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The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.
In this movie, we'll talk about editing JPEG files inside Camera Raw and everything I'll tell you works exactly the same with TIFF images. Camera Raw does not allow you to open native PSD files, because it doesn't support layers. All right. So I've selected this file called Brand new gloves.jpg in Bridge and if I want to open it in Camera Raw I can either right-click on it and choose Open in Camera Raw or I can just press Ctrl+R or Cmd+R on the Mac, and then Camera Raw comes up on screen and everything looks pretty much just as it does when we are working on an actual RAW image, but there are a few differences.
So I'm going to start things off by cropping this image. I want to get rid of a lot of that sky, because it's a pretty crummy shape, and then I'll drag down to the crook of Colleen's arm here. I might keep a little more sky than that. You can also by the way; to invoke a crop, you can press the Enter key or the Return key on the Mac and that will send you back to the Zoom tool. I prefer to press the Z key however, because I don't want to accidentally invoke the Done button. Next I'll go ahead and click on Auto in order to apply some automatic modifications and I'm going to go ahead and take that Exposure value slightly up to -0.65 and I would like slightly more Contrast in this, so I'll take that value to 0.
The Highlights value is pretty close to what I want. I ended up setting it to -40, and then I went ahead and increased the Shadows value all the way to 100 in order to open up those shadows under the bridge, this being the Rialto in Venice. Now you might figure that you could recover some of those clouds in the sky there by reducing the Whites value, and sure enough that's going to go ahead and make those clouds or whatever they are, a light gray, but it doesn't really recover them. We have all kinds of posterization at work as you can see here, and there's not really much we're going to do about that, not inside of Camera Raw anyway.
And the thing to bear in mind is, even though I was telling you that the Whites and Blacks options frequently allow you to recover Highlights and Shadows that you otherwise thought were clipped, that's not really the case with JPEGs and TIFFs, because they are flat files. They don't have extra data that you're not seeing, the way that RAW files do. So what I'm going to do here is press the Alt key or the Opt key on the Mac and drag up on the White slider triangle until we're starting to see clipping and then I'm going to come back here to about +20, works, and then I'll also Alt+Drag the Blacks value until we see clipping in the Image window, which happens around -50, and we end up with this image here.
And if you feel like adding a little bit of saturation, by then go for it. I'm going to take my Vibrance value up to 30; I might take the Saturation up to 15 as well. All right. Now notice up here at the top of the stack, we've got the Temperature value and instead of reading 4000 degrees Kelvin or whatever, it's showing us 0 and that's because it's no longer an absolute value, instead, it's a relative value. So if you want to warm up the image, you add to the value and if you want to cool down the image you subtract from it.
This value is also by the way not a degree value; it's more analogous to a percentage. Anyway, I found that a value of about five ended up giving me the warmth I was looking for. Now the final thing I want to do is take care of the sky, it's in just dreadful shape. So I'm going to switch over to HSL/Grayscale, and I don't want a cyan sky, I can't remember the last time I saw a sky that looks like this. So I'm going to switch to the Targeted Adjustment tool, and because the Hue tab is live, I'm going to modify the Hue and I'm going to do so by dragging to the right up here in this Cyan region, and that's going to change both my Aquas and Blues values to a 100 eventually.
I don't think I really want my Blues values to be that high, so I'm going to take it down to 0 and see what I end up getting, and this looks a lot better to me. So an Aquas value of +100, a Blues value of 0. Let's also modify the Luminance a little bit. So I'll switch to the Luminance tab and I'll drag down from the sky and you can drag down really far if you want to, and that will give you this wonderfully dramatic sky, but it's awfully posterized as well. So I ended up coming up with an Aquas value of about -35 and then I went ahead and took the Blues value back down to 0, and we end up with this final effect.
Now you can either open the image in Photoshop and make some modifications, such as blurring away that sky if you want to, or you can click the Done button and return to Bridge, and that's what I'm going to do. Now notice, as soon as we're back in the Bridge, that we have these little icons here showing us that first I cropped the image, and second I modified the settings inside Camera Raw. That means from now on if I double-click inside this image, it's going to open in Camera Raw, albeit this time hosted by Photoshop.
So the thing to remember is that once a JPEG or TIFF image is associated with Camera Raw data, then it becomes a Camera Raw image. All right. I'm going to escape out for a moment, because I want to show you a couple more things here. I'll go to the File menu and choose Browse in Bridge or press Ctrl+Alt+O or Cmd+Opt+O on the Mac to return to Bridge. And note here inside the Metadata panel that you have your Camera Raw data, which shows you that Camera Raw did not hurt a single pixel inside the image.
But you might say, well surely, it cropped the image at least, actually it didn't. If I press Ctrl+R or Cmd+R on the Mac in order to open the image in Camera Raw and I switch to the Crop tool, all the pixels are still there, which is utterly outstanding by the way, because Photoshop is not capable of doing that with JPEG images. All right. So I'll go ahead and click the Cancel button in order to escape out. Finally, let's say you like Camera Raw so much, you like the way it's organized, that you want to be able to use it to open all future JPEG and TIFF images.
Then go up to the Edit menu here in Bridge and choose Camera Raw Preferences and then notice down here at the very bottom, JPEG and TIFF Handling, they are both set to Automatically open whatever file format with settings, and that's what we just saw a moment ago, that JPEG file has settings now, so it gets opened inside of Camera Raw. You could, if you hate Camera Raw, say Disable JPEG support or if you love it, then you can say Automatically open all supported JPEGs and Automatically open all supported TIFFs.
I'm not going to work that way, I'll just go ahead and click Cancel, because it's pretty darn easy to just select a file and press Ctrl+R or Cmd+R on the Mac. And that's how you open and edit both JPEG and TIFF images inside Camera Raw.
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