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Touring the Camera Raw interface

Touring the Camera Raw interface provides you with in-depth training on Photography. Taught by Jan K… Show More

Photoshop CS4 Essential Training

with Jan Kabili

Video: Touring the Camera Raw interface

Touring the Camera Raw interface provides you with in-depth training on Photography. Taught by Jan Kabili as part of the Photoshop CS4 Essential Training
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  1. 2m 31s
    1. Welcome
      1m 27s
    2. Using the example files
      1m 4s
  2. 25m 14s
    1. Touring the interface
      4m 25s
    2. Working with tabbed documents
      5m 15s
    3. Using tools efficiently
      3m 51s
    4. Arranging panels
      3m 53s
    5. Customizing keyboard shortcuts
      2m 50s
    6. Saving a custom workspace
      3m 0s
    7. Changing screen modes
      2m 0s
  3. 19m 3s
    1. Touring the Bridge interface
      6m 31s
    2. Opening images from Bridge
      1m 20s
    3. Reviewing images
      4m 42s
    4. Finding images
      6m 30s
  4. 44m 53s
    1. Setting preferences
      4m 23s
    2. Choosing color settings
      8m 11s
    3. Zooming and panning
      5m 27s
    4. Resizing and image resolution
      3m 17s
    5. Adding to the canvas
      2m 2s
    6. Rotating the canvas
      1m 44s
    7. Choosing color
      4m 49s
    8. Sizing a brush tip
      3m 4s
    9. Undoing and the History panel
      5m 0s
    10. Saving and file formats
      3m 29s
    11. Creating a file from scratch
      3m 27s
  5. 37m 58s
    1. Making geometric selections
      6m 14s
    2. Modifying selections
      4m 43s
    3. Combining selections
      3m 16s
    4. Using the Quick Selection tool
      5m 34s
    5. Refining selection edges
      4m 12s
    6. Using Quick Mask mode
      2m 18s
    7. Selecting with the improved Color Range command
      4m 32s
    8. Selecting with the Magnetic Lasso tool
      2m 28s
    9. Using the Background Eraser tool
      3m 7s
    10. Saving selections
      1m 34s
  6. 39m 56s
    1. Understanding layers
      5m 43s
    2. Creating layers
      5m 12s
    3. Working in the Layers panel
      2m 19s
    4. Locking layers
      4m 17s
    5. Working with multiple layers
      4m 6s
    6. Merging and flattening layers
      3m 55s
    7. Adding a shape layer
      4m 43s
    8. Basic layer masking
      4m 23s
    9. Using layer blend modes and opacity
      5m 18s
  7. 23m 19s
    1. Cropping
      3m 26s
    2. Straightening
      3m 17s
    3. Transforming
      4m 42s
    4. Working with Smart Objects
      6m 48s
    5. Using Content-Aware Scaling
      5m 6s
  8. 1h 10m
    1. Reading histograms
      4m 21s
    2. Using adjustment layers and the Adjustment panel
      6m 4s
    3. Adjusting tones with Levels
      7m 49s
    4. Limiting adjustments with layer masks
      5m 40s
    5. Using masks in the new Masks panel
      6m 9s
    6. Limiting adjustments by clipping
      3m 6s
    7. Adjusting with Shadow/Highlight
      5m 7s
    8. Adjusting with Curves
      7m 37s
    9. Adjusting with Hue/Saturation
      3m 42s
    10. Adjusting with Vibrance
      2m 16s
    11. Removing a color cast
      4m 26s
    12. Using the Black & White adjustment layer
      2m 39s
    13. Using the Dodge Burn and Sponge tools
      4m 11s
    14. Reducing noise
      2m 39s
    15. Sharpening
      4m 42s
  9. 38m 0s
    1. Using the Spot Healing Brush tool
      5m 17s
    2. Using the Healing Brush tool
      5m 51s
    3. Using the Patch tool
      4m 52s
    4. Using the Clone Stamp tool
      4m 8s
    5. Enhancing eyes
      9m 29s
    6. Changing facial structure
      5m 0s
    7. Softening skin
      3m 23s
  10. 44m 38s
    1. What's a raw image?
      4m 25s
    2. Touring the Camera Raw interface
      7m 35s
    3. Working in the Basic panel
      7m 54s
    4. Working in the Tone Curve panel
      2m 21s
    5. Working in the HSL/Grayscale and Split Toning panels
      3m 46s
    6. Looking at the other Camera Raw panels
      3m 45s
    7. Using the Adjustment Brush tool
      4m 2s
    8. Using the Graduated Filter tool
      3m 56s
    9. Working with multiple files
      6m 54s
  11. 21m 6s
    1. Using the Brushes panel
      8m 30s
    2. Filling with color
      3m 49s
    3. Replacing color
      4m 14s
    4. Using gradients
      4m 33s
  12. 16m 55s
    1. Working with point type
      9m 59s
    2. Working with paragraph type
      3m 17s
    3. Warping text
      3m 39s
  13. 25m 23s
    1. Adding a layer style
      4m 6s
    2. Customizing a layer style
      3m 35s
    3. Copying a layer style
      3m 5s
    4. Creating a new style
      3m 32s
    5. Using Smart Filters
      5m 22s
    6. Working in the Filter Gallery
      5m 43s
  14. 13m 14s
    1. Auto-blending focus
      4m 47s
    2. Creating Photomerge panoramas
      4m 2s
    3. Combining group photos
      4m 25s
  15. 23m 27s
    1. Creating an action
      7m 16s
    2. Batch processing with an action
      6m 36s
    3. Using the Image Processor
      9m 35s
  16. 29m 20s
    1. Printing
      11m 32s
    2. Making a contact sheet from Bridge
      6m 12s
    3. Creating a web gallery from Bridge
      7m 17s
    4. Preparing photos for the web
      4m 19s
  17. 30s
    1. Goodbye

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Touring the Camera Raw interface
Video Duration: 7m 35s 7h 55m Beginner


Touring the Camera Raw interface provides you with in-depth training on Photography. Taught by Jan Kabili as part of the Photoshop CS4 Essential Training

View Course Description

Photoshop has become an indispensible tool for photographers, designers, and all other creative professionals, as well as students. Photoshop CS4 Essential Training teaches a broad spectrum of core skills that are common to many creative fields: working with layers and selections; adjusting, manipulating, and retouching photos; painting; adding text; automating; preparing files for output; and more. Instructor Jan Kabili demonstrates established techniques as well as those made possible by some of the new features unique to Photoshop CS4. This course is indispensable to those who are new to the application, just learning this version, or expanding their skills. Example files accompany the course.

Topics include:
  • Learning and customizing the interface and workspace
  • Utilizing various manual and guided selection techniques
  • Working with Adobe Camera Raw
  • Adding special effects with layer styles and Smart Filters
  • Creating Photomerge panoramas
  • Optimizing photos for the web and creating web galleries

Touring the Camera Raw interface

Adobe Camera Raw is a plug- in that comes with Photoshop. Its purpose is to give you a place to process and convert the RAW data in the file so that the image can be opened into Photoshop for further editing, or so that a copy can be saved in a non-RAW format for printing or other output. Adobe Camera Raw has a separate interface from Photoshop proper. In this movie I'm going to show you around that interface. But first I am here in Adobe Bridge, because I want to show you how to open up a RAW image from Bridge into Photoshop. What you are seeing here is contents of the Chapter 9 Exercise Files folder.

I clicked on that folder in the Folders panel of Bridge and then I hit the Tab key to close the panels on either side so we can see these thumbnails better. What I'd like you to see is the title of each thumbnail. Notice that each one ends in the file extension CRW. That's the flavor of RAW file that's made by my personal Canon camera. Other manufacturer's cameras produce RAW files with other extensions. So for example if you have a Nikon then your RAW files will have .NEF extension. I'd like to open one of these photos into the Adobe Camera Raw interface.

To do I'll just click on one of these thumbnails to select it, and then I'm going to press this keyboard shortcut, Command+R on a Mac, or Ctrl+R on a PC. That launches Adobe Camera Raw and opens my file in the Adobe Camera Raw window. This is a separate interface from Photoshop proper, although it comes with Photoshop. In this interface, you'll choose the settings that will be used to process the RAW data in this file, like the white balance, and the exposure, and the saturation, and other settings. Those settings are over in the column on the right.

The most essential settings are here beneath this Basic tab. But there are other tabs too that have other settings in them. And we'll be taking a look at some of these in the upcoming movies. For example here is the Tone Curve tab that has its own settings. A Detail tab with other settings and so on. I'll go back to the Basic tab for now. Up here is a button you can use to give you a full screen view of the Adobe Camera Raw window. I am going to go back to regular view and next to that is a Preview button that you can toggle on and off to see the results of the changes you make by varying these controls.

Over here is an abbreviated toolbox. You're already familiar with some of these tools from Photoshop. For example here is a Zoom tool. I can come in and click with the Zoom tool several times to zoom in. And if I hold down the Option key on a Mac or the Alt key on a PC and click, I'll zoom back out. Next to that is a Hand tool just like in Photoshop. If I select the Hand tool and then click-and-drag in the image, it moves to zoomed-in image around so I can see different parts of the photograph. I am going to skip over the next two tools for now.

The first is a White Balance Eyedropper and the next is a Color Sampler tool, and talk about the next tool, which is a Crop tool. This is similar to the Crop tool in Photoshop, but I think it works even better. I am going to go back to make the image fit in this window by double-clicking the Hand tool, and then I am going to click-and-hold on the Crop tool here. This Crop tool, unlike the one in Photoshop, offers you ratios that you can crop to. 2 to 3 is a typical ratio for a photograph. So I am going to select that one. So now when I come in and drag out a crop bounding box, it's always in 2 to 3 ratio.

I can move it around to wherever I want or I can make it bigger or I can make it smaller, but it's still 2 to 3. And when I'm ready to crop I can just hit the Return key. You may think it's not a good idea to crop so early in the process, before I've even gotten the image in to Photoshop. But it's okay, because at anytime even if I'm out of the Adobe Camera Raw window, I can reopen the file and come back to Crop tool and choose Clear Crop and I'll get back all of my file. And that's because the changes I make here in the Camera Raw interface do not directly change the underlying RAW data.

It's always all still there. Next is a Straighten tool and that works much like the Ruler tool in Photoshop, which I covered in another movie. So we won't do that one again. The next tool is a Spot Removal tool. This comes in handy if you happen to have a spot on your camera sensor or on your camera lens that's appearing in the same place on every RAW image that you shoot. Because you can eliminate the spot in one image and then synchronize that change to all of your images. This is not a full-featured retouching tool like the Healing Brush or the Patch tool in Photoshop. What it's mostly used for is if you happen to have a spot on your camera sensor or on your lens and that's appearing in a number of photos.

Because you can use this tool to remove the spot on one image, and then apply that change to a number of images. This is the Red Eye tool and it's used to eliminate the red eye in a subject's eyes that you sometimes get when you use the flash on your camera. This next tool, the Adjustment Brush, is one of the new tools in Camera Raw CS4. That tool and the one next to it, the Graduated Filter, I'll cover in detail in another movie. These tools allow you to apply your changes to just isolated parts of an image, which really extends the capabilities of the Camera Raw interface.

I think you are going to like learning about those. The next icon is a way to access preferences that are specialized for just Camera Raw. Those are separate from the Photoshop Preferences. And then there are a couple of Rotate tools. There are some important buttons at the bottom of the dialog box. You click this button to save an image, this button to open an image in Photoshop, and this button to just close the Adobe Camera Raw window while applying the changes that you've made here and we'll look at those in another movie too. And finally there's this blue underlinef text. If you click this you get Workflow Options.

These options don't govern the way a photo looks here in Adobe Camera Raw, but rather how it will open from Camera Raw into Photoshop. So here you can choose, for example, your color space, which I've discussed in detail in the movie on color settings. I will leave that at Adobe RGB, which is a typical workspace for photographs. Here you can choose the bit depth. Because this is a RAW image, I can choose to open it in Photoshop as a 16-bit image, which contains much more image information then an 8-bit image. So I am going to go ahead and choose 16-bits.

My file will be bigger than it would be if it were 8-bits but I can always change this later by reducing it to 8- bits in Photoshop if I want to do that. In the Size area I usually select the size that has no plus or minus on it, which is the native size at which the image was shot. You can see here the dimensions in pixels and the total file size, or the space that the image would take up on a hard drive. You can always reduce the size of the file later in Photoshop, so I usually don't do that here. I try not to make my files bigger than their native size, but if you have to do it with a RAW file, I suggest you do that here rather than wait till you get to Photoshop.

Down here you can set the Resolution of the file, as it will be when it opens in Photoshop. That's something that you can also change in Photoshop. So it's not crucial how you set the resolution here. And now I'll just click OK to close that box. So that's a quick look at what's available to you in the Adobe Camera Raw interface. And I will be covering many of these features in more detail in other movies in this chapter. What's important to remember is that the changes you make here do not directly change the original RAW file. If you were to open this file after making changes in Photoshop, you'd see the file with the changes you made here, but the original RAW file will never change.

It will always remain as pristine as it once was. So you can feel free to be creative here in this window, because you can always come back and do it again in another way later.

Find answers to the most frequently asked questions about Photoshop CS4 Essential Training .

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Q: How can artwork be transferred from Photoshop CS4 to Illustrator CS4 without the background?
A: Save the image in Photoshop’s native PSD format. The background in Photoshop must be transparent, meaning there should be no background layer. (To remove a background layer, move your artwork to a separate layer by selecting and copying the content, minus the background, to a new layer, and then delete the background layer. A checkboard pattern behind your image indicates transparent pixels.) 

In Illustrator, select File > Open, and select the PSD file. In Photoshop Import dialog box, select Convert Layers to Objects.

Q: How do I retouch an image I have of an old photograph I scanned?
A: There are a few courses that address image restoration. Check out the Photoshop CS4 Portrait Retouching Essential Training course, and for problems dealing specifically with old photographs, watch the Restoration movies in chapter 15 of the Enhancing Digital Photography with Photoshop CS2. Additionally, learn how to research and date photos with our Growing and Sharing Your Family Tree course.
Q: A client has asked for artwork to be delivered as JPEGs or BMP files in 16-bit format. In Photoshop CS4, there does not appear to be an option to save an image as a 16-bit JPEG. Is there a way to save JPEG files as 16-bit in Photoshop?
A: Unfortunately, JPEGs cannot be saved in 16 bit. JPEGs, by nature, are 8-bit. So if you open a high-bit image into Photoshop CS4, you will see no option in any of the save dialog boxes to save the file as a JPEG. You would first have to convert the image to 8 bit (by choosing Image > Mode > 8 bits/channel) and then save it as an 8-bit JPEG. If you open a high-bit image into Photoshop CS5, you will see the option to save it as a JPEG in the Save, Save As, and Save for Web dialog boxes.  But the JPEG will not be saved as 16-bit. Instead, Photoshop will downsample it to 8-bit for you  before saving it as JPEG.





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