| | 05:13 | Post Crop Vignetting and
work with these controls.
| | 05:16 | I also should point out that you
don't have to crop your image
| | 05:20 | to work with these settings.
| | 05:21 | You can apply these to the entirety of
the photograph as we're going to do here.
| | 05:24 | Well, here we could brighten up those
edges by clicking and dragging to the right.
| | 05:29 | We could control the Midpoint, how far
that brightening effect is going to
| | 05:32 | go into the middle of the picture.
| | 05:34 | You can set the Roundness of that.
You can also control the Feather.
| | 05:38 | Here let's create a darkening effect
so that we can see how that might look
| | 05:42 | with a photograph like this as well.
| | 05:44 | And again, by using these controls,
we can create this darkening edge,
| | 05:48 | or we can correct that or remove that.
| | 05:51 | Next, you can see we have this
Highlight Priority option selected.
| | 05:54 | Here I can recover those highlights;
you can see those primarily.
| | 05:58 | If I darken this more, we can see
those up here in these whites and
| | 06:02 | also in these pinks,
these brighter tones.
| | 06:04 | It's allowing me to bring back some
detail there, and if I bring this in
| | 06:08 |
perhaps even further, you can start to
see how this Highlight slider is going
| | 06:12 | to allow me to bring in some of
those highlights in those areas.
| | 06:15 | Next, when we look at Color Priority, we'll
see that it doesn't affect the color as much.
| | 06:19 | And then, last but not
least, we have Paint Overlay.
| | 06:22 | Now Paint Overlay, it
just looks really different.
| | 06:26 | It's more like even darkening
all across the image.
| | 06:30 | Compare that now to Highlight Priority.
| | 06:33 | You see more of the texture,
more of the brightness value,
| | 06:36 | and so the real difference here is
between either Color or Highlight Priority,
| | 06:40 | those two are very similar,
and then Paint Overlay,
| | 06:43 | as you can see as I go back and
forth between these different options.
| | 06:47 | So what then type of a style is
best? Highlight, Color, or Paint?
| | 06:52 | Well, that really depends upon
the effect that you want to create.
| | 06:56 | What you want to do is try
out the different styles
| | 06:58 | to see which works best
with your photographs.
| | 07:01 | Let's go ahead and start applying
what we've learned to a few different
| | 07:04 | photographs, and let's do
that in the next few movies.
| | Collapse this transcript |
| Adding film grain and darkening edges| 00:00 | Let's take a look at how we can apply
two different effects to this photograph.
| | 00:05 | The first effect that we are going to
dial in is we're going to add some grain
| | 00:08 | and then next we're going to look at how
we can darken the edges of this picture.
| | 00:12 | Well here I'm going to zoom in
on the photograph a little bit.
| | 00:15 | Now that I have zoomed in, I'm
going to increase my Amount here
| | 00:19 | in order to start adding some grain.
| | 00:20 | Now here you want to bring your Amount
up and you want to do this almost in a
| | 00:24 | way that's exaggerated, so you can really
kind of figure out how the different
| | 00:27 | sliders work in regards to
your Size and also your Roughness.
| | 00:31 | Now if you want something which is
really even, you have low Roughness.
| | 00:36 | If you want to have some sort of kind of a
pattern or little bit of a softer image,
| | 00:39 | as you can see here, you're
going to have a high Roughness.
| | 00:42 | Well, now that I have seen this, I'm
going to go ahead and take my Amount
| | 00:46 | way down and also my Size and Roughness.
| | 00:48 | Next, I'll just bring my Amount up a
little bit, keep the Size nice and small
| | 00:52 | there and then increase the Roughness.
| | 00:55 | This will then create a
little bit of variety.
| | 00:56 | It'll make this a bit more smooth, which
with a photograph like this I think will work.
| | 01:01 | Next I'll increase my Amount
a little bit more as well.
| | 01:04 | Well why I have talked about how these controls
kind of affect the smoothness of the image?
| | 01:11 | Well I've highlighted that, because this
grain, what it's doing is, it's kind of
| | 01:14 | smoothing out transitions, it's also changing
the level of the sharpness in the photograph.
| | 01:20 | So as you add Film Grain, you may need
to navigate back to the Detail Panel
| | 01:25 | and here you might want to add
perhaps a little bit more sharpening.
| | 01:28 | And by doing that you can then kind of
work with both of these panels together
| | 01:33 | by adding in this Sharpening Effect, and
then of course going into the Effects Panel
| | 01:37 | the Effects Panel and changing the
way that the Grain and the Roughness
| | 01:40 | is going to affect the photograph.
| | 01:42 | Well, now that we've done that, I'm going to
zoom out by pressing Command+Minus on a Mac,
| | 01:47 | or Ctrl+Minus on Windows.
| | 01:49 | Next, I just want to
darken the edges here.
| | 01:52 | To do that I will drag my Amount
slider to the left, and what you want
| | 01:57 | to do when you're working with this
initially, is you want to exaggerate.
| | 01:59 | Bring it all the way down.
| | 02:01 | This will help you see the edges, so
that as you work with your midpoint
| | 02:05 | and also as you define the roundness of
the shape of this vignette that you're
| | 02:09 | going to create, it can really
help you see how that will look.
| | 02:12 | And so again, with these extreme
amounts, change these overall sliders.
| | 02:16 | Then after you've found the exact effect that
you like, go ahead and click and drag the slider,
| | 02:22 | in this case we're just going
to diminish that a little bit
| | 02:26 | so that we can then pull that back.
| | 02:28 | You also will want to experiment with
Highlight Priority or Paint Overlay.
| | 02:32 | Paint Overlay, it's a little bit more
murky, compare that to Highlight Priority,
| | 02:37 | which has a little bit more of
a nice contrast edge to it.
| | 02:40 | Well, after we've dialed in that
darkening effect, last but not least,
| | 02:45 | let's go to the Basic Panel.
| | 02:47 | Here in the Basic Panel, I'll bring a
little bit of light into the Shadows,
| | 02:51 | increase my Contrast, deepen my Blacks.
| | 02:54 | Again, I want to process this in a way
that matches that overall Film Grain,
| | 02:58 | so that I have a nice look with this picture.
| | 03:01 | If we go to one of our final
tabs here, let's say Presets,
| | 03:05 | we can then see
our before and after.
| | 03:07 | Here is before,
and now here is after.
| | 03:09 | I'll zoom in, so you can
see this nice and up close.
| | 03:13 | Here is our before, and
then finally our after.
| | 03:17 | One of the reasons why I keep emphasizing
going to these final tabs to look at
| | 03:21 | your before and after, is because
when you make these adjustments,
| | 03:25 | you can kind of get caught up in them.
| | 03:27 | Yet by looking at the before and after
can help you make any needed corrections,
| | 03:31 | kind of at the last minute.
| | 03:33 | Like with this picture, what I've realized
just as I did that is that the Film Grain
| | 03:37 | Amount and Roughness, it was too much.
| | 03:40 | It was kind of
overpowering the overall image there.
| | 03:43 | So I'm going to go ahead and diminish that a
little bit so that I can then scale that back.
| | 03:47 | Well next, I'll go back to one of those
tabs and look at my before and after.
| | 03:52 | I think that fits a little
bit better with this photograph.
| | Collapse this transcript |
| Cropping and brightening edges| 00:00 | With this wedding photograph, we're going
to look at how we can use the Effects Panel
| | 00:04 | in order to brighten up
the edges of the picture.
| | 00:07 | We'll also crop the image, and then finally
we'll finish it off using our Basic Panel.
| | 00:13 | Let's go to the Effects Panel by
clicking on the fx icon here and next
| | 00:18 | what I want to do is click and drag
my Amount slider to the right.
| | 00:21 | Here we're going to brighten
up this overall image,
| | 00:23 | we can control where
this is going to happen.
| | 00:25 | And what I'm looking to do is just to add
this really bright effect around the edge,
| | 00:30 | because let's say that we know the client
really likes this type of a look here,
| | 00:35 | and so I'm just going to dial
in these controls until I find
| | 00:38 | a brightening effect that I
think might work for this picture.
| | 00:41 | The next step is to Crop.
| | 00:44 | And I want to crop after I've made this
effect, because I may not need to crop
| | 00:48 | out as much as I thought, because the
brightening effect as you can see here
| | 00:52 | is already diminishing that
person in the background.
| | 00:55 | If we increase the Feature more, we
can see it almost removes that person.
| | 00:59 | So again, you want to dial these settings
in first, then select your Crop Tool.
| | 01:04 | With the Crop Tool I'll click and
drag across the image, then I'll hold
| | 01:07 | down the Shift key and go ahead
and click and drag this in,
| | 01:10 | in order to bring in that cropped edge.
| | 01:12 | And then after having done that just a
little bit, so that that person or that
| | 01:16 | distracting element is gone,
we will press Enter or Return.
| | 01:20 | Well, this Brightening Effect, it kind of works.
| | 01:23 | It works with the photograph like this,
except that the photograph is too dense or dark.
| | 01:29 | So to finish this off, we need
to go back to our Basic Panel.
| | 01:33 | And this is true whether we've
brightened or darkened these edges.
| | 01:37 | You need to go back and
make some more adjustments
| | 01:39 | so that the edge kind
of fits the photograph.
| | 01:42 | Here I'm going to increase my Exposure,
also a little bit of my Vibrance,
| | 01:46 | and then I'm going to increase
the overall color Temperature.
| | 01:49 | And by making all of these adjustments,
now this edge is starting to make a
| | 01:53 | little bit more sense, and I'll just
work on some of these details here,
| | 01:57 | and again, just working on those to kind of
match the edge effect that I've dialed in.
| | 02:02 | Now if we click on our before and after,
we can see how that helped out, and
| | 02:06 | also we can see how it changed
the characteristic of the edge.
| | 02:10 | In order to see the overall before and
after, we can click on one of the tabs,
| | 02:14 | one of these end tabs here, Snapshots or
Presets, and then click on your Preview.
| | 02:19 | Here is our before, and then we
can click on again, there is after,
| | 02:24 | after we've applied this effect, and
also after we've modified our Exposure
| | 02:29 | and tone in the image by
working in the Basic Panel.
| | Collapse this transcript |
| Creating a defined edge| 00:00 | This is a composite which I created
in Photoshop and the whole idea was
| | 00:05 | to create something which was
a little bit and dreamlike.
| | 00:08 | So to finish off this project
what I want to do is add a border
| | 00:12 | or an edge which is really defined.
| | 00:15 | To create an edge like this I'm going to
go ahead and navigate to the Effects Panel
| | 00:18 | and then click and drag our
Amount slider all the way down.
| | 00:21 | We'll go ahead and click all of these
sliders all the way down to the left here.
| | 00:26 | In doing that, all of a sudden we
can see the real hard defined edge
| | 00:31 | of this particular effect.
| | 00:32 | This can be an effect which either
darkens or brightens that edge.
| | 00:36 | We can control how big this is by
working with our Midpoint slider.
| | 00:41 | You can see that I can
either bring that out or in.
| | 00:43 | We can also change its shape if we want
this to be a little bit different as well.
| | 00:47 | If you want your edge to be a little bit
softer, we can modify the Feather amount.
| | 00:53 | Sometimes that's a nice idea,
especially with a photograph like this
| | 00:56 | which has a lot of blur in it.
| | 00:58 | It's a little bit more dreamlike having
that softness here and it kind of works.
| | 01:03 | Well rather than brightening up the edge,
I actually want to darken this down.
| | 01:07 | So I'll go ahead and decrease my Amount.
| | 01:09 | I'm going to bring this way down.
| | 01:11 | I want that to be a really strong edge
and then I'll work with the Midpoint
| | 01:15 | in order to control how
big I want this to be.
| | 01:18 | Also, I'll experiment a
little bit with the Roundness,
| | 01:21 | so I can then control that as well.
| | 01:23 | And after having done all of that, we'll
want to evaluate our before and after,
| | 01:27 | so we'll click on our Preview
button or press the P key.
| | 01:30 | There is our before and
now here is our after.
| | Collapse this transcript |
|
|
20. Camera CalibrationIntroducing the Camera Calibration panel| 00:01 | Here I want to introduce you
to the Camera Calibration Panel.
| | 00:04 | So what exactly is this panel
and why might it be helpful?
| | 00:08 | Well, typically you'll do
one of three things here.
| | 00:11 | You may change your process version, or
perhaps select a different Camera Profile,
| | 00:16 |
or maybe you'll customize the color by using
these different sliders that you can see here.
| | 00:20 | Well, let's start off by
talking about our Process version.
| | 00:25 | You notice in the lower right-hand corner of
this image, there is an exclamation point.
| | 00:29 | That's warning me that this image has been
processed in a previous version of Camera Raw.
| | 00:33 | Well, to the update that I can
either click on the exclamation point
| | 00:37 | or I can go to the Process Version,
and I can click on this pulldown menu
| | 00:41 | and then I can choose the most
recent version of Camera Raw.
| | 00:44 | In doing that, I can then take
advantage of the latest and greatest
| | 00:48 | that Camera Raw has to offer.
| | 00:50 | The next thing that we might do here
is choose a particular Camera Profile.
| | 00:54 | Well, these profiles show us a different
interpretation of the color in our photographs.
| | 01:01 | Let me zoom in and let's take a look
at a few of the different profiles.
| | 01:04 | Here I'll select the Zoom Tool and I'm
going to click on this image a few times
| | 01:08 | and here we can see the
color in this photograph.
| | 01:11 | It looks pretty nice, and a lot
of times when we think of color,
| | 01:15 | we maybe think of it as correct or
incorrect, but what color is in reality
| | 01:20 | is a little bit more about
color relationships.
| | 01:23 | Each camera sensor renders or
creates colors in different ways.
| | 01:28 | We can see that as we click through
these different Camera Profiles.
| | 01:32 | Here is Adobe Standard.
| | 01:33 | Well if I want to choose a different
profile, I could choose something say like
| | 01:37 | Camera Faithful, and seeing that we can see that my
color is now even more muted. Compare these two.
| | 01:43 | Here is Standard and then here we
have Faithful and you can use this
| | 01:47 | Camera Profile as a starting point
for the color in your image that you
| | 01:51 | will then further modify.
| | 01:53 | Let's say we want really vibrant and
bright colors, maybe we'll try the
| | 01:56 | profile for Camera Landscape.
| | 01:59 | In this case you can really see how it's
bringing out all of these beautiful colors.
| | 02:03 | Let's then compare that to the
default setting of Adobe Standard.
| | 02:07 | This now just seems a little bit too
desaturated and you notice that there
| | 02:11 | are different names for these profiles
and the names don't always work perfectly.
| | 02:16 | These are a few pictures of people.
| | 02:18 | So you might think well,
I'll try Camera Portrait,
| | 02:21 | but in that case Camera Portrait, it
just kind of looks a little bit strange.
| | 02:26 | Sure, the Reds are bright, but the color
palette doesn't work for this photograph.
| | 02:31 | This kind of illustrates an important
point when working with Camera Profiles.
| | 02:35 | When you're selecting one of
these preinstalled profiles,
| | 02:38 | you need to experiment a little bit.
| | 02:40 | As you click through these different
options, just make a selection
| | 02:43 | and when you find one that you like, you
can then use that as a starting point
| | 02:47 | for processing your photograph.
| | 02:49 | After having selected the profile, you
could go over to the Basic Panel for example.
| | 02:54 | Here in the Basic Panel I can process
this image by bringing some light into
| | 02:58 | the Shadows, increasing my Contrast, and
also increasing the Clarity a bit as well.
| | 03:04 | Now that I've done this, we can see
our before and after here with these
| | 03:08 | basic adjustments, and then if we go
to one of the tabs at the end here,
| | 03:12 | we can see our overall before
and then now our after.
| | 03:16 | So starting off with that Camera Profile,
which gave us those nice bright and vivid colors,
| | 03:22 |
we're able to really simply process
this image so that it looked better.
| | 03:27 | One of the reasons why you may
choose one of these Camera Profiles
| | 03:30 | is to select a good starting point
for the color relationships
| | 03:34 | and the color values
in your photographs.
| | 03:36 | You can then go ahead and navigate to the
other panels to continue your workflow.
| | Collapse this transcript |
| Creative color with the Camera Calibration controls| 00:00 | Here we're going to take a look at how
we can use a Camera Calibration Panel
| | 00:04 | in order to come up with
some creative color options.
| | 00:07 | I also want to talk about how we can
create presets based on these settings
| | 00:11 | and then how we can finish our
images off, using the Basic Panel.
| | 00:14 | Well, as you can see here we have
Shadows, Reds, Greens, and Blues.
| | 00:20 | We can use these sliders to make subtle
or dramatic changes to our photograph.
| | 00:24 | Let's start off with our Shadows.
| | 00:26 | As we click-and-drag to the right, well the
image takes on different color characteristics.
| | 00:31 | Now it's more magenta. Or, we
could also make this more green.
| | 00:35 | Well, what about these
other sliders as well?
| | 00:38 | Here you can see we can work with our Reds,
and as we do that we can shift those Reds,
| | 00:42 |
so that they become more Yellow, or so
that they lose a little bit of that color.
| | 00:46 | In this case they're becoming
a little bit, almost more pink.
| | 00:49 | And as we make these changes, sometimes we'll
make pretty subtle adjustments like this.
| | 00:54 | Other times we may want to do
something which is just kind of zany
| | 00:58 | or maybe really creative
like you can see here.
| | 01:00 | We can control the overall saturation
of all of the colors that we're
| | 01:04 | bringing into our photographs.
| | 01:05 | Well, let's reset all of these settings
here by double-clicking the tabs and then
| | 01:09 |
let's take a look at a way that we could
use these in a more realistic scenario.
| | 01:14 | Well, I have a friend who is an
incredibly successful photographer.
| | 01:19 | One of the trademarks in his photographs
is that he uses a certain color in his sky
| | 01:24 |
and he does that or he creates that by
working with the Camera Calibration Panel.
| | 01:28 | He desaturates the Blues a little bit.
| | 01:31 | Next, he modifies the Hue to make
that a little bit more Aqua or Cyan
| | 01:36 | and then he also pulls
out some of the Reds.
| | 01:39 | For his photography this
is the starting point;
| | 01:42 | this is the color palette
that he uses from the get-go.
| | 01:45 | In order to save this as a preset so that
you could use it say on other photographs,
| | 01:49 | you can go to the Presets panel.
| | 01:51 | In the Presets panel, click on this
little new icon right here and then
| | 01:56 | from the Subset pull down menu,
just choose Camera Calibration.
| | 02:00 | I'll Name this preset,
muted sky blue, click OK.
| | 02:04 | Well, now that we've dialed in those settings,
next up would be to go to the Basic Panel.
| | 02:10 | Here in the Basic Panel we
could then process our image.
| | 02:12 | In this case, adding Contrast and maybe
a little bit of Clarity and working with
| | 02:16 | the overall Colors and Density
that we see here in this image.
| | 02:20 | By using these techniques together
really it's more than just the Basic Panel,
| | 02:24 | it's the Basic Panel in combination
with the Camera Calibration,
| | 02:28 | which leads us to coming
up with distinct results.
| | 02:31 | Well, how then can we apply
this say to another photograph?
| | 02:34 | Well, with another photograph, we could select
it and then go straight to the Presets Panel,
| | 02:39 |
we'll select our muted sky blue,
and then of course jump back to
| | 02:43 | the Basic Panel and here
we can modify this image.
| | 02:46 | In this case I'm just going to modify
it by changing the overall look here
| | 02:50 | by using these various sliders and controls.
| | 02:53 | In doing that, again it allows me to
come up with this unique color palette.
| | 02:57 | Now what I'm obviously not saying here
is that you need to use the settings
| | 03:02 | I just showed you or that you're going to
do that on every image like my friend does,
| | 03:06 | but rather what I wanted to highlight
is how we can work with color
| | 03:11 | inn a different way by using these
different sliders and sometimes by knowing
| | 03:15 | about all of the different color controls
that we have in Camera Raw, well it can
| | 03:19 |
open up new possibilities for different
ways to process and to work on our photographs.
| | Collapse this transcript |
| Exploring camera calibration resources| 00:00 | In the previous movie we talked
about how we can use
| | 00:02 | the Camera Calibration controls in order
come up with some creative color looks,
| | 00:07 | like with this photograph here.
| | 00:09 | Yet one of the reasons why we have these
controls isn't just to create creative color.
| | 00:15 | It's also to create accurate color.
| | 00:17 | So therefore what I want to do is
exit Camera Raw and I want to pull up
| | 00:21 | a web site where I think you might find a
few helpful resources if you want to dig
| | 00:26 | deeper into creating
your own Camera Profiles.
| | 00:29 | So I'm going to go ahead
and open up this site.
| | 00:31 | The first location is xritephoto.com.
| | 00:35 | If you navigate to the site and then do
a search underneath the Products section
| | 00:39 | for ColorChecker Passport, it'll
take you to this area on the site.
| | 00:44 | The ColorChecker Passport
is a phenomenal little tool.
| | 00:47 | It's is relatively inexpensive and you
can use this by capturing an image of
| | 00:52 | it in your photograph.
| | 00:53 | It also comes with software
which helps you to create profiles.
| | 00:58 | If you scroll around a little bit,
you'll notice they have some free tutorial
| | 01:01 | movies as well about how you can work
with this tool whether you're integrating
| | 01:05 | this with Lightroom or Photoshop.
| | 01:07 | The other thing that I want to highlight
is that it you do a search on their blog,
| | 01:10 | that's blog.xritephoto.com, you can
find this article which was written
| | 01:15 | a little while ago, but is still really good.
| | 01:18 | This article goes through the process
of how whether you're using Lightroom or
| | 01:22 | Photoshop, how you can create
what's called a DNG profile.
| | 01:26 | Here, I'm going to scroll down a little
bit until we get to the section on Photoshop.
| | 01:31 | This allows you to export your images
whether they're Raw or JPG or whatever,
| | 01:35 | to this DNG file format.
| | 01:37 | In doing this you can then
build or create a Custom profile.
| | 01:42 | Once you've that Custom profile built
off of one of these ColorChecker charts,
| | 01:47 | it'll then save that profile
inside of Adobe Camera Raw.
| | 01:51 | There you can select that from this
pulldown menu and by having one of these
| | 01:55 | Custom profiles inside of your Camera
Profile dialog in Adobe Camera Raw
| | 02:00 | it can just ensure that you
have even more accurate color.
| | 02:04 | So if you're interested in becoming a
bit of a color expert, again, I recommend
| | 02:08 | that you navigate to one of these sites
and you'll learn a little bit more about
| | 02:12 | this particular tool.
| | 02:14 | If nothing else, it may provide you
with some valuable information about
| | 02:18 | this whole process, of how we can try to
create more accurate and interesting color.
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21. Saving and Applying PresetsIntroducing presets| 00:00 | In this brief chapter I want to focus
in on Presets and while this chapter
| | 00:04 | is brief it's nonetheless some really
valuable information that you can use
| | 00:09 | to speed up your workflow so that you can be
more functional and also a lot more creative.
| | 00:14 | Well, here you can see I have this set
of photographs open and let's say that
| | 00:19 | what I want to do is I want to create
a kind of a black-and-white sepia-toned
| | 00:23 | preset that I can then
apply to multiple pictures.
| | 00:26 | Let's explore how we can do that in
Camera Raw and also how can take
| | 00:31 | advantage of presets in Adobe Bridge.
| | 00:33 | The first thing that we need to
do is to process our pictures.
| | 00:36 | Here I'm going to make a few
adjustments with these sliders;
| | 00:39 | I'm just going to do this in a way
that it's going to change the
| | 00:42 | characteristics of this one picture.
| | 00:44 | We'll desaturate the photograph and
then I'll go to the Split Toning panel.
| | 00:49 | Now what exactly you use for
your presets is really up to you.
| | 00:52 | Again, it's just completely up to the style
that you want to create for your photograph.
| | 00:56 | As I mentioned in my pictures here what
I want to do is apply this contrast
| | 01:00 | black-and-white effect where I'm using
my Basic and also my Split Toning panels.
| | 01:05 | To create the preset, you
navigate to the Presets panel.
| | 01:09 | Next, you can click on the new
icon and I'll name this one sepia.
| | 01:14 | I can then choose what settings
I want to include in this preset;
| | 01:17 | here I can choose everything or I
could just make a specific selection.
| | 01:21 | For this preset I'll choose all of
these settings and then click OK.
| | 01:25 | Well, how then can we apply
this preset to other images?
| | 01:28 | Well, you can either click one or more
photographs and then simply click on
| | 01:32 | the preset name in order to apply it,
or as I mentioned you can click on other
| | 01:37 | pictures, hold down the Command key on
a Mac or Ctrl key on Windows to select
| | 01:41 | multiple images in the filmstrip,
and then select the preset name.
| | 01:45 | So here you can see all of these photographs,
which were some engagement pictures,
| | 01:49 | have this sepia tone applied to it.
| | 01:52 | Well, let's say that we've created this
preset but then we've decided to exit
| | 01:57 | Camera Raw and not apply
any of these settings.
| | 02:00 | To do that we'll click Cancel and
then we're going to click Yes,
| | 02:05 | which by doing that we're agreeing
to cancel all of our changes.
| | 02:09 | In other words, Camera Raw is not going to
modify our images in any way, shape, or form.
| | 02:14 | They're just as they were.
| | 02:16 | Now to apply one of our presets we can
right-click on one or more photograph,
| | 02:22 | and then in this contextual menu, if you
go down to Develop Settings, you'll notice
| | 02:27 | below your options we have
the presets that we've created.
| | 02:30 | In this case, I'll choose the sepia
tone preset and it will apply that here
| | 02:34 | in Bridge without ever needing
to go to Adobe Camera Raw.
| | 02:39 | To apply this to multiple images click
on one, hold down Command or Ctrl, and
| | 02:44 | then click on others.
| | 02:46 | Next, right-click, go to Develop Settings
and once again choose that preset,
| | 02:51 | and it will then apply all of those
settings to this group of photographs.
| | 02:56 | So far I focused in on how we can create
our own presets, yet there's a whole
| | 03:01 | other world out there of presets
which are created by other people or
| | 03:05 | other companies that we can
take advantage of as well.
| | 03:08 | So in the next movie I want to highlight
just a couple of places that you can
| | 03:11 | navigate to in order to find some more
information about other presets that
| | 03:16 | you might want to integrate
into your workflow.
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| Exploring free and fun ACR presets| 00:00 | Here I want to share with you two or
three sites that you can navigate to in
| | 00:04 | order to get some more
information about working with presets.
| | 00:07 | Well, the first site is onOne Software.
| | 00:10 | The folks at onOne Software very generously
have put together this little set of presets,
| | 00:16 | 140 of them. And what you can do is if
you do a search on their site, you can
| | 00:20 | find this page and you can then
Download and install these presets.
| | 00:25 | If you scroll down it'll show you some
of the presets and how you might start to
| | 00:29 | process your images with them.
| | 00:32 | Another site that I want to share with
you which I am really excited about is
| | 00:36 | a Visual Supply Co.
| | 00:37 | That's visualsupply.co. And here what
you can do is download presets that
| | 00:42 | they call VSCO Film.
| | 00:44 | These allow you to
simulate different looks of film.
| | 00:47 | You can see how these
different images are processed.
| | 00:50 | You can download large image samples
and also click through these options
| | 00:55 | to see how these presets might work.
| | 00:57 | These cost something, but the
results are absolutely stunning.
| | 01:02 | Another way to come up with presets
is to do a search for "acr presets" or
| | 01:06 | just "Camera Raw Presets."
| | 01:08 | This will then give you a
number of different options.
| | 01:11 | For example, let's click on one
here at the top, One Willow Presets.
| | 01:15 | As we scroll down, at this particular
site, you can see that there are different
| | 01:19 | collections of presets that you can use.
| | 01:22 | So whatever you decide to do, what I
recommend is that you at least start off
| | 01:26 | with onOne Software.
| | 01:28 | At least try out these free presets,
because sometimes what I find is that I can
| | 01:33 | use presets kind of as a launching pad.
| | 01:36 | They start me off in my overall workflow.
| | 01:38 | Very rarely do I use a preset by itself;
| | 01:42 | rather, I select it and then I customize it
to my own needs and to my own photographs.
| | 01:48 | And it can also expand your overall
creative potential when it comes to
| | 01:52 | processing your images using Camera Raw.
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22. Speeding up your WorkflowQuick raw processing of multiple files| 00:00 | Camera Raw works well when
you have to process one image.
| | 00:04 | Yet what about those situations
where you have a ton of photographs?
| | 00:08 | Here what I want to do is share with
you a few speed tips which will help
| | 00:11 | you optimize your workflow as you're
working on more than one photograph.
| | 00:15 | Let's first start off by
working on these iPhone photos.
| | 00:18 | We'll click on one, hold down the
Shift key, then click on another,
| | 00:22 | then press Command+R on a Mac
or Ctrl+R in the Windows
| | 00:25 | to open up all of these
files in Camera Raw.
| | 00:28 | All of these files are lacking a little
bit of Contrast and Color Saturation.
| | 00:33 | How could we process
these all together?
| | 00:35 | Well, one technique that we could
use is we can click on Select All.
| | 00:40 | With all of these selected here in
the filmstrip we can then make a change.
| | 00:44 | As I make this change, it will then
be applied to all the photographs.
| | 00:47 | So here I'll go ahead
and make a few changes.
| | 00:49 | I'm just going to increase a couple of
these values here so that you can see
| | 00:53 | how all of these pictures have changed.
| | 00:55 | As we click through them, you can now see
the updated version of these photographs.
| | 01:00 | Another way we can speed up our
workflow is you can select one image
| | 01:05 | and then you can make an adjustment.
| | 01:07 | Let's go to HSL and here
we're to go to the Hue tab
| | 01:10 | and we want change the
color of the yellow.
| | 01:12 | You notice that we can change
this either to an orange or a green.
| | 01:16 | Let's make this green.
| | 01:18 | Next, I want to change a couple these
other colors as well to try to get this
| | 01:21 | a little bit more uniform.
| | 01:22 | Well, now that we've made that
change you can then click Select All
| | 01:28 | to select all of your
photographs and then Synchronize.
| | 01:30 | Whatever image you had selected
first, it will then use those settings
| | 01:35 | and synchronize those across
to these other photographs.
| | 01:38 | Here from this pulldown menu what we can
then choose is what we want to synchronize.
| | 01:43 | Let's say we just want to
synchronize our HSL adjustments,
| | 01:47 | we can make that choice and then
click OK, and it will update all
| | 01:50 | of our photographs here with
those new Camera Raw settings.
| | 01:54 | Yet the trick is, is that many times
we have 20 or 30 or 50 photographs
| | 02:01 | that we want to process at once.
| | 02:02 | In situations like that it's just
not realistic to open up all
| | 02:07 | of those pictures in Camera Raw.
| | 02:08 | Rather in situations like that we'll
process one image in Camera Raw and
| | 02:13 | then apply the settings to all
the rest of Photographs in Bridge.
| | 02:17 | Let's take a look at how we
can do that in the next movie.
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| Applying raw processing in Bridge| 00:00 | In the next couple of movies I want to
go through a little bit of a workflow
| | 00:03 | which will include working on an
image in Camera Raw, then applying
| | 00:08 | those settings to another photograph
or to a group of photographs in Bridge,
| | 00:12 | and then I want to look at
how we can work with Actions
| | 00:14 | and how we can batch
process our photographs.
| | 00:17 | Well, let's start off with processing
one image inside of Camera Raw
| | 00:22 | and then applying those settings by
way of a shortcut to another image,
| | 00:26 | or to a group of images
inside of Bridge.
| | 00:29 | First, you want to select the photograph
that is in a sense kind of iconic,
| | 00:33 | that really shows what type of
adjustments you're going to want to
| | 00:36 | make to the entirety of the
group of photographs.
| | 00:39 | Next, press Command+R on
a Mac, Ctrl+R on Windows.
| | 00:43 | Then you want to adjust this
image with your different panels.
| | 00:46 | We'll start off in the Basic panel.
| | 00:48 | What I notice is that I've lost
some detail here in the snow.
| | 00:51 | So I'll go ahead and click my Highlight
slider to the left in order to recover
| | 00:55 | some detail here in
this part of the picture.
| | 00:57 | Next, I'm going to
increase my overall Contrast.
| | 01:00 | I'm also going to deepen my
Blacks, brighten my Shadows,
| | 01:03 | bring in a bit of Vibrance
and Color Saturation.
| | 01:06 | Then I'm going to increase my
Temperature slider here to warm this up.
| | 01:10 | Again, just process the image in
a way that you find interesting.
| | 01:14 | Here you can see this is our before, and
then if we click again, you can see the after.
| | 01:20 | After you've worked on your photograph,
again, in whatever panels it is that you
| | 01:24 | want to use, you then simply click
Done in order to apply those settings.
| | 01:28 | Next, what you can do is copy
these Camera Raw settings
| | 01:32 | by way of two different shortcuts.
| | 01:34 | You can either right-click or Ctrl+click,
navigate down to Develop Settings,
| | 01:40 | and then choose Copy Settings or you
can press the shortcut on your keyboard,
| | 01:44 | which is Option+Command+C on the
Mac or Alt+Ctrl+C on Windows.
| | 01:50 | Then if you move to the other photograph
or to all of the other photographs,
| | 01:54 | you can then apply those settings, again,
either by right-clicking and choosing
| | 01:58 | the option for Paste or by using the keyboard
shortcut, which is Option+Command+V on a Mac,
| | 02:04 |
or Alt+Ctrl+V on Windows.
| | 02:07 | In either scenario it will open
up this Paste Camera Raw Settings.
| | 02:11 | Here it's asking you,
what do you want to paste?
| | 02:13 | In this case, I'm going for everything.
| | 02:16 | We'll click OK in order to apply all
of those settings so that you can now
| | 02:19 | see both of these images have the same color
characteristics and also the same corrections.
| | 02:26 | By working this way, what we can do
is process groups of pictures at once
| | 02:31 | and this can really
speed up our workflow.
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| Recording an action| 00:00 | The next few tips that I'm going to share
with you here aren't directly related to
| | 00:04 | Adobe Camera Raw, yet they are essential
to know how to do when working with
| | 00:08 | RAW files and when working with Camera Raw.
| | 00:11 | What we're going to look at is how we
can write an Action and then how we can
| | 00:15 | batch process our files which
we've worked on in Camera Raw.
| | 00:18 | Now let's say that we've processed
this big group of photographs and
| | 00:22 | here we have two of the
images from the group.
| | 00:24 | Well what I want to do next is open up
one of these files inside of Photoshop,
| | 00:30 | but I want to skip Camera Raw.
| | 00:32 | To do that hold down the Shift key,
then double-click on the RAW file.
| | 00:36 | This will then skip Camera Raw and it
will send the image directly to Photoshop.
| | 00:41 | Now that the image is open inside of
Photoshop, I want to write or record
| | 00:46 | an action which does a few
things to this photograph.
| | 00:49 | You can access your Actions panel by
clicking on this icon here or by going
| | 00:54 | to the Window pulldown
menu and choosing Actions.
| | 00:57 | Next, in the Actions panel if this
Default Actions folder is open,
| | 01:01 | go ahead and close it, and then click
on this icon to create your own set.
| | 01:06 | Here I'll just name this
Chris Orwig - actions.
| | 01:10 | Next, we want to write
or record our own Action.
| | 01:14 | An Action allows you to remember these
different steps that you've taken in Photoshop,
| | 01:19 |
because sometimes you can't finish
off your images with Camera Raw.
| | 01:23 | Sometimes you have to go to
Photoshop to do a few things.
| | 01:26 | Here we're going to create an Action which
will resize and also sharpen this image.
| | 01:31 | We want to click on the
icon to create a New Action.
| | 01:34 | I'll just name this resize - sharpen.
| | 01:37 | Next, we'll click Record.
| | 01:39 | Now that it's recording, it will
remember whatever steps we take.
| | 01:44 | Here I'm going to go to my Image
and then Image Size dialog,
| | 01:47 | and I'm going to change my Image Size
so that the Height of this image,
| | 01:50 | well it's about 4, so this is now 4 x 6
approximately and then I'll click OK.
| | 01:56 | In doing that I have
now resized this photograph.
| | 02:00 | Next what I want to do is I
want to sharpen this picture.
| | 02:03 | So to sharpen it, I'll
copy the Background layer.
| | 02:05 | We can do that by clicking and
dragging this to the New Layer icon,
| | 02:09 | and then I'll name
this New Layer sharpen.
| | 02:12 | The next step is to go to
my Filter pulldown menu,
| | 02:15 | then I'm going to choose Sharpen,
and then select Smart Sharpen.
| | 02:19 | Here with Smart Sharpen open what I can do is
dial in an appropriate amount of sharpening.
| | 02:24 | My point here isn't to really talk about
all of these things inside of Photoshop
| | 02:28 | or to teach you how to do this, but
rather to highlight that we can take
| | 02:32 | these different steps or record
these steps in an Action.
| | 02:36 | Here we'll click OK in order
to apply that sharpening.
| | 02:39 | Next, I want to save this
file out as a Photoshop document.
| | 02:43 | So we'll choose File and
then select Save As.
| | 02:47 | In the Save As dialog I'm interested in
saving these in the same exact folder,
| | 02:51 | except I'm going to save
them as Photoshop document.
| | 02:54 | Next, we'll click Save and then finally
after saving the document I'm going to
| | 02:59 | go ahead and close it, which will then
exit out of everything that I've done there.
| | 03:03 | So I can now press Stop.
| | 03:06 | In the Actions panel you can see it has
recorded all of these different steps.
| | 03:10 | It opened the image up, resized
it, sharpened a new layer, saved,
| | 03:14 | and then closed the file.
| | 03:15 | So what I can then do is
navigate back to Adobe Bridge.
| | 03:19 | Here I'll go to Browse in Bridge.
| | 03:22 | I can then select 1 or 50 or 100 files
that I now want to batch process with
| | 03:27 | that Action that we just recorded.
| | 03:29 | Well because in a sense this is a two-
part process, let's go ahead and take
| | 03:33 | a look at the next step in
this process in the next movie.
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| Batch processing multiple images| 00:00 | After having processed our files using
Adobe Camera Raw, and then after having
| | 00:05 | written and recorded that action, now
here what I want to do is batch process
| | 00:10 | one or more photographs, and this is
really important when it comes to working
| | 00:13 | with RAW files, because we want to
work with all of these files at once.
| | 00:17 | So we want to resize and sharpen
and save those to this folder.
| | 00:21 | So here we'll navigate to the Tools
pulldown menu and then select Photoshop
| | 00:25 | and then choose Batch.
| | 00:27 | This will open up the Batch dialog.
| | 00:29 | Here we're going to play from the Set >
Chris Orwig-actions, the action which
| | 00:34 | resizes, sharpens and
saves and closes the file.
| | 00:38 | Next, you need to make sure to turn
Suppress File Open Options Dialogs.
| | 00:43 | Otherwise, if you have a RAW file or a
JPEG that's been processed in Camera Raw,
| | 00:48 | it will open up Camera Raw and
it will stop the overall action.
| | 00:52 | You will have to do something
each time with every image.
| | 00:55 | In other words, it just won't work.
| | 00:58 | In this workflow, because we're using Camera
Raw, make sure that checkbox is turned on.
| | 01:03 | We don't need to determine a Destination,
because we recorded that in the action,
| | 01:08 |
and so finally we just click OK.
| | 01:10 | What will happen is Photoshop will
open this image, it will skip Camera Raw,
| | 01:16 | and then it will go through the various
steps that you can see here inside of our action;
| | 01:21 | but in this case, just this one image.
| | 01:23 | Yet, if we had multiple images,
it would go through all of those.
| | 01:27 | Next, we'll go to File, and here we'll go
back to Bridge by selecting Browse in Bridge.
| | 01:32 | Here inside of this folder, I'll
change my thumbnail size so that we can
| | 01:36 | see we now have these two PSD files, which
have been both resized and sharpened and
| | 01:42 | then saved to this folder by way of the
action which we recorded in Photoshop.
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23. Camera Raw CreativityA creative color mini-project| 00:00 | Alright, are you ready?
| | 00:02 | Are you ready to hop and skip and jump
around to different panels in order to
| | 00:06 | make some creative adjustments
to this photograph?
| | 00:10 | Because in this course my focus has
been to help you to become more efficient,
| | 00:14 | but also to become more creative, I
want to share with you a little bit
| | 00:17 | of a creative process of
working on a photograph.
| | 00:20 | Well this picture, I love it in a
sense that it's shot with the sun
| | 00:24 | right behind the subject.
| | 00:26 | When you're using a film camera and you
do that, a lot of times the photograph,
| | 00:29 | it becomes red and yellow and it's
really bright, there's a lot of flair.
| | 00:33 | Well, I want to bring
some of that to this picture.
| | 00:36 | So we'll start off
in the Basic Panel.
| | 00:38 | Here I'm just going to boost my Shadows
there, also perhaps darken my Blacks a
| | 00:43 | little bit, and just increase the
Exposure just a touch as well.
| | 00:47 | Already, the photograph is
looking a little bit nicer.
| | 00:49 | Yet, here we're just being efficient;
rather I want to push this further.
| | 00:53 | What else could we do?
| | 00:54 | Well, another way that we can modify
color and tone is by using the Tone Curve.
| | 01:00 | If you click into your different channels
underneath the Point Curve options,
| | 01:04 | we could go to the Red Channel and bring
in some reds into the highlights there.
| | 01:08 | We could also click down to Blue Yellow
and then bring in some yellows as well.
| | 01:12 | Right now the image looks a little
bit muddy, yet don't worry about that.
| | 01:17 | We're going to correct that as we go.
| | 01:19 | Let's keep hopping and skipping.
| | 01:21 | Here I'm going to hop over to the
Split Toning controls and I'll bring in
| | 01:25 | a little bit of a yellow into the highlights,
so I'll just find a nice yellow there,
| | 01:28 | and also some reds into
those deeper tones.
| | 01:32 | Now that we've done that, I
also want to apply some effects.
| | 01:36 | So I'll click on the fx Panel, and
here under my Post Crop Vignetting,
| | 01:40 | I want to brighten up those edges.
| | 01:42 | And in doing that, you can see how we're
kind of bringing in some nice flair here.
| | 01:46 | I'll increase my Feather amount so that,
that kind of fades out a little bit,
| | 01:49 | just adding a little bit of that nice
kind of transition around those edges.
| | 01:54 | Next, I'm noticing that the
Exposure, well it's too low.
| | 01:57 | I need to boost it
up, bring it up.
| | 02:00 | Let's go back to the Basic Panel.
| | 02:02 | In the Basic Panel we're
going to bring up that Exposure.
| | 02:05 | In doing that that's going to kind of
correct some of our color issues as well,
| | 02:09 | and then I'll deepen my Blacks here to
bring out some nice density there.
| | 02:13 | Alright, we still have more
to do with this photograph.
| | 02:15 | I'm noticing that the hat
looks a little blue or purple.
| | 02:19 | So we can get rid of that by going to
one of our panels, which is called HSL.
| | 02:24 | Here I'll go to Saturation and
then just desaturate the blues.
| | 02:28 | In doing that it kind of makes
the image feel more cohesive.
| | 02:32 | It's starting to take on kind of
some nice narrative or story elements.
| | 02:36 | It feels like it was
captured with film.
| | 02:38 | Speaking of film, why
don't we add some film grain?
| | 02:41 | We'll select the Zoom Tool and then click
on the image, and as I mentioned before,
| | 02:45 | we're hopping and skipping; we're
going from one panel to another.
| | 02:49 | And what my hope here isn't that
you're necessarily following along,
| | 02:53 | but you're starting to see how you can
use Camera Raw in order to come up with
| | 02:56 | some creative ways to process
your photographs like this.
| | 02:59 | Here I'll go back to fx and I'm going
to bring up my Amount for my Film Grain
| | 03:03 | and also then take down
the Size a little bit.
| | 03:06 | This will create a nice soft feel.
| | 03:09 | I mean, the grain has a great
mood or emotion with this picture.
| | 03:13 | Let's look at the before and
after here with this panel,
| | 03:18 | and then let's also evaluate
all that we've done.
| | 03:20 | To do so, we'll click on Snapshots and
then press the P key or click on this icon.
| | 03:25 | Here's before and then now here's after.
| | 03:28 | Next, we can zoom out by double-clicking
the Hand Tool and then we can click
| | 03:32 | Preview to look at before and then after.
| | 03:35 | As we make these changes, we also
might need to navigate back to panels.
| | 03:39 | So here I'll go back to Tone Curve
and I'm going to go into my Red Channel.
| | 03:43 | I'm noticing that I have a little bit too
much red in the photograph for my liking,
| | 03:46 |
so I'm just going to bring
that down a little bit here.
| | 03:49 | And I think I need to bring it down in the
highlights, so I'll drag that top point
| | 03:53 | down a bit so it's now a little bit
more focused on the subject there.
| | 03:57 | Alright, it's all in the details,
all of these subtle adjustments
| | 04:00 | which help us to improve our photographs.
| | 04:02 | Next, I'm going back to my Split Toning
Panel and here I'm going to remove
| | 04:07 | a little bit more yellow
from the highlights there.
| | 04:09 | I think I brought in too much into that
area of the picture as well, but perhaps
| | 04:14 | I need a little bit more actually,
so I'll go ahead and drag that around.
| | 04:17 | So again, the creative process, it isn't
linear, rather it's almost circular.
| | 04:22 | You hop here, you go there, you make
an adjustment there, and then you get
| | 04:27 | to the end result, this photograph here.
| | 04:29 | And if we zoom in on this picture and
look at it, well, it's just a completely
| | 04:33 | different photograph and you can only
accomplish this if you've gotten really
| | 04:38 | efficient with all of your controls,
and then if you ask yourself, well,
| | 04:42 | how can I use all of this technical
expertise, not just to process the image
| | 04:47 | so that it's correct, but so that I can
process the image so that there's feeling
| | 04:51 | or emotion or so that you can further
your vision for your photographs.
| | 04:55 | That is so important.
| | 04:57 | Camera Raw is much more than sliders
and controls, rather it's about how we
| | 05:03 | can further our photographic ideas and
how we can accomplish those, how we can
| | 05:07 | make Camera Raw work for us, rather
than us working for Camera Raw.
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| Using Camera Raw controls in a non-traditional way| 00:00 | Alright, well, here, let's do one more
mini project, where we look at how we
| | 00:04 | can use Camera Raw creatively in order
to change the color and tone and mood
| | 00:08 | of our photographs.
| | 00:10 | And this time let's explore how we
can use some of our different controls
| | 00:14 | in kind of a nontraditional way.
| | 00:15 | Well, with this image what I'm
going to start off doing is
| | 00:18 | I'm going to increase my overall Clarity,
and I might change the Color Temperature
| | 00:22 | just to warm it up a bit.
| | 00:23 | Now, here these initial adjustments
really aren't that big of a deal,
| | 00:27 | but we have to typically
start in the Basic Panel.
| | 00:30 | After having made these adjustments,
I'm going to jump straight to my
| | 00:34 | Tone Curve Panel and here I'm
going to work on Point Curve.
| | 00:36 | And I'm emphasizing the Point Curve,
because a lot of us have used Photoshop
| | 00:40 | and we know how we can tap
into these different channels.
| | 00:43 | We can click and drag in order to bring
up Brightness values into different parts
| | 00:47 | of our photograph, and here I'm just
looking to try to bring in some of
| | 00:51 | this color into the picture.
| | 00:52 | Next, I'll go to my Green Magenta
Channel and in the Green Magenta Channel,
| | 00:57 | I'm going to add a few points here as
well, changing the way that this looks.
| | 01:00 | And then finally, I'll go to the
Blue Yellow Channel, and I'm also going
| | 01:03 | to bring in a little bit of a yellow here.
| | 01:05 | I'll just look for the right
amount with this photograph.
| | 01:09 | Alright, well so far so good.
| | 01:10 | We can see that we've used these
controls to change the color palette,
| | 01:15 | but next I want to kind of go off track.
| | 01:17 | I'm going to go over to the Camera
Calibration tab by clicking on the Camera icon.
| | 01:22 | What I'm going to do is modify my Shadow color.
| | 01:25 | I'm going to drag this way over to the right.
| | 01:28 | In doing that you can see I kind of brought
out some of those deep rich tones in the shadows.
| | 01:33 | I'm also going to work on my Reds and
I'm going to saturate those up even more.
| | 01:37 | And then I'm going to go to my Blue Primaries and
I'm going to bring out some of the Blues here.
| | 01:41 | You can see how that's kind of
bringing out brightness in the boat.
| | 01:44 | By using these sliders, again, in a
way that isn't necessarily traditional
| | 01:49 | or prescribed, we're kind of
breaking the rules a little bit here.
| | 01:52 | We're able to process our image in a way
that it doesn't even really make sense,
| | 01:56 | except that we've modified these
sliders and mixed things together;
| | 01:59 | it's almost like we're mixing paint now.
| | 02:02 | We're creating our own color palette
by in a way kind of breaking the rules.
| | 02:06 | Well, if we look at the overall
before and after by going to Snapshots
| | 02:10 | or Presets and then by pressing the
P key, we can see that here was the
| | 02:14 | original image, the one that we thought
initially was, was kind of nice, but then now,
| | 02:19 |
here is the after, something which takes on
just a completely different mood, tone, or feel.
| | 02:25 | And so my whole intent on showing you
these little mini projects, again,
| | 02:29 | is just to get you thinking about how you
can use all of these techniques that
| | 02:33 | you've learned and how you can use these
in creative ways in order to come up with
| | 02:37 | some compelling and unique
results for your photographs.
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ConclusionAdditional resources| 00:00 | Alright, well, before we wrap things up
I want to share with you a few sites
| | 00:04 | which I think will help you as you
seek to learn more about Camera Raw.
| | 00:08 | I also want to share a couple of my own
links so that you and I can keep in touch.
| | 00:12 | Well, the first one is photoshopnews.com,
and while this web site hasn't been updated
| | 00:16 |
for a few years, there still are some
valuable links on the right-hand side.
| | 00:21 | I often go to these.
| | 00:22 | And one of the links that you might want to
go to is this one, the Camera Raw User Forum.
| | 00:26 | I have this open in a new tab.
| | 00:29 | This will take you to Adobe's site, and
here you could type out a question that
| | 00:32 | you have in regards to working with
Camera Raw, or you could watch videos
| | 00:36 | or read other people's discussions, just
to get better at working with Camera Raw.
| | 00:41 | The next two links that I want
to share with you are my own.
| | 00:44 | This one is chrisorwig.com.
| | 00:46 | You can click here to View my Portfolio,
or you can navigate over to my blog.
| | 00:51 | And I want to highlight that,
because if you go to my blog,
| | 00:53 | you can see my recent work, but you can
also click on the Subscribe button.
| | 00:58 | If you do that, you can then subscribe
to this newsletter that I put out about
| | 01:02 | two or three times a year; in that
newsletter I talk about Photoshop,
| | 01:06 | photography, Lightroom, and it's
my way to keep in touch with folks.
| | 01:10 | Also, here you can find some links to
other sites of mine, like where I have
| | 01:14 | my Facebook account, my
Twitter account, etcetera.
| | 01:17 | Most importantly, I hope that these
resource site links, and also my own
| | 01:21 | links here, will help you grow
and develop as a photographer.
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| Camera Raw and Lightroom| 00:00 | Any conversation about Adobe Camera
Raw or about RAW processing in general,
| | 00:05 | really wouldn't be complete without at
least mentioning Adobe Photoshop Lightroom,
| | 00:10 | and that's what I want to do here.
| | 00:12 | But first what we need to do is step back
for a second and think about our workflow,
| | 00:15 |
all the way from capturing images,
to working on them, to output.
| | 00:19 | Now, here in the middle space we
really work on Lightroom, Bridge,
| | 00:23 | and Photoshop, and what we have to start
to think about is how do we work with
| | 00:27 | these tools together?
| | 00:29 | Occasionally people will say, hey
Chris, I discovered Adobe Camera Raw,
| | 00:32 | it's amazing, I'm never
going to use Photoshop again.
| | 00:35 | That's definitely not
the right approach.
| | 00:38 | Rather what we want to do is think
of these two programs as separate
| | 00:41 |
applications and somehow there is overlap
and we thus work with them together.
| | 00:45 | Perhaps a better approach would be to
say, hey, I'm going to do a lot of my
| | 00:49 | work in Adobe Camera Raw, I'm going to
do all my global corrections, and then
| | 00:52 | some of my fine tuning I'll do in Adobe
Camera Raw, but all of the sweet stuff,
| | 00:56 | all of the precise stuff, all
of the really exact work, well,
| | 00:59 | that's going to all take
place inside of Photoshop.
| | 01:02 | This is a really valid, and
effective, and good, and strong workflow.
| | 01:07 | Well, then what happens when we bring Lightroom
into the equation, again, I get questions.
| | 01:12 | Chris, should I use Camera Raw? Should
I use Photoshop? Should I use Lightroom?
| | 01:16 | And my answer is, you should use all
three, because each of these
| | 01:19 | different programs have strengths.
| | 01:22 | First what I want to do is take a
look at comparing Bridge and Lightroom.
| | 01:26 | And I want to do so simply by
comparing the basic controls.
| | 01:30 | On the left we have
Adobe Camera Raw;
| | 01:32 | on the right we have Lightroom.
| | 01:33 | Well, if you compare these controls or sliders,
you'll notice they're exactly the same;
| | 01:38 | Temperature and Tint, Temperature and Tint,
Exposure, Exposure, and all the way down the list.
| | 01:43 | And for that matter the RAW Engine
that's actually working or processing
| | 01:47 | the files is identical.
| | 01:49 | Well, why then would you want
to use one tool versus another?
| | 01:52 | Well, one of the things that's good about
Lightroom is it's a professional level,
| | 01:56 | really strong and effective tool.
| | 01:59 | In other words, there are some more
features, there are more shortcuts,
| | 02:01 | there's more efficiency,
there's better output.
| | 02:04 | So what Adobe Camera Raw is, which is
really good, Lightroom is even better,
| | 02:09 | and a lot of times when people discover
this, they then swing their approach.
| | 02:13 | So they work in Bridge when needed,
but then they spend a lot of time
| | 02:16 | in Lightroom, and for that matter they
start to spend even more time in Lightroom
| | 02:20 | and perhaps less inside
of Bridge and Camera Raw.
| | 02:23 | And for some people this is really an
effective approach, because what Lightroom
| | 02:28 | allows you to do is to really keep track
of your photographs and also process
| | 02:32 | them in a pretty unique and powerful way.
| | 02:35 | Now, that being said, this isn't the
only way to work on your images and
| | 02:39 | of course Lightroom cost extra money, right,
and so some people stick with working
| | 02:43 | with Camera Raw and Photoshop,
because Camera Raw comes with Photoshop.
| | 02:47 | Now, whatever your own workflow practice,
just keep that in mind and keep in mind
| | 02:50 | that it is also an incredibly valid way to
work using Adobe Camera Raw and Photoshop.
| | 02:55 | Yet, if you're feeling like, hey,
now I've learned Adobe Camera Raw,
| | 02:58 | now I want to take this to the next level.
| | 03:00 | Well, perhaps the next step
for you is to dig into Lightroom.
| | 03:03 | And if you're interested in Lightroom,
I've created a number of different
| | 03:06 | training titles on that topic so you
can go ahead and check those out to see
| | 03:10 | if Lightroom might be right for you.
| | 03:11 | Well, whatever your decision, there's
one thing that I think is incredibly
| | 03:15 | important in regards to workflow.
| | 03:17 | I think in order to have a good workflow,
it doesn't necessarily matter what
| | 03:21 | software you use, but what does matter is,
| | 03:24 | does my digital photographic
workflow increase my passion?
| | 03:27 | Does it expand my creativity?
Does it enliven my vision?
| | 03:31 | Because I believe wholeheartedly
that, as Marc Riboud once said,
| | 03:34 | Photography is about savoring
life at 1/100th of a second.
| | 03:40 | So therefore, as you step back for a
moment and evaluate your own photographic
| | 03:44 | workflow, say, hey, is it hitting these
spots, is it increasing my passion,
| | 03:48 | or is it bogging me down?
| | 03:49 | Is it helping me to be more creative
or is it a little bit stifling?
| | 03:53 | Is it helping me to set
my sights higher or lower?
| | 03:56 | So then after answering those questions,
you can then go back to your software
| | 04:00 | applications and say, okay, well, what
software tools do I really need in order
| | 04:05 | to take my overall photographic
workflow to the next level?
| | 04:08 | And in closing, however you decide, I
hope that your decision leads you to being
| | 04:13 | a more effective photographer and
also to getting even more out of life.
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| Goodbye| 00:00 | Alright! Congratulations on
making it through this course!
| | 00:04 | My hope with this course has been that
it would give you some skills which would
| | 00:08 | help you to be more efficient and
more creative with Adobe Camera Raw.
| | 00:12 | And Adobe Camera Raw is a great starting
point for your overall photographic workflow,
| | 00:18 |
yet if you want to finish your images, you
really need to bring them into Photoshop.
| | 00:22 | So if you want to dig deeper into Photoshop,
you may want to check out some of my
| | 00:26 | other courses on Photoshop, in particular
where I focus in on portrait retouching,
| | 00:31 |
or applying creative effects.
| | 00:33 | Well, in closing, thanks
for joining me in this course!
| | 00:36 | I look forward to seeing you in another one.
| | 00:38 | Bye for now!
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