Photoshop CS6 for Photographers: Camera Raw 7
Illustration by John Hersey

Understanding the effects controls


From:

Photoshop CS6 for Photographers: Camera Raw 7

with Chris Orwig

Video: Understanding the effects controls

In this chapter we're going to focus in on the Effects Panel. In the Effects Panel, we can add Film Grain; we can also add some interesting Post Crop Vignetting Effects. Well, let's start off with Grain. Here I'll grab the Zoom Tool and I'll zoom in a little bit on this gray document that I've created here. There is nothing else in this file, except for gray. Well, if we click and drag on our Amount slider, we're going to see that all of a sudden we have this Grain, which is kind of embedded and part of the image. Well, as we increase the Amount, how then can we change the Grain with Size and Roughness? Let me decrease the Roughness for a moment, so we can focus in on Size.
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  1. 9m 3s
    1. Welcome
      1m 2s
    2. Should I use Camera Raw or Photoshop?
      3m 22s
    3. What is Adobe Camera Raw?
      3m 45s
    4. Using the exercise files
      54s
  2. 21m 13s
    1. An overview of Bridge and Bridge preferences
      3m 19s
    2. Setting Camera Raw preferences
      3m 9s
    3. Exploring RAW vs. JPEG or TIFF files
      4m 3s
    4. Choosing a native raw file or a digital negative (DNG)
      4m 25s
    5. Converting or saving to the DNG format
      6m 17s
  3. 29m 37s
    1. Project overview: cover photo shoot
      1m 33s
    2. Auto-toning and correcting white balance
      2m 19s
    3. Cropping and composing
      3m 22s
    4. Enhancing color and tone
      2m 44s
    5. Removing distractions
      3m 58s
    6. Sharpening and noise reduction
      2m 59s
    7. Converting to black and white
      2m 11s
    8. Adding a vignette
      1m 45s
    9. Making a localized correction
      2m 53s
    10. Creating snapshots of memorable looks
      2m 1s
    11. Re-editing camera raw settings
      1m 38s
    12. Working with multiple adjustments
      2m 14s
  4. 15m 2s
    1. Navigating the interface and the toolbar
      2m 15s
    2. Exploring image-adjustment tabs and panels
      1m 32s
    3. Using the histogram
      5m 12s
    4. Previewing the before and after of different adjustments
      2m 43s
    5. Working with multiple files
      3m 20s
  5. 29m 29s
    1. Opening raw files in Bridge
      4m 36s
    2. Opening JPEGs and TIFFs in Bridge
      4m 43s
    3. How to open a photo in Photoshop and skip Camera Raw
      1m 47s
    4. Accessing Camera Raw from Mini Bridge
      3m 9s
    5. Resizing in Camera Raw with workflow options
      6m 35s
    6. Opening an image as a Smart Object
      3m 3s
    7. Saving from Camera Raw
      3m 17s
    8. Creating a duplicate file
      2m 19s
  6. 11m 20s
    1. Recomposing with the Crop tool
      2m 58s
    2. Clarifying your voice by cropping
      3m 20s
    3. Straightening and cropping
      2m 55s
    4. Cropping creatively
      2m 7s
  7. 9m 10s
    1. Improving color balance
      4m 21s
    2. Color correcting with white balance cards
      1m 49s
    3. Using the White Balance tool and controls
      3m 0s
  8. 18m 33s
    1. Deconstructing the basic adjustments
      3m 33s
    2. Correcting overexposure
      2m 52s
    3. Correcting underexposure
      3m 13s
    4. Making exposure enhancements
      2m 52s
    5. Recovering highlight and shadow detail
      3m 38s
    6. A speed tip for making basic adjustments
      2m 25s
  9. 14m 14s
    1. Demystifying Clarity
      2m 36s
    2. Increasing Clarity
      3m 52s
    3. Understanding Vibrance and Saturation
      1m 50s
    4. Improving color with Vibrance
      3m 52s
    5. Making creative color adjustments
      2m 4s
  10. 11m 48s
    1. Learning about the parametric and point-tone curves
      4m 4s
    2. Using the parametric-tone curve
      2m 19s
    3. Using the point-tone curve
      3m 22s
    4. Creating a unique color look with the point-tone curve
      2m 3s
  11. 15m 38s
    1. Introducing the Spot Removal tool
      3m 42s
    2. Removing distracting background elements
      3m 12s
    3. Removing blemishes on a face
      3m 29s
    4. Removing dust on the lens or the camera sensor
      2m 58s
    5. Removing red-eye
      2m 17s
  12. 51m 20s
    1. Introducing the Adjustment Brush
      6m 18s
    2. Correcting exposure
      6m 23s
    3. Working with Auto Mask
      4m 16s
    4. Changing the background color
      4m 30s
    5. Changing the color temperature
      3m 15s
    6. Making multiple color and tone adjustments
      5m 47s
    7. Enhancing the color, tone, and sharpness of the eyes
      5m 11s
    8. Whitening teeth
      3m 20s
    9. Brightening shadows and darkening highlights
      2m 51s
    10. Creating a black-and-white effect
      5m 36s
    11. Removing moiré patterns
      2m 19s
    12. Creating Adjustment Brush presets
      1m 34s
  13. 10m 0s
    1. Enhancing the foreground and background of an image with the Graduated Filter tool
      4m 7s
    2. Reducing exposure with the Graduated Filter tool
      3m 0s
    3. Exploring creative effects with the Graduated Filter tool
      2m 53s
  14. 13m 23s
    1. Exploring noise reduction
      3m 27s
    2. Applying input sharpening
      4m 9s
    3. Using the Basic and Detail panels together
      3m 33s
    4. Edge sharpening an architectural photograph
      2m 14s
  15. 12m 53s
    1. Introducing HSL
      2m 8s
    2. Enhancing color and tone
      2m 7s
    3. Using the Basic and HSL panels together
      2m 24s
    4. Removing colors with HSL
      3m 1s
    5. Making color changes
      3m 13s
  16. 21m 57s
    1. Using the black-and-white controls
      1m 44s
    2. Exploring simple black-and-white conversion
      6m 17s
    3. Using multiple panels to create a black-and-white image
      6m 17s
    4. Creating a dramatic black-and-white landscape
      7m 39s
  17. 11m 1s
    1. Exploring traditional black-and-white toning
      3m 19s
    2. Adding split toning to color photographs
      3m 49s
    3. Creative toning of a color photo
      3m 53s
  18. 16m 50s
    1. Removing extreme distortion with a lens profile
      2m 2s
    2. Working with the manual Lens Correction controls
      2m 34s
    3. Improving a portrait with lens corrections
      3m 26s
    4. Adding a darkening vignette effect
      1m 28s
    5. Combining lens corrections with creative cropping
      3m 35s
    6. Adding distortion for a creative effect
      2m 29s
    7. Correcting chromatic aberration and defringing
      1m 16s
  19. 15m 11s
    1. Understanding the effects controls
      7m 8s
    2. Adding film grain and darkening edges
      3m 56s
    3. Cropping and brightening edges
      2m 33s
    4. Creating a defined edge
      1m 34s
  20. 9m 29s
    1. Introducing the Camera Calibration panel
      3m 41s
    2. Creative color with the Camera Calibration controls
      3m 25s
    3. Exploring camera calibration resources
      2m 23s
  21. 5m 14s
    1. Introducing presets
      3m 19s
    2. Exploring free and fun ACR presets
      1m 55s
  22. 10m 19s
    1. Quick raw processing of multiple files
      2m 21s
    2. Applying raw processing in Bridge
      2m 34s
    3. Recording an action
      3m 37s
    4. Batch processing multiple images
      1m 47s
  23. 7m 52s
    1. A creative color mini-project
      5m 12s
    2. Using Camera Raw controls in a non-traditional way
      2m 40s
  24. 6m 24s
    1. Additional resources
      1m 25s
    2. Camera Raw and Lightroom
      4m 19s
    3. Goodbye
      40s

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Watch the Online Video Course Photoshop CS6 for Photographers: Camera Raw 7
6h 16m Intermediate May 18, 2012

Viewers: in countries Watching now:

This course provides in-depth training on Camera Raw 7, the Photoshop CS6 component that enables photographers to open and manipulate raw format images. Raw images are minimally processed in the camera; they're effectively the exact data recorded by the camera's sensor. Author Chris Orwig shows you how to control a raw image's appearance—exposure, shadow and highlight detail, color balance, and sharpness—with far more precision than is possible with JPEG images. The course also introduces the new workflow procedures and technical concepts and issues associated with raw content, so that photographers can best leverage this powerful format.

Topics include:
  • Comparing the raw, JPG, and TIFF formats
  • Converting or saving to the DNG format
  • Enhancing color and tone
  • Cropping and composing
  • Sharpening and noise reduction
  • Using the Camera Raw histogram
  • Batch editing
  • Correcting for under- and overexposure
  • Retouching blemishes
  • Making lens corrections
  • Calibrating your camera
  • Speeding up your workflow with actions
Subject:
Photography
Software:
Photoshop Camera Raw
Author:
Chris Orwig

Understanding the effects controls

In this chapter we're going to focus in on the Effects Panel. In the Effects Panel, we can add Film Grain; we can also add some interesting Post Crop Vignetting Effects. Well, let's start off with Grain. Here I'll grab the Zoom Tool and I'll zoom in a little bit on this gray document that I've created here. There is nothing else in this file, except for gray. Well, if we click and drag on our Amount slider, we're going to see that all of a sudden we have this Grain, which is kind of embedded and part of the image. Well, as we increase the Amount, how then can we change the Grain with Size and Roughness? Let me decrease the Roughness for a moment, so we can focus in on Size.

Well, Size is pretty straightforward. We can either have smaller, fine-grain or as we click and drag this to the right, you'll notice that the grains are a little bit more spread out; the granules are a little bit bigger. Roughness, as you drag this to the right, it introduces this randomization, this different pattern that you can see across your photograph. Now here I've exaggerated the Amount, Size, and Roughness. More realistic might be that what you would do is you'd dial in your overall Amount here. Next you're going to control the Size and then dial in some Roughness, so that, that will then match or enhance the style of the photograph that you want to create.

What about Post Crop Vignetting? For that let's go to our next file. Let's go to this one here which is demo02 and then let's select our Crop Tool. When you select the Crop Tool, what you can do is you can click can drag across the image. Here I'll go ahead and click and drag, and then I'll press Enter or Return in order to apply that. Well, once we have cropped an image, we can't really affect the edges of the photograph, because we've cropped those out. So if we were to try to go to say our Lens Corrections and Lens Vignetting, we would see that that effect, primarily it's affecting these outer edges here, it's not reaching far enough into our inner edges.

This is especially true if we have an image that's cropped really dramatically. These adjustments, they just won't make their way all the way into this crop area. Well, in ordered to have a Vignette effect that fits the crop, we need to go to the fx panel and here what will happen is, once we've applied the crop, it will then follow that. As I drag my Amount down, you can see that it's following or tracking with whatever size and shape I've determined for my crop. You can see how it's also kind of changing the overall characteristics of that vignette effect.

So let's crop the image a little bit here and press Enter or Return and see if we can't understand how these different controls work. The Amount slider allows us to either darken or brighten the edges. Next, after that we have Midpoint. This is how far in this effect goes towards the middle of this cropped area. But then we have Roundness, and Feather, and Highlights. What are these about? Well, if you drag Roundness down, you can make this crop area a little bit more of an oval.

Then as we decrease Feather, we are going to remove that soft edge so that we now have a pretty hard edge. And so by using these different controls, we can either brighten or darken the edges of our photograph by dialing this in, in regards to the overall shape of this, and here you can see we can come up with some pretty fascinating results. Well, let's go to a little bit more of a traditional result. Let's say that what we want to do is, we want to darken the edges, and we want to do so in a way that we have kind of this subtle sort of a darkening effect, which just comes in around the edge of our photograph.

So I'm just going to try to dial in a shape that might work for, trying to do that. Well, now that we've done that, let's look at our different styles. If you click on this pull down menu, you see that you have Highlight and Color Priority. These two are really similar. What Highlight Priority does is it tries not to apply the Vignette over highlighted areas, because a real Vignetting Effect wouldn't be as dark over a highlight. So it kind of protects those areas. We can also bring those highlights back as you can see here - let me make this a little bit more intense, so you can see that with this Highlight slider.

I should also point out if you are brightening your image, well then that's going to disable the highlights, because you obviously can't use those or you don't need to use those, because it's brightening, rather than darkening. So with highlight priority, we can use this Highlight slider. With Color priority, if we had a color image, it would be a very similar vignette, but it would just try to protect the colors, so that the Vignette Effect didn't shift the Hue or the Color of the area where the vignette was covering. Last but not least, we have Paint Overlay.

This is just kind of like having a darkening effect over an image that doesn't really pay attention to Brightness value at all. It's almost like a traditional vignette that we would see if we were just to paint black around the edges of our images, or for that matter if you we were to paint gray or maybe even white over those edges. So this is much more uniform of an affect. Well now that we've seen this on a demo file, let's take a look at how we can apply these on a color image. Here I will click on this file here and what I want to do is apply this Post Crop Vignetting and work with these controls.

I also should point out that you don't have to crop your image to work with these settings. You can apply these to the entirety of the photograph as we're going to do here. Well, here we could brighten up those edges by clicking and dragging to the right. We could control the Midpoint, how far that brightening effect is going to go into the middle of the picture. You can set the Roundness of that. You can also control the Feather. Here let's create a darkening effect so that we can see how that might look with a photograph like this as well. And again, by using these controls, we can create this darkening edge, or we can correct that or remove that.

Next, you can see we have this Highlight Priority option selected. Here I can recover those highlights; you can see those primarily. If I darken this more, we can see those up here in these whites and also in these pinks, these brighter tones. It's allowing me to bring back some detail there, and if I bring this in perhaps even further, you can start to see how this Highlight slider is going to allow me to bring in some of those highlights in those areas. Next, when we look at Color Priority, we'll see that it doesn't affect the color as much. And then, last but not least, we have Paint Overlay.

Now Paint Overlay, it just looks really different. It's more like even darkening all across the image. Compare that now to Highlight Priority. You see more of the texture, more of the brightness value, and so the real difference here is between either Color or Highlight Priority, those two are very similar, and then Paint Overlay, as you can see as I go back and forth between these different options. So what then type of a style is best? Highlight, Color, or Paint? Well, that really depends upon the effect that you want to create.

What you want to do is try out the different styles to see which works best with your photographs. Let's go ahead and start applying what we've learned to a few different photographs, and let's do that in the next few movies.

There are currently no FAQs about Photoshop CS6 for Photographers: Camera Raw 7.

 
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