IntroductionWelcome| 00:00 |
(music playing)
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Welcome to getting started with Adobe
| | 00:06 |
Camera Raw.
My name is Mikkle Aaland, and I'm going
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to be your host and guide in this video
training workshop.
| | 00:13 |
I've been a professional photographer for
over 30 years and I've written over ten
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books on digital photography.
I also teach workshops and I've learned
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how important it is to present complex
information in a simple straight forward manner.
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There's no question that Camera Raw is a
professional tool and requires skill to operate.
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In these videos, I'll show you everything
you need to know about Camera Raw.
| | 00:41 |
I'll introduce the Camera Raw Interface.
Explain how to use all the Camera Raw
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tools, such as the Graduated Filter, the
Adjustment Brush, and the Targeted
| | 00:50 |
Adjustment tool.
I'll show you how to customize to Camera
| | 00:54 |
Raw default.
And of course, very importantly, I'll
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show you how to use Camera Raw's
extensive Tone Mapping controls to make
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an image look the way you want it to.
Feel free to use the project files and
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practice everything you're learning.
Just remember, these files are only
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licensed for your personal uses only.
For other usages, please contact me directly.
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By the end of this video workshop, you'll
have a solid working knowledge of how to
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use Camera Raw.
Let's get started.
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1. Before You StartThe Camera Raw interface| 00:00 |
Let's take a very brief look at the Adobe
Camera Raw interface.
| | 00:06 |
The top is the toolbar.
And if I've set my preferences in
| | 00:11 |
Photoshop or in Bridge to show tooltips,
you can see when I hold my cursor over
| | 00:15 |
one of the icons, the name of the tool
appears.
| | 00:22 |
The keyboard commands or shortcut also
appears in parenthesis.
| | 00:26 |
Which is useful because I can't remember
all these keyboard commands.
| | 00:30 |
This trashcan will only appear if you
have multiple images open in Camera Raw.
| | 00:36 |
And you can open multiple images and what
you do they appear here on the left in
| | 00:39 |
the film strip.
To the right is the Histogram, which is a
| | 00:46 |
graphical representation of the tonal
values of the open or selected image.
| | 00:53 |
And below the Histogram, RGB values that
appear when I hold my cursor over the
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Preview Display window, which is in the
middle here, showing the active image.
| | 01:07 |
To the right, underneath the Histogram,
this is EXIF data that's generated by the
| | 01:12 |
digital camera used to shoot the
photograph.
| | 01:15 |
Very useful information in my opinion.
Down here are more controls over your
| | 01:23 |
image processing.
Each time you click on one of the tabs, a
| | 01:28 |
new set of options will appear underneath
the tab, as you can see here.
| | 01:35 |
Down here, if I click on this link, I
open up the Workflow options.
| | 01:41 |
And these are very important options that
you'll need to consider and set before
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you start working on an image.
This has been a very brief overview of
| | 01:50 |
the interface for Adobe Camera Raw.
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| Opening RAW files in Camera Raw| 00:02 |
Let's see how to open a RAW file in Adobe
Camera Raw.
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I'm in Photoshop.
Now I'm going to go under File > Open.
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And I'll navigate to one of my image
files here.
| | 00:14 |
And you can see these are in the DNG file
format.
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Which is Digital Negative Format.
It's a RAW format.
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So when I go to open a RAW file or DNG,
it will automatically open in the Adobe
| | 00:28 |
Camera Raw interface.
If I'm in Bridge and I want to open a RAW
| | 00:34 |
file, I simply select the image I want to
open and if it's a RAW file, I can do a
| | 00:39 |
couple of things, I can either hold Ctrl
+ Click or right + Click.
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Open in Camera Raw, that's one way.
The other way is to go under File and
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then Open in Camera Raw.
And, you can see here there's also a
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keyboard command, Cmd + R.
And finally, I can double-click on the
| | 01:02 |
selected image and it will open
automatically in Camera Raw.
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Now the beauty of being in Bridge, is I
can also have multiple RAW selections.
| | 01:12 |
And when I double-click on one of the
now, all three will open on the left in
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the film strip.
So you can have multiple RAW files open
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in Camera Raw at the same time.
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| Opening JPEG and TIFF files in Camera Raw| 00:02 |
You can also open JPEGs and TIFFs in
Camera Raw.
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The simplest way to do it is select a
JPEG, in this case in Bridge.
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I'm holding down the Ctrl key or
right-clicking on the thumbnail.
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And just select Open in Camera Raw.
Now that JPEG will open in the familiar
| | 00:23 |
and wonderful work environment of Camera
Raw.
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Now if I have my Camera Raw preferences
set here to Automatically Open All
| | 00:33 |
Supported JPEGs instead of Disable JPEGs.
And I have done the same with TIFFs.
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Now when I'm in Bridge and I double-click
on a JPEG, it will automatically open in
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Camera Raw rather than in Photoshop.
So now, let's see how we can do this in Photoshop.
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If you're in the Photoshop environment
and we go to open a JPEG and we find a JPEG.
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Because my settings in Camera Raw were
set to open JPEGs and TIFFs.
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Automatically, when I select a JPEG under
Format, Camera Raw will show up.
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If I haven't set those preferences in
Camera Raw to open automatically, JPEGs
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in Camera Raw.
The format here would be under, if I
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opened or selected a JPEG, would be JPEG.
But to open in Camera Raw, I just select
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Camera Raw and now it'll open
automatically in Camera Raw.
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And there's lots of advantages to working
with JPEG and TIFFs in the Camera Raw,
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non-destructive editing environment and
it's way cool.
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| Camera Raw version check| 00:01 |
Before you do anything in Camera Raw, you
want to make sure you're using the most
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recent version.
Every few months or so, Camera Raw is
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updated to support new digital cameras.
Occasionally, minor behind the scenes
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improvements are also made.
It's therefore best to periodically
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download the latest version.
It's free from the Adobe website.
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How do you know which version you're
working with?
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In the upper middle section of the
interface, you'll see here Camera Raw, in
| | 00:30 |
my case 5.3.
That's the version number.
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You can also go under Photoshop, about
Camera Raw, and it'll tell you the
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version number there.
If you want, I'm going to go into the
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Photoshop workspace and under Help,
Updates, Photoshop will automatically
| | 00:49 |
check and see if you need the latest
plugin.
| | 00:54 |
That of course depends if you're online
or not.
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| Camera Raw workflow options| 00:02 |
Let's take a look at the camera workflow
options which are found by clicking on
| | 00:07 |
this link at the bottom of the camera
line or phase and you can see here in the
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window that appears that we have choices
from space, depth size, resolution
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sharpening, and here under Space, we have
a couple choices.
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This is the color space that your image
will be opened in when you say, go to
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Photoshop, or if you export your image
out.
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WRGB, Color Match RGB, Pro-photo, and
SRGB.
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It really depends on where you're going
with your image, what you choose here.
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I work a lot with RGB, Adobe RGB in
Photoshop.
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So I tend to keep my color space as Adobe
RGB.
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People that are working with the web and
monitors, SRG probably is a better choice
| | 00:57 |
for them, with the smaller color gamut.
If you're really going for the most color
| | 01:03 |
gamma you possibly can get, you'll be
working in Photoshop in this space as
| | 01:07 |
well, then the pro-photo RGB setting is
probably your best choice.
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Here under Depth you have a choice
between 8-bit and 16-bits.
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Most digital cameras save approximately
12-bits per channel of color data.
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So to get the most out of the raw data
when it's open from Camera Raw into
| | 01:27 |
Photoshop, I usually set my setting to
16-bits per channel.
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And I keep it there for as long as
possible through the workflow, even
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though it results in larger file sizes.
Generally when I go to share the images
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or export them out from Photoshop, that's
when I'll convert back down to 8-bits.
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Under size your camera is capable of a
specific maximum image size and you can
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either reduce that size via camera raw
settings here or do it later in Photoshop
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and here you can see any of the numbers
with the minus sign are reduction in the
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file size or the resolution.
And also anything with a plus sign means
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there's going to be a interpolation up of
the file of the resolution.
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Here resolution and pixels per inch and
sharpening, these are all settings that
| | 02:21 |
have to do with output and they're really
only relevant when you're going to output
| | 02:25 |
to a printer.
Since I do most of that from Photoshop
| | 02:30 |
and not from camera raw, I generally
don't usually pay too much attention to
| | 02:34 |
those settings there.
At the very bottom, you can chose to open
| | 02:39 |
in Photoshop as smart objects.
And, if you do that, when the camera raw
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file's open in Photoshop it'll open
automatically as a smart object.
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A smart object is a photo shop layer
which enable you to work non-destrutively
| | 02:55 |
on image content much like you do in
camera raw.
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You can't paint, dodge, burn or clown
smart objects unless you rasterize it first.
| | 03:04 |
But many other Photoshop functions such
as mask and filters can be applied
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without changing the original
characteristics of the image.
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Then you can reopen the smart object in
the Camera Raw and make nondestructive
| | 03:14 |
changes there as well.
Once you have your settings in the
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workflow options dialog log sheet, okay?
And these settings will remain.
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This is so the next time I open an image
the last settings will be used.
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| Who is the host?| 00:02 |
Who's the host?
When you open a raw file from Bridge, you
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can choose the host.
Your choice can make a difference in performance.
| | 00:10 |
If you select the Raw file, like I've
done here, and then select file open in
| | 00:16 |
camera raw or simply, Command R, Bridge
is the host.
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If I select an image in Bridge, select
file, open with Photoshop, now Photoshop
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is the host.
How can you tell which is the host?
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Just by looking at the camera window.
If open image is hilighted or active Then
| | 00:43 |
it's hosted by Photoshop.
If done is active.
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Camera Raw all is not hosted by bridge.
When bridge hosts Camera Raw, thumbnail
| | 00:56 |
production in bridge stops until you
close Camera Raw.
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If Photoshop hosts Camera Raw, and you
convert, let's say, raw files to the DNG
| | 01:05 |
file format and then close Camera Raw
before this conversion is finished,
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Photoshop becomes inoperative during the
conversion.
| | 01:15 |
Basically, most of the time it's best
just to let Camera Raw be hosted from Bridge.
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These keeps the work area of Photoshop
operational and for the most part it
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won't effect bridge functionality.
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|
2. The ToolbarNavigation tools| 00:00 |
Let's take a look at some of Camera Raw's
Navigation tools, which will seem very
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familiar to Photoshop users.
The Zoom tool is located up here in the
| | 00:12 |
tool bar.
When I hold my cursor over the icon, you
| | 00:16 |
can see the name of the tool appears as
well as the keyboard command in this case Z.
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This tool tip appears because I've set my
preferences in Photoshop and Bridge to
| | 00:28 |
show the tool tips.
They can be annoying.
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And if you don't want them to pop up
every time you move your cursor over an icon.
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You can turn those off in the
preferences.
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So this is my Zoom tool.
Just like in Photoshop, I place my cursor
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over the area I want to enlarge.
And when I click that area will enlarge
| | 00:48 |
and as I move the cursor around, it will
then move to that area and enlarge that area.
| | 00:56 |
If I hold down the Option key at the same
time and click then I am going backwards
| | 01:00 |
just like in Photoshop.
At any point where if I want to go to
| | 01:06 |
100% view I double-click on the Zoom tool
icon.
| | 01:11 |
And regardless of where I'm in my zoom
process it will always bring be back to 100%.
| | 01:19 |
Over here, this Hand tool, which you can
see the H key will also bring out the
| | 01:24 |
Hand tool, and holding this spacebar will
also bring out the Hand tool.
| | 01:32 |
With the Hand tool, if I click and drag,
I can move around the image when there's
| | 01:37 |
more two that shows up in the preview
area.
| | 01:41 |
Okay so just like in Photoshop, Camera
Raw has many ways to do the same thing.
| | 01:47 |
On this side, in the lower side I can
select a zoom level here with the minus
| | 01:52 |
or plus symbols.
I can select a zoom level right with this
| | 01:58 |
pop up menu.
Go straight to 200% and use the Hand tool
| | 02:03 |
to move around.
Or I can go to fit in view from this
| | 02:08 |
popup menu as well.
And the other thing I wanted to show is
| | 02:13 |
that when you're magnified like this.
I showed you when you double-click on the
| | 02:20 |
Zoom tool what happens Now, when you
double-click on the Hand tool.
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You also will get an effect that is
consistent.
| | 02:27 |
We'll always bring you into what's called
fit to view.
| | 02:30 |
So the entire image is fitting in the
view right there.
| | 02:34 |
So there's many ways to navigate with
your image in Camera Raw.
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And this is just a few of them.
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| The White Balance tool| 00:02 |
Lets see how Camera Raw White Balance
tool will help make this picture better.
| | 00:08 |
This is a picture I made in Hobart,
Tasmania.
| | 00:12 |
And I accidently had set my camera white
balance setting from auto to I think it
| | 00:17 |
was tungsten.
In any case it was a mistake.
| | 00:22 |
I wasn't that worried at the time because
I know when I shoot Raw, it's very easy
| | 00:26 |
to go back later in camera Raw.
And adjust the white balance with no
| | 00:32 |
trade off in quality.
So I want to start off with using some of
| | 00:36 |
the camera Raw presets found here in the
basic tab under white balance.
| | 00:42 |
This is typical, what I'll do at the very
beginning before I start working in the
| | 00:47 |
other aspects of my picture.
I'll go through the white balance
| | 00:52 |
settings here and see if there's anything
that does a better job.
| | 00:57 |
These are presets and they not always
going to give me good results, but its a
| | 01:01 |
good starting point.
You can see as I cycle through there that
| | 01:04 |
none of them were really helping this
picture.
| | 01:09 |
So, once I've tried that.
And by the way, you can always access
| | 01:12 |
that menu through a keyboard command.
I'm going to go into the White Balance
| | 01:18 |
tool here.
And I'm going to right-click on the image.
| | 01:21 |
And now these presets will show up right
there on the screen.
| | 01:25 |
So the White Balance tool, the icon here
in the toolbar, are using any of the
| | 01:31 |
magnification tools.
Holding down the Shift key will turn the
| | 01:38 |
cursor into the White Balance tool.
So we'll go back here now.
| | 01:43 |
Now, what you're going to be looking for
is a neutral area to click on.
| | 01:48 |
I'm going to purposely find areas that
aren't neutral.
| | 01:51 |
That aren't giving me the results that I
want.
| | 01:54 |
You can see that didn't help there.
Cmd+Z back to where we were here.
| | 02:00 |
Not a neutral area, and not a good white
balance setting.
| | 02:05 |
Cmd+Z again.
Now I'm going to go down to the side of
| | 02:07 |
this building where I know its fairly
neutral.
| | 02:11 |
I'm going to click there.
And you can see now, I've got a white
| | 02:14 |
balance color in my image that is more
accurate, more reflective of what was in
| | 02:18 |
front of the camera.
And pretty good shape.
| | 02:23 |
I'm happy with that.
If I want to I can come over to the
| | 02:26 |
sliders in the white balance settings
here.
| | 02:30 |
And also fine tune the temperature
setting here.
| | 02:33 |
And this is the tint if I want to change
the over all tint.
| | 02:37 |
Move the slider left and right.
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| The Color Sample tool| 00:01 |
Camera raw's color Sampler tool is
located up here in the toolbox next to
| | 00:06 |
the Color Sampler tool, you can see with
my tool tips here that using the S
| | 00:10 |
command will also bring up the Color
Sampler tool.
| | 00:15 |
With this tool you can take up to nine
color samples from the preview window.
| | 00:21 |
So I'm going to show you what I mean
click here, that's the first sample.
| | 00:26 |
I could click here, that's two, three,
four, five, six, seven, eight, nine.
| | 00:29 |
And these color samples, you can see the
RGB values up here.
| | 00:41 |
They update in realtime.
So if I change any of my color values
| | 00:44 |
over here.
Say for example, these are all going to
| | 00:48 |
update in realtime and give me a good
progress report on what I'm doing to my image.
| | 00:55 |
I can move individual points around by
clicking and dragging them.
| | 01:00 |
And I can clear the samples by selecting
clear samples.
| | 01:04 |
And you also notice that there's a real
time RGB readout underneath the histogram
| | 01:10 |
here where ever I place my cursor.
This can actually any of my tools, my
| | 01:17 |
hand tool, the zoom tool you can see the
RGB values will appear over here as well
| | 01:23 |
regardless of which tool I'm using.
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| The Target Adjustment tool| 00:01 |
Camera Raw's Targeted Adjustment tool
works directly off the image area.
| | 00:06 |
Let me show you what I mean.
I'm going to select the TAT, as it's
| | 00:10 |
known for short, Targeted Adjustment
tool, up here in the toolbar.
| | 00:16 |
I could also just select the T key.
Now, you can see my cursor has turned
| | 00:22 |
into this icon you see in front of you at
the plus sign.
| | 00:26 |
I place that plus sign over the area that
I want to adjust the total values.
| | 00:32 |
In this case, the highlight on this
flamingo.
| | 00:35 |
Now watch what happens when I click my
mouse and drag up.
| | 00:41 |
Look to the right panel and you can see
the curve there.
| | 00:46 |
The parametric curve is moving up
increasing the highlight.
| | 00:53 |
Now I'm going to drag down with the
cursor using my mouse and you can see
| | 00:57 |
we're bringing those values down.
Alright, so let me pick another area in
| | 01:04 |
this image.
I'll click over here in the, or midtone
| | 01:08 |
range, click and drag up.
You can see a different part of the curve
| | 01:13 |
is moving.
And now, I'm going to drag down.
| | 01:16 |
It's reflected both in the parametric
curve and right directly on your display.
| | 01:23 |
This is a great way to adjust tonal
values straight from the display preview itself.
| | 01:32 |
I come over here.
I'm going to hold down my Alt, Option key
| | 01:36 |
and reset.
Go back to where we were.
| | 01:39 |
And I'm going to show you something
equally as cool.
| | 01:44 |
Click on the target adjustment tool icon.
And now, you can see, I can also adjust
| | 01:49 |
hue, saturation, luminance, and grayscale
values directly from the image area.
| | 01:56 |
So here, I'll choose saturation.
And you can see over in the right panel,
| | 02:00 |
it's how changed now to the HSL grayscale
values.
| | 02:05 |
I'm going to place my cursor over, in
this case I'll find some area in the
| | 02:10 |
pink, I guess, pink, which will be red
and orange.
| | 02:15 |
Click and I'm going to drag up.
Now watch my sliders to the right move.
| | 02:20 |
The reds are moving, that means we are
saturating just the reds.
| | 02:24 |
None of the other colors, and you can see
what happens when I drag down.
| | 02:28 |
I actually desaturate the reds and to
some degree the oranges.
| | 02:33 |
So, this is a great way of working on
these values directly from your Display
| | 02:37 |
Preview itself.
When you're done, you just hit the T key
| | 02:42 |
and that takes you out of the Targeted
Adjustment tool and you're done.
| | 02:49 |
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| The Crop tool| 00:00 |
Camera Raw's Crop tool is located here in
the toolbox.
| | 00:05 |
I can then select it by clicking on the
icon, or typing in the letter c.
| | 00:12 |
Cursor now turns into the crop icon, and
it should be very familiar to Photoshop users.
| | 00:18 |
I drag the crop into place.
Release the mouse and I can come back
| | 00:24 |
later and grab these bounding boxes, and
fine tune the boundaries of the crop.
| | 00:31 |
If I hold down the Shift key and grab any
or the corners, it constrains the aspect
| | 00:35 |
ratio of the crop.
If I click inside the crop area and move
| | 00:40 |
it, I can position it on the image that
way.
| | 00:45 |
If I move my cursor outside of the crop
area and click, I can actually rotate the
| | 00:50 |
crop as well.
When I'm satisfied with the crop, I hit
| | 00:56 |
the Return key, and the crop is in place.
However, any time I want, I can go back
| | 01:03 |
and clear that crop, and go back to the
original, because Camera Raw is a
| | 01:07 |
non-destructive editing tool.
So anything I do to this image is,
| | 01:13 |
nothing is actually being done to the
pixels themselves.
| | 01:20 |
The original that is always there so I
can go back to it.
| | 01:24 |
I just used Cmd+Z to put the crop back
in.
| | 01:27 |
If I hold the Ctrl and then click or
right-click the contextual menu pops up.
| | 01:34 |
That also gives me some other options for
preset, aspect ratios or I can create a
| | 01:39 |
custom aspect ratio as well.
Once I have this crop that I like, I can
| | 01:46 |
apply it to other images.
And I'm going to do that now by coming
| | 01:51 |
over here and selecting also the three
images in the filmstrip on the left are selected.
| | 01:58 |
Synchronize and you'll see here that I've
chosen just to apply the crop to those images.
| | 02:05 |
Hit, OK.
And, now all three images share the same
| | 02:10 |
cropping as my first image.
Very easy way of applying multiple crops
| | 02:16 |
to multiple images.
That's Camera Raw Scrap tool.
| | 02:22 |
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| The Straighten tool| 00:02 |
Let's see how to use Camera Raw's
Straighten tool.
| | 00:05 |
I select the Straighten tool up here in
the Tool bar by clicking on the icon, or
| | 00:09 |
selecting the letter A.
Now, my cursor turns into this icon that
| | 00:14 |
you see on the screen.
And I find, in this case, the shore line
| | 00:18 |
that I want to straighten.
I click and I follow the shoreline with
| | 00:25 |
the dotted line.
That's far enough right there.
| | 00:30 |
All I have to do now is release my cursor
and Camera Raw is actually doing the rest.
| | 00:36 |
It corrects the angle and adjusts the
image to make up the difference.
| | 00:41 |
Now all I have to do is hit the Return
key and you can see the result.
| | 00:45 |
The shoreline is straight Camera Raw is
straight and tilt worked perfectly.
| | 00:52 |
| | Collapse this transcript |
| The Retouch tool| 00:01 |
Let's use Camera Raw's retouch tools, to
get rid of spots such as this one that's
| | 00:06 |
caused by dust on the camera sensor.
I'm in Bridge now.
| | 00:10 |
I have one image selected.
I'm actually going to bring in four
| | 00:15 |
images into Camera Raw, all having the
same problem with spots.
| | 00:21 |
I'll hold down the Shift key and I'll
click and now all four of them are
| | 00:25 |
selected in the film strip.
I'll double-click on any one of them and
| | 00:30 |
Camera Raw opens, and you'll see on the
left in the film strip there.
| | 00:34 |
They're all placed.
I could of brought in as many as I wanted
| | 00:37 |
from Bridge, into Camera Raw.
The main selective image is showing up in
| | 00:43 |
my Preview window.
And lets enlarge this spot a little bit,
| | 00:47 |
so you can see better.
Okay.
| | 00:51 |
There's a spot there.
So, I'm going to take the Retouch tool
| | 00:55 |
selected in the tool strip on the top
part of the Camera Raw window.
| | 01:00 |
And you can see on the right, a couple of
options appear under Type, Heal or Clone.
| | 01:06 |
Heal basically blends the target and the
source, while the Clone tool takes a copy
| | 01:11 |
of the source and pastes it over the
target area and blends the edges.
| | 01:17 |
I find the Heal tool works best for spots
like this.
| | 01:20 |
Now I'll place my cursor right in the
middle of this spot, and I'm going to
| | 01:25 |
click and drag, and this red and white
circle appears, and as soon as I release.
| | 01:32 |
You'll see that Camera Raw has created a
green and white circle, and that now is
| | 01:37 |
the source to blend over the target area
and get rid of my spot.
| | 01:43 |
I'm going to come down here, and if I
want there's other spots here.
| | 01:47 |
I can easily get rid of them.
I'm going to do the same thing now with
| | 01:51 |
holding the blue and white outlined
circle, over a spot and click right in
| | 01:54 |
the middle of it, and drag.
And you can see the red and white circle.
| | 02:01 |
Then is adjacent to it is the green and
white circle, which is the source.
| | 02:07 |
There's another spot here same thing
click and drag.
| | 02:11 |
I'm making my circle about 25% larger
than the spot itself, I find that works
| | 02:16 |
very well.
So, I've very quickly gotten rid of the
| | 02:20 |
spots caused by dust on the sensor in
this image.
| | 02:25 |
Now, the images you see on the left in
the film strip were all taken very much
| | 02:28 |
in the same time frame.
So, the dust that was on the sensors, is
| | 02:32 |
probably going to be in the same
location.
| | 02:35 |
If I were working with images shot days
apart, that dust has a way of moving around.
| | 02:40 |
So, it may not be the best thing to do
what I'm going to show you now but for
| | 02:44 |
these images it should work fine.
I'll come up here and I'm going to select
| | 02:49 |
all of them, in the film strip.
And, I'm going to click on synchronize.
| | 02:55 |
In the synchronize popup menu.
I can choose different options, but I'm
| | 02:59 |
going to choose Spot Removal, because I
only want that adjustment to be brought over.
| | 03:03 |
I don't want any of the other exposure
values synchronized, or any of the other
| | 03:07 |
values, just the spot removal.
I'm going to click OK.
| | 03:12 |
And, now it'll automatically go through
and apply the same work that I applied to
| | 03:16 |
the first image to all of them.
Let's go through and see if it's done a
| | 03:22 |
good job.
You can see here, in this image, spots
| | 03:26 |
are removed and, also, in this image
here.
| | 03:32 |
This image, which has a vertical
orientation.
| | 03:36 |
That's been taken into account and the
image is also been fixed.
| | 03:41 |
Now, I want to point out a couple things
here.
| | 03:44 |
It's important to note.
When I originally selected a target and
| | 03:49 |
then Camera Raw made a source.
I didn't touch the circle.
| | 03:56 |
Camera Raw did a good job, and there was
no need to move that source to another location.
| | 04:02 |
In fact, it was a very important point to
remember that when you are applying these
| | 04:07 |
Retouch tool settings to multiple images,
If you have moved that source circle.
| | 04:15 |
And I'm going to do it right now just to
demonstrate it.
| | 04:18 |
If I have clicked and moved it.
The minute I do that, it's no longer a
| | 04:22 |
spot that's been created by Camera Raw,
but by the user.
| | 04:28 |
And when you go to apply this to another
image, Camera Raw will treat this as an
| | 04:34 |
absolute value.
So, if I place it here, for example.
| | 04:41 |
That's the next image Camera Raw will
place this source exactly where I've
| | 04:44 |
placed the original source.
Now that may or not be what you want.
| | 04:50 |
The fact is when you move from one image
to the other, sometimes you want
| | 04:54 |
Photoshop or Camera Raw to do the work
for you.
| | 04:58 |
And if you have left that source to where
originally Camera Raw had set it, It
| | 05:03 |
becomes a relative value.
So, in the next image we may decide that
| | 05:09 |
that's not the proper location for the
source, but it'll do it automatically for you.
| | 05:15 |
It won't do it automatically for you, if
you have moved that source at all originally.
| | 05:22 |
The key point to remember.
A lot of people don't understand or don't
| | 05:25 |
even know that that's what happens.
Okay, so here's something else you should
| | 05:29 |
know about this tool, is that, once
you've applied it you can go back and
| | 05:33 |
change it at any time.
Just like anything in Camera Raw, it's a
| | 05:37 |
nondestructive process.
So, here for example, my source is not
| | 05:42 |
appropriate, so I'm going to have to go
through, and I'm going to click in the
| | 05:46 |
middle of the green and white circle.
And I can move now that source around,
| | 05:51 |
and pick a new source.
Click in the middle, drag the circle around.
| | 05:57 |
Now, if I click on an edge of either
circle, I can enlarge or shrink the
| | 06:02 |
source and the target together.
And I can also control that size over
| | 06:08 |
here on the right with a radius setting.
We can see there, how that works.
| | 06:15 |
Obviously way too much.
Bring it down.
| | 06:18 |
The opacity slider on the right, it, for
the control over haul camera is blending
| | 06:23 |
the source and the target together.
If I want to get rid of one of the circle
| | 06:30 |
the target and source, I click on it,
select it and use the Delete key.
| | 06:37 |
If I want to get rid of all of em, I just
do Clear All.
| | 06:41 |
Now, if I want to have the outline itself
not visible, I click here on Show Overlay
| | 06:47 |
and it goes away.
I'll make it visible again, or if you hit
| | 06:53 |
the V key on the keyboard, does the same
thing.
| | 06:58 |
So that's Camera Raw's retouch tools that
really, really handy for getting rid of
| | 07:04 |
spots, caused by center dust one image or
multiple images.
| | 07:12 |
| | Collapse this transcript |
| The Red Eye Removal tool| 00:02 |
Okay, let's use Camera Raw to fix this
red eye problem.
| | 00:06 |
Select the Red Eye tool up here in the
Toolbar.
| | 00:10 |
Use the E key as well.
I move the cursor, which is now an icon
| | 00:17 |
that you see here, over the red eye, and
a little bit outside of the red area.
| | 00:26 |
I'm going to click and drag and make a
rectangle and simply release the mouse.
| | 00:32 |
And the red eye is gone, that quickly.
I can come over here and adjust the pupil
| | 00:38 |
size through this slider on the right, or
I can also darken the pupil here with
| | 00:42 |
this slider.
I think that's a little too much, let's
| | 00:49 |
back it off.
And then, you just repeat this on as many
| | 00:54 |
red eyes as you have.
| | 00:57 |
| | Collapse this transcript |
| The Adjustment Brush| 00:02 |
Camera Raw's adjustment brush allows you
to adjust tonal value, sharpness, and
| | 00:07 |
even add color tint selectively to
specific areas of an image.
| | 00:13 |
No longer are you restricted to working
on an image globally.
| | 00:17 |
Let's see how it works.
I select the brush in the toolbar.
| | 00:23 |
I could also click on the K key and you
can see a whole set of options appear
| | 00:27 |
here in the right.
This is where I can control exposure,
| | 00:32 |
brightness, contrast, saturation,
clarity, sharpness, and the color tints.
| | 00:38 |
I am going to work just on a couple areas
of this image.
| | 00:42 |
I'm going to work with the exposure
values to begin with.
| | 00:46 |
I move my cursor over the area that I
want to work.
| | 00:49 |
I've already set my exposure value to be
plus 0.55.
| | 00:55 |
I want to brighten the area around the
eyes a little bit and leave the rest of
| | 01:00 |
the image untouched from this point of
view.
| | 01:04 |
My brush as you can see is a little bit
large I'm going to use the bracket key
| | 01:08 |
the left bracket shrinks the brush the
right bracket enlarges it.
| | 01:14 |
You can also see down here to the right
in the lower part of the panel, you can
| | 01:18 |
adjust the size of the brush, the
feathering, the flow, and the density.
| | 01:23 |
Now I place the brush over the area I
want to adjust, I Click and I Drag.
| | 01:30 |
And it's applying that new exposure value
just to that eye area.
| | 01:36 |
I can tell exactly where I'm placing that
mask by selecting the Show Mask option
| | 01:42 |
down here and you can see exactly where
that change is occurring.
| | 01:48 |
I'm going to come over and using the same
values apply a little bit of a tone
| | 01:53 |
adjustment in this eye as well, and I'm
going to brighten up the teeth a little.
| | 02:01 |
Easily done right there.
I could have created the three localized
| | 02:06 |
corrections if I wanted to, you can apply
as many localized corrections as you want
| | 02:11 |
by selecting the new radial button over
here.
| | 02:16 |
In fact, I'll select it now, because I'm
going to show you how you can also apply
| | 02:20 |
using the adjustment brush to soften a
particular part of an image.
| | 02:27 |
Put my exposure value back to normal.
Double click on that arrow in the slider
| | 02:31 |
that brings it to zero.
I'm going to bring my clarity values to a
| | 02:35 |
negative value.
I'll bring my sharpness to a negative value.
| | 02:40 |
And I'm going to come over here in this
area, the skin, and this should show you
| | 02:44 |
a wonderful feature of this new brush
that I think you'll find very useful,
| | 02:47 |
especially with skin tones.
I'm painting over the skin tone and you
| | 02:55 |
can see the effect of the clarity and
sharpness lighters on the skin tone.
| | 03:00 |
It's leaving all the details of the eyes
and the teeth intact, but it's giving
| | 03:05 |
that skin a very nice smooth effect.
And again, if I come over here and click
| | 03:17 |
on Show Mask, it's showing me the area
that is being affected by the brush.
| | 03:23 |
This is a very powerful new tool that I
find very useful.
| | 03:29 |
There's a lot more to it, Automask for
example.
| | 03:32 |
If you work on an area you want to be
careful where you're spreading the brush.
| | 03:37 |
If you click on Automask it will find the
edges for you.
| | 03:41 |
There's a lot to this brush, but I think
you'll find it very, very useful.
| | 03:48 |
| | Collapse this transcript |
| The Graduated Filter tool| 00:02 |
Camera raw's graduated filter allows you
to set tonal adjustments gradually across
| | 00:06 |
a specific area of your image.
I'll select the graduated filter here in
| | 00:12 |
the toolbar.
I could also have selected it by hitting
| | 00:17 |
the G key.
To the right in this panel here you can
| | 00:20 |
see several options appear.
I'm going to work just for the exposure
| | 00:26 |
values on this image that you see.
I want to darken the sky and keep the
| | 00:30 |
foreground the way it is.
So I'm going to go with a negative
| | 00:35 |
exposure value, bring my cursor up to the
top of the image area.
| | 00:40 |
I'm going to hold the shift key down and
then click.
| | 00:43 |
Holding the shift key restrains the
graduated filter.
| | 00:48 |
Now, if I don't hold the shift key, I can
actually move this graduated filter to
| | 00:54 |
any angle I want.
But I want this to be restrained, so I'm
| | 00:59 |
going to hold the shift key and drag and
drop.
| | 01:03 |
This line down over the sky up to the
horizon line.
| | 01:07 |
Now what I'm doing here is I'm spreading
that effect gradually over that area
| | 01:12 |
between the green and white dotted line
at the top and the red and white dotted
| | 01:17 |
line at the bottom.
You can see, I can compress the effect by
| | 01:25 |
coming up and I'm going to spread it out
a little bit more like that.
| | 01:30 |
Okay, and I release the mouse.
Now the beauty of this is I can go back
| | 01:34 |
over here in the right panel and I'm in
the Edit mode as you can see.
| | 01:40 |
This Edit is selected.
And now I can adjust my exposure values
| | 01:45 |
after I've already set my graduated
filter.
| | 01:49 |
So I can make that sky even more dramatic
at the top here.
| | 01:54 |
And if I want, I can also change
brightness values, and any of the other
| | 01:58 |
values in this right panel.
By the way, double-clicking on an arrow I
| | 02:05 |
want to show you this.
If this right this value is at 27 and I
| | 02:09 |
want to bring it back to zero I just
simply place my cursor over this slider
| | 02:13 |
arrow and double-click and it'll bring it
to the zero value.
| | 02:19 |
That holds true for all these sliders.
So now I have this sky that is much
| | 02:26 |
better, thank you, Graduated filter.
| | 02:31 |
| | Collapse this transcript |
| Creating a super vignette| 00:01 |
I'm going to use Camera Raw's new
graduated filter to create a super vignette.
| | 00:07 |
I'll select the Graduated Filter here in
the toolbox.
| | 00:11 |
I am going to use a negative exposure
value.
| | 00:14 |
I want to darken it.
And I'm going to completely desaturate.
| | 00:20 |
I'll start at the top with the first
graduated filter.
| | 00:23 |
I'm going to actually create four of
them.
| | 00:26 |
I'm going to hold the Shift key down, and
Click and Drag.
| | 00:30 |
You can see the effect gradually being
applied to the top part of my image.
| | 00:35 |
I'm going to select New over there, and
create another graduated filter from this side.
| | 00:43 |
Coming in to about the same spot there.
I can always go back later and adjust the work.
| | 00:53 |
Select New, start at the bottom now,
holding the Shift key should constrain
| | 00:57 |
that angle there.
Good.
| | 01:01 |
And drag up.
And I'm going to do one more over here.
| | 01:07 |
Select New.
Shift key.
| | 01:10 |
Let's strain that angle.
Okay, now, release.
| | 01:15 |
Alright so now I have very much focused
the attention of this image right on the center.
| | 01:21 |
That's what a vignette does.
But I have so much more control with this
| | 01:26 |
super vignette.
I can go back at any point, and if I
| | 01:29 |
didn't like the desaturated look, I could
do an oversaturated look on that
| | 01:34 |
vignette, or change contrast, clarity,
sharpness.
| | 01:39 |
Any of the controls that you get with a
Graduated Filter, I can come back and
| | 01:43 |
alter on each one.
You only work with the selected Graduated Filter.
| | 01:49 |
So you can only work with one at a time.
So to select the next one I click on the
| | 01:54 |
dot, and we can see now it's highlighted,
and I can go through and tweak that side
| | 01:59 |
as well.
If I want to get rid of a filter, I
| | 02:04 |
select it and hit the Delete key.
And once I hit the Delete key, only that
| | 02:10 |
filter will go away.
So a very quick way to get rid of all the
| | 02:15 |
graduated filters, if you've been
applying several of them, is just to
| | 02:18 |
select all down here in the lower right
and they're all gone.
| | 02:25 |
Again, anything you do in Camera Raw is
non-destructive, so even with this effect
| | 02:30 |
of the graduated filter, you can go back
and change it or get rid of it.
| | 02:36 |
That's super vignette using the graduated
filter.
| | 02:41 |
| | Collapse this transcript |
| Using the Adjustment Brush and Graduated Filter tools together| 00:02 |
I'm going to use camera's new Graduated
Filter and Adjustment Brush to improve
| | 00:06 |
this image.
Let's start by selecting the Graduated
| | 00:11 |
Filter up here.
I want to darken the sky, so I'm going to
| | 00:16 |
put a negative exposure value there, I'll
hold my shift key And click and drag
| | 00:22 |
which constraints the angle of the
graduated filter and I'm dragging down as
| | 00:28 |
far as I go.
The graduated filter is gradually
| | 00:35 |
applying the negative exposure value to
the sky.
| | 00:41 |
I'm going to come back now that I've
finished dragging, and adjust the
| | 00:45 |
graduate filter.
So I get even more of a dramatic sky here.
| | 00:50 |
I'm not worrying about the bird.
'Cuz I'm going to come back to that later
| | 00:53 |
with the adjustment brush.
I like that.
| | 00:56 |
So I think I'm going to also use another
graduated filter.
| | 01:01 |
I select New and again hold the Shift
key, click and drag which is constraining
| | 01:08 |
the angle.
And I'm going to darken the foreground.
| | 01:14 |
Now that's too much so I can come back
and change that later.
| | 01:18 |
This is the beauty of using all these new
tools and camera RAWS.
| | 01:22 |
They're completely nondestructive so we
can come back at anytime and change them
| | 01:25 |
or remove them.
So now we're done with the graduated
| | 01:30 |
filter, and I'm going to come in now and
use the new Adjustment Brush to brighten
| | 01:35 |
up some of the areas that have gone too
dark.
| | 01:40 |
I'm going to also use Auto Mask now
because I know that the edges of this
| | 01:44 |
bird will be hard to follow with my
brush.
| | 01:49 |
I can change the size of my brush over
here with this slider.
| | 01:53 |
I think I'll make it a little bit
smaller.
| | 01:56 |
I could also use the left and right
bracket keys, which is a very good way to go.
| | 02:02 |
I don't want negative exposure values.
I'm going to go into the positives.
| | 02:08 |
And I'll click.
And I'm going to apply the adjustment
| | 02:12 |
brush just to the bird.
Woops, I went too far.
| | 02:19 |
I think I'll start over again.
Command z.
| | 02:22 |
Click and drag.
I'm letting the brush find the edges
| | 02:27 |
here, so I don't have to be very precise.
Okay, you can see that I have not applied
| | 02:34 |
the right exposure value, so I think I'll
increase that a little bit now.
| | 02:43 |
So there.
Now, I want to see exactly where my mask
| | 02:45 |
is going, so I'll select Show Mask.
I think I'll choose a different color for
| | 02:52 |
my mask.
Red is a little bit nicer.
| | 02:55 |
I clicked on that color swatch down
there, and that brought up the color picker.
| | 03:00 |
I can choose the Brightness and the
Opacity as well.
| | 03:03 |
And I can actually make it a reverse mask
or a mask that shows the effected area here.
| | 03:11 |
Alright, so it shows me that my edges are
pretty good.
| | 03:14 |
Maybe I could do a little bit better over
here.
| | 03:16 |
So I'll just take the brush, enlarge.
I'm using the zoom tool to enlarge a
| | 03:22 |
little bit.
Okay, I've spilled over the edges.
| | 03:26 |
So I can either come over here and click
Erase, and get rid of that area.
| | 03:33 |
using the mask's color to guide me, and
now I don't want that, so I want to add
| | 03:40 |
on that area.
Click Add.
| | 03:45 |
And see, the brush takes a little bit of
finesse.
| | 03:50 |
I can also use the Alt and Control, or
Control keys to add or subtract.
| | 03:58 |
I use the Space bar, by the way, to move
my image around in the preview area.
| | 04:03 |
And I'm going to come over here and add a
little bit here.
| | 04:06 |
Oh, just spilled over.
I can go Cmd+Z, and that'll start a.
| | 04:08 |
I think I'll make the brush a little bit
smaller.
| | 04:15 |
Bracket key would have been easier there.
Okay now.
| | 04:17 |
Okay so, I've now got the area pretty
well covered.
| | 04:25 |
come back and turn off the mask and my
exposure value is a little too bright so
| | 04:31 |
let me, let me move that down.
Good.
| | 04:37 |
So, this is a super way to control
specific areas of your image I see
| | 04:41 |
another part of the image that I probably
want to work on, just the top of his head there.
| | 04:49 |
So I think I'll create a new adjustment
brush, click here and you can see that
| | 04:54 |
this is way too bright but that's ok.
Doesn't matter.
| | 05:01 |
I can come back and adjust it.
Sometimes, it helps to overdo the values,
| | 05:06 |
just so you can see the effect better
without using the mass colors.
| | 05:13 |
So I'll bring this down to about there.
Alright.
| | 05:18 |
So now I have 2 adjustment points set.
You can tell which one's active by the
| | 05:23 |
black dot.
And also when I hold my cursor over the
| | 05:27 |
black dot, even if I haven't selected
Show Mask, the mask will appear, just as
| | 05:32 |
long as my cursor is over that point.
Now in this case here, even though it's
| | 05:38 |
not active, I can still hold my cursor
over it, and it shows me the area where I
| | 05:41 |
have masks.
So I'm going to zoom back there.
| | 05:46 |
Whoops, went too far.
Remember just double-clicking on the hand
| | 05:51 |
tool with always bring you back to fit
into view.
| | 05:55 |
Not bad.
So that's a combonation of using the
| | 05:58 |
graduated filter both on the top and the
bottom And, then coming in and using the
| | 06:04 |
new adjustment brush to apply localized
corrections.
| | 06:11 |
Now again, this is just so great because
you can go back at any point and in
| | 06:15 |
camera raw, if I don't want that
particular adjustment anymore, I select
| | 06:19 |
it and then I hit the delete key and it's
gone, it's keeps the other point.
| | 06:27 |
If I wanted to get rid of all of them, if
I had multiple adjustments, I just select
| | 06:31 |
Clear All, down here in the lower right
hand side, and that's that.
| | 06:38 |
| | Collapse this transcript |
|
|
3. Workflow TipsUnderstanding and using previews| 00:02 |
Camera raw's preview option can be a
little confusing.
| | 00:05 |
So I want to go over it.
Up here in the upper right hand corner
| | 00:09 |
you see a preview check box.
Right now it's checked.
| | 00:13 |
I can deselect it by clicking there, and
re-select it once again by clicking.
| | 00:19 |
More easily it's simply hitting the P
key.
| | 00:23 |
Right now when I toggle from preview on
and off, there's no change in the preview render.
| | 00:31 |
That's because this image has not been
touched since it came into camera raw, so
| | 00:34 |
the settings that were set when it was
brought into camera raw are the same.
| | 00:41 |
When I have preview checked, like I do
now, when I go and change any of the
| | 00:46 |
exposure values, in camera raw, I've
changed from the image as it came into
| | 00:50 |
camera raw, and now when I hit the p key,
it's going to bring me back to those
| | 00:55 |
original settings.
You can see that right now.
| | 01:02 |
So, when preview is on, it updates in
real time what you're doing.
| | 01:07 |
Now, if you want to go back to how the
image looked when you brought it into
| | 01:11 |
camera raw, you hit the P key, deselect
it and now you see.
| | 01:16 |
Now, this is the part that's confusing.
You are not necessarily seeing the actual
| | 01:23 |
default original setting of the image
when you deselect Preview.
| | 01:29 |
You're seeing the settings as they were
when the image came into Camera Raw.
| | 01:35 |
That doesn't mean that they haven't been
changed earlier when you worked on it in
| | 01:39 |
Camera Raw.
So, in order to see the image at its
| | 01:43 |
default settings, then you need to go
into this menu, over here on the right,
| | 01:50 |
and reset Camera Raw Default.
If you have done anything previously,
| | 01:58 |
it'll take it beyond that to the original
Camera Raw settings.
| | 02:03 |
So that's what's confusing about the
preview option.
| | 02:08 |
It's a preview on and off of the settings
as they were when they came into camera
| | 02:13 |
raw, and then as you make changes in real
time, it's updated.
| | 02:20 |
It's not necessarily taking you back to
your absolute, original, raw file,
| | 02:24 |
because you may have done something to it
in between.
| | 02:28 |
I hope that makes it a little more clear
how preview can be used.
| | 02:35 |
| | Collapse this transcript |
| Analyzing images using the Histogram panel| 00:02 |
Let's take a look at Camera Raw's
histogram which is found here in the
| | 00:05 |
upper right hand corner.
Every image, and every tonal or color
| | 00:09 |
change to that image, produces a
different histogram.
| | 00:13 |
In this image, for example, we have a
nice range of colors represented.
| | 00:17 |
And you can see how that distribution
will change as I move, for example, the
| | 00:22 |
Exposure slider.
I'm moving the slider to the left, which
| | 00:27 |
is darkening my image.
You can see now the histogram is moving
| | 00:31 |
to the left side of the graph.
And as I move the slider to the right, my
| | 00:35 |
image brightens.
And the distribution of the tonal values
| | 00:40 |
in the histogram now shift more to the
right.
| | 00:45 |
The colors in the histogram are fairly
intuitive to figure out.
| | 00:49 |
White represents the tones in all three
channels, red, green and blue.
| | 00:54 |
Red represents red tones.
Green represents green tones.
| | 00:57 |
Blue represents blue tones.
The cyan represents tones in both the
| | 01:02 |
green and blue channels.
Magenta represents tones in both the red
| | 01:06 |
and blue channels.
And yellow represents tones in the red
| | 01:10 |
and green channels.
So you can see here through just looking
| | 01:14 |
at this graph, you get a very nice
representation of the image itself which
| | 01:18 |
you can see in the preview and
The histogram is very useful as a tool
| | 01:24 |
for analysing your image, in fact.
It's probably more accurate in many ways
| | 01:30 |
than actually looking at the Preview
window itself.
| | 01:35 |
| | Collapse this transcript |
| Using clipping warnings| 00:01 |
Clipping refers to areas in an image
where there is not detail either in the
| | 00:06 |
highlight or shadow areas.
Camera Raw has very handy tools for
| | 00:11 |
showing you where that clipping might be
occurring.
| | 00:15 |
I'm going to click up here in the left
hand side of the histogram and show my
| | 00:19 |
shadow clipping wand.
I can see that there is a little bit of
| | 00:24 |
shadow clipping down here.
It's indicated by the blue or purplish
| | 00:28 |
color that's displayed on the image
there.
| | 00:33 |
I'll turn that warning off.
I'm going to come over to the right and
| | 00:36 |
click on this triangle.
And now, you can see there's much more
| | 00:39 |
clipping in the highlight areas.
This is the area where there is no detail
| | 00:43 |
in the highlights.
There's even more ways of seeing where
| | 00:49 |
clipping is occurring down here with the
Exposure slider.
| | 00:53 |
If I hold down the ALT or the Option key
and click and Move My Exposure slider you
| | 00:58 |
can see its giving me more information
exactly where that clipping is occurring
| | 01:02 |
what color channels were the clippings
occurring.
| | 01:09 |
And I'm going to also show you that, when
you hold down the ALT + q at the Black
| | 01:14 |
slider, it will also give you that more
detailed information about the clipping
| | 01:19 |
in your image.
In the histogram itself, if you look on
| | 01:24 |
the left and right sides, if you have
those solid lines going up on either
| | 01:28 |
side, that's another indication, there is
clipping in your image.
| | 01:34 |
Is clipping bad?
That's another question.
| | 01:38 |
Sometimes I find that I get clipping
especially when I move my Black slider
| | 01:43 |
but, it doesn't bother me too much.
In other words, there's times when
| | 01:49 |
clipping actually is not a bad thing in
this case, maybe I've gone a little too
| | 01:52 |
far with our Black slider.
But by moving that Black slider, I'm able
| | 01:59 |
to get a little more depth into this
picture, trade off is certainly, there is
| | 02:03 |
some clipping, as you can see, in the
shadow area.
| | 02:07 |
And the same holds true for the highlight
clipping there's times when it just may
| | 02:11 |
be necessary to have that in that area to
give your image the look that you're
| | 02:14 |
looking for.
So clipping is a absolute fact when you
| | 02:20 |
have clipping there is no detail in the
shadow or highlight area.
| | 02:25 |
It can be something that you live with if
you decide that it's not taking away from
| | 02:29 |
the overall look and feel of your image.
Or it may be something that you go in and
| | 02:35 |
use your exposure sliders and try to
dimish and we'll go into different ways
| | 02:40 |
of how to do that in other videos.
| | 02:45 |
| | Collapse this transcript |
| How do you undo?| 00:01 |
What do you do when you mess up in Camera
Raw?
| | 00:04 |
Well, first of all, you know that you're
never going to hurt the underlying
| | 00:08 |
original data because Camera Raw is a
non-destructive image processor.
| | 00:13 |
But, you may want to go back in time and
undo something you've done.
| | 00:17 |
Let's go through a couple ways of doing
that.
| | 00:20 |
In this example, I'm going to take my
Exposure slider and I'll move it over.
| | 00:25 |
And I'll stop here because I'm not
satisfied.
| | 00:30 |
I can do a couple things.
One thing that will bring my Exposure
| | 00:32 |
slider back to where the default setting
was is to put my cursor over the little
| | 00:36 |
triangle here in the slider, and
double-click.
| | 00:41 |
That's very simple, very quick.
It works on all the sliders in Camera Raw.
| | 00:45 |
Brings it back to its default setting.
Another thing I could do is the classic
| | 00:50 |
Cmd + Z, which you must be familiar with
in Photoshop, and that just undos the
| | 00:53 |
previous action.
And if I go Cmd +Z again, it redos it.
| | 01:00 |
Yet, another of undoing, but this one is
really a little more radical.
| | 01:04 |
If you've made a lot of changes to your
image and you're not satisfied with
| | 01:08 |
anything you've done, and you want to
quickly get back to the beginning.
| | 01:14 |
The original image, as it was when you
came into Camera Raw.
| | 01:19 |
If you hold down the Alt or Option key,
Cancel down here will turn into Reset.
| | 01:24 |
And if you click on Reset, that'll bring
you back to the original camera settings
| | 01:28 |
that were applied when you opened the
image in Camera Raw.
| | 01:34 |
I'm going to use Cmd + Z and show you
another way to get there, up here with
| | 01:36 |
this menu.
You can go Camera Raw Defaults or Reset
| | 01:42 |
Camera Raw Defaults.
Now, I'm going to show you something that
| | 01:47 |
is a little bit of a work around to one
of limitations of Camera Raw.
| | 01:51 |
Photoshop has the history palette where
you can go back incrementally step by
| | 01:55 |
step and undo one step at a time your
actions.
| | 02:01 |
There's nothing really like that in
Camera Raw.
| | 02:03 |
However, if you are aware that there's
going to be a time when you want to move
| | 02:07 |
back to a certain point in the process.
Let's say, you've come up with a
| | 02:11 |
treatment of your image that you're happy
with so far, you've got some exposure
| | 02:15 |
values that look good.
But you want to do some color work now
| | 02:19 |
and actually move into more subjective
areas.
| | 02:23 |
You might want to consider making a
Snapshot.
| | 02:27 |
The Snapshot is the icon up here.
Click on it.
| | 02:30 |
This brings up the Snapshot options here.
I'm going to click on this little icon at
| | 02:36 |
the bottom, and I'm going to name this
Snapshot Step.
| | 02:40 |
well, in this case, it'd be step one.
And that will show up now in the list.
| | 02:45 |
You can put as many snapshots as you
want, and at any point, stop, make a
| | 02:49 |
snapshot and it will show up here.
Now, what I'm working in my image, and
| | 02:54 |
I'm moving along into other areas of it.
Let me go ahead and do something else
| | 02:59 |
through the basic tab exposure, whatever.
We really messed up, but I don't want to
| | 03:06 |
go all the way back to the beginning.
Now, under this drop down menu, I can
| | 03:11 |
apply that snapshot, step 1, and it'll
bring me back to that point rather than
| | 03:16 |
bringing me all the way back to the
beginning.
| | 03:21 |
And as I said, you can create many
snapshots.
| | 03:24 |
So in a way, you're creating a little bit
of a history palette.
| | 03:28 |
And it certainly is a nice way to get
around that problem, the limitation of
| | 03:33 |
not having that in Camera Raw.
| | 03:37 |
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| What to do when you are done| 00:02 |
What do you do when your done.
You have several options when your
| | 00:05 |
finished adjusting and working on your
imagaing camera raw.
| | 00:08 |
Let's look at the, various options.
At the very bottom you'll see one, two,
| | 00:13 |
three, four buttons.
If you select Save Image, you get the
| | 00:18 |
Save Options Dialogue Box.
And this is if when you want to convert
| | 00:24 |
your Raw file into any of these four file
formats.
| | 00:28 |
Digital negative, JPEG, or TIF.
Over here, Open Image.
| | 00:34 |
If you select that, this opens your Raw
file with all it's settings in Photoshop.
| | 00:40 |
If I hold down the option or Alt key, it
turns into Open copy.
| | 00:46 |
This will now open my Raw file in
Photoshop.
| | 00:48 |
But it won't save the settings that I
have created in Camera raw.
| | 00:51 |
It won't save those to the file.
If I hold down the Shift key, it turns
| | 00:57 |
into Open object.
And this will open the Raw file as a
| | 01:03 |
smart object in Photoshop.
If I've selected over here under my
| | 01:08 |
Workflow Options Dialogue box.
Open in Photoshop as smart objects.
| | 01:14 |
This will then just default to Open
object.
| | 01:17 |
If you select cancel, this exits Camera
Raw with no new settings applied whatsoever.
| | 01:23 |
If you select Done, done applies your
current settings, Exits Camera raw.
| | 01:29 |
Returns either to Bridge or Photoshop
depending on which application is host to
| | 01:34 |
camera raw without opening the files.
So you have to choose what you want to do
| | 01:40 |
when you're done.
But you have many options.
| | 01:44 |
| | Collapse this transcript |
|
|
4. Basic Tab: Basic Image ProcessingWhen to use Auto Tone| 00:02 |
Let's take a look at Camera Raw's Auto
Tone Adujstments.
| | 00:05 |
With auto tone adujstments, Camera Raw
applies a made to order tone map based on
| | 00:09 |
the individual characteristics of a
particular image.
| | 00:13 |
Often times the results are satisfactory
but not always.
| | 00:18 |
Let's take a look at Auto Tone and apply
it to a few images just to give you an
| | 00:22 |
idea how it works.
The Auto Tone is found here in the Basic tab.
| | 00:28 |
I'm going to select Auto right here, and
you can see from this picture Auto Tone
| | 00:33 |
has done a, I think a very good job of
redistributing the tonal values.
| | 00:38 |
You can see that in the image preview
window and also up here in the histogram.
| | 00:42 |
Let's try another picture, and select
Auto.
| | 00:48 |
Once again I think it's excellent, the, I
think this is a really good
| | 00:52 |
representation of the, the way I want
this picture to look.
| | 00:56 |
And, let's take a third picture here, and
apply Auto to that.
| | 01:02 |
Okay.
So here's an example where the lighting's
| | 01:04 |
not so even.
And it's not doing such a great job.
| | 01:08 |
And I would probably revert back to the
default, and then work my way through
| | 01:12 |
these other sliders.
And manually adjust the tonal values that way.
| | 01:18 |
You can have Autoset as a preference
here, so that Camera Raw will
| | 01:22 |
automatically always apply an Auto tone
adjustment to an image as a default, by
| | 01:28 |
selecting it here.
I generally don't recommend that.
| | 01:33 |
Just because I find it pretty easy.
You have the auto control always at your
| | 01:37 |
fingertips right here.
And if you're using the auto as a
| | 01:42 |
default, sometimes it gets a little
confusing about exactly what's going on
| | 01:45 |
with an image.
I'd rather start with it coming fresh,
| | 01:49 |
and then starting with auto and using
auto is a good starting point, and then
| | 01:53 |
working my sliders or not using auto at
all and working my sliders.
| | 01:59 |
So that's just my recommendation, but you
can have it set through the preferences
| | 02:03 |
to be applied automatically if you find
that works for you.
| | 02:08 |
| | Collapse this transcript |
| Using the Exposure slider| 00:00 |
We're going to look at ways to manually
map the tonal values of an image.
| | 00:06 |
Having said that, I want to remind you
that generally my first approach is to
| | 00:10 |
try the Auto setting here and see how
good a job Camera Raw has done with the
| | 00:14 |
tone mapping with that setting.
Then, if I'm not satisfied with auto
| | 00:22 |
setting, I'll move my way through the
other sliders and manually adjust the
| | 00:26 |
exposure values.
Let's start with the exposure slider in
| | 00:30 |
this case and then in other videos, I'll
go into more detail about the other sliders.
| | 00:35 |
They all add up to making a nice pleasing
looking image that expresses what you
| | 00:39 |
want to express.
There are certainly subjective and
| | 00:45 |
objective considerations, so the exposure
slider, here, positive values lighten up
| | 00:49 |
the image.
And I'm always really carefully watching
| | 00:54 |
the histogram when I move this slider,
almost more than watching the Preview
| | 00:58 |
window because the histogram just gives
me so much information about how those
| | 01:02 |
tonal values are being redistributed when
I move the slider.
| | 01:08 |
You can see now, for example, as I move
the slider to the right that solid red
| | 01:13 |
line to the far right shows that there's,
I've introduced some highlight clipping.
| | 01:19 |
So, I have to back off and be careful
about that.
| | 01:21 |
And it may even look right in the preview
window.
| | 01:23 |
But my histogram is giving me a lot of
good information there.
| | 01:28 |
So, the positive values brighten up the
image and then the negative values darken it.
| | 01:34 |
And I'm watching the histogram again.
And from a purely objective point of
| | 01:38 |
view, this image is going way too dark.
But there's also an aesthetic that you
| | 01:43 |
have to pay attention to as well.
In this case here, yes, the overall image
| | 01:48 |
looks pretty dark.
But there's a nice effect there with the
| | 01:52 |
colors and the highlights just showing in
the sea of darkness.
| | 01:57 |
So, this is the subjective aspect of
mapping tones where it's not objectively right.
| | 02:03 |
I mean, obviously, distributing those
tones over here more in the positive
| | 02:06 |
values is you would say is from an
objective point of views right.
| | 02:12 |
But you know, I'm just noticing now, as I
work this slider into the negative
| | 02:16 |
exposure values that I actually like that
in many ways.
| | 02:19 |
It creates a very moody image.
So, this is now the subject of aspect of
| | 02:25 |
the total mapping.
So, we'll look at some of these other
| | 02:29 |
sliders and see how they work.
This is the Exposure slider.
| | 02:33 |
I suggest you, you know, move it to the
left and to the right.
| | 02:38 |
Look at the histogram.
Observe what's happening with the histogram.
| | 02:41 |
And also, watch the image area itself and
get a feeling subjectively what you're
| | 02:44 |
trying to do.
And then we'll move on to the other
| | 02:48 |
sliders and they'll give you further
control over the distribution of those
| | 02:54 |
tonal values.
| | 02:57 |
| | Collapse this transcript |
| Using the Recovery slider| 00:02 |
Let's take a look at Camera Raw's
Recovery slider, which is found here in
| | 00:05 |
the Basic tab.
The Recovery slider attempts to recover
| | 00:09 |
details in the highlight areas that might
otherwise be missing.
| | 00:14 |
It does this by looking individually at
the red, green, and blue channels.
| | 00:18 |
Finding data in one channel, and then
reconstructing the data across the three channels.
| | 00:25 |
It has the effect of darkening the
highlights slightly, without affecting
| | 00:29 |
the darker areas.
In this example here, I'm going to turn
| | 00:33 |
on the Highlight Clipping Warning, and
you can see this area here has no detail.
| | 00:40 |
I'll go over to the Recovery slider and
zero its default setting.
| | 00:46 |
And watch as I move that Recovery slider
over to the right, into higher values.
| | 00:53 |
The red is starting to disappear.
So, that area now is starting to get some
| | 00:56 |
detail into it.
I'm going to go all the way over to the right.
| | 01:01 |
And you'll see in this case, with this
particular image, which had really an
| | 01:05 |
extreme range of tonal values from
highlights to shadow and very few digital
| | 01:09 |
cameras can capture that extreme range.
The Recovery slider has done a very good
| | 01:15 |
job of recovering a lot of that detail
but not all of it.
| | 01:20 |
But I'm satisfied.
With some images, it's going to do a
| | 01:23 |
better job than others.
But this is a great tool to use when you
| | 01:27 |
notice the highlight clipping and you
want to diminish the effect of that.
| | 01:33 |
| | Collapse this transcript |
| Using the Fill Light slider| 00:01 |
Camera raw's Fill Light slider, found
here in the Basic tab is a great tool for
| | 00:06 |
opening up the shadow areas of an image
without affecting the highlights, up to a point.
| | 00:13 |
This image here is a perfect candidate
for the Fill Light slider.
| | 00:18 |
Earlier, I had tried the auto-setting
which really did not work, but here, I'm
| | 00:23 |
going to apply the Fill-light slider and
you'll see how wonderfully it works.
| | 00:30 |
When I enlarged just a little bit because
this is the face that we are really
| | 00:35 |
trying to open up so I'm going to move
this fill light slider to the right.
| | 00:41 |
And you can see it's as if I were either
using a reflector to bring more light
| | 00:46 |
onto the subject's face or even used an
on camera strobe to add a little fill.
| | 00:53 |
I can go too far which is always useful I
think to see the effect of a tool.
| | 00:59 |
And here we've really overdone it, and it
this brings out a lot of the noise in the
| | 01:03 |
shadow areas as well.
But if you come back down into this area
| | 01:08 |
around the 24, 30, 29 that area.
I think we've got a really nice opening
| | 01:14 |
of that shadow where, yes look at that,
much better.
| | 01:19 |
So the fill light is just super useful
slider for particular images such as this one.
| | 01:26 |
| | Collapse this transcript |
| Using the Blacks slider| 00:01 |
I use Camera Raw's Black slider a lot,
and it's found here in the Basics tab.
| | 00:08 |
Here's an example where earlier I had
used the Auto Setting with good results.
| | 00:13 |
If I were going to do anything to this
image, I would come over and move the
| | 00:16 |
Black slider slightly to the right.
Which is now darkening the darkest part
| | 00:22 |
of the image.
And basically, it sets a black clipping
| | 00:25 |
point while leaving the rest of the image
alone.
| | 00:29 |
By the way, a black clipping point is
establishing a cut off point from which
| | 00:33 |
pixels with darker values are clipped or
set to pure black.
| | 00:38 |
Other pixel values are adjusted relative
to the new shadow values.
| | 00:41 |
So, there's one example.
Here's another example here, where I
| | 00:45 |
would very quickly use the Black slider
just to give this just a little more depth.
| | 00:52 |
Now, I'm very much aware that now there's
shadow clipping.
| | 00:55 |
But, it doesn't bother me in this case
because it does add to the overall affect
| | 00:59 |
of the image.
Here's a case where definitely moving the
| | 01:03 |
Black slider.
In fact, I probably should have started
| | 01:06 |
with the Auto Setting, which I usually
do.
| | 01:09 |
Auto and then move the Black slider.
And you can see there just a slight
| | 01:13 |
tweaking of the Black slider really gives
that image more depth.
| | 01:18 |
Of course, if you go too far, the effects
are very not helpful and we won't do that
| | 01:22 |
but just a little bit.
And as I said, I use the Black slider a lot.
| | 01:28 |
And I think if you use it on your images
you may find it equally as useful.
| | 01:35 |
| | Collapse this transcript |
| Using the Brightness and Contrast sliders| 00:02 |
The Brightness slider found in the basic
tab is similar to the Exposure slider.
| | 00:07 |
But it distributes the total values in a
linear adjustment.
| | 00:12 |
Positive Exposure Settings often clip the
highlights, like in this case here.
| | 00:17 |
You can see I get a lot of clipping in
the highlights.
| | 00:22 |
Positive Brightness Values opens up the
shadow areas.
| | 00:26 |
And basically, doesn't clip the
highlights.
| | 00:30 |
Now, you can see what happens when you
move the Brightness slider to the left.
| | 00:35 |
It's compressing the shadow areas.
The Contrast slider works in conjunction
| | 00:41 |
with the Brightness Setting.
Applies the S curve that results in
| | 00:46 |
either increased or decreased contrast
while leaving the extremes alone.
| | 00:53 |
| | Collapse this transcript |
| Using the Clarity slider| 00:02 |
Camera Raw Clarity slider which is found
here in the Basics tab is a really good
| | 00:06 |
way to add punch or clarity to your
image.
| | 00:09 |
Let me show you what happens when I moved
the Clarity slider to the left, into
| | 00:14 |
negative values.
You can see the fog like effect increases
| | 00:18 |
on this image, which in some cases can be
a desirable look.
| | 00:24 |
If we go the other way with the slider,
it's as if you're wiping a foggy window
| | 00:29 |
clean, and you can see almost all the way
through it now.
| | 00:34 |
So it works really well with certain
images and will give your image a nice
| | 00:38 |
punch or pop.
If you go into the positive values, you
| | 00:43 |
can also create a nice dreamy-like
effect, if that's what you want, by going
| | 00:48 |
into negative values.
| | 00:52 |
| | Collapse this transcript |
| Using the Vibrance and Saturation sliders| 00:02 |
Both the Vibrance and Saturation sliders
found in the Basic tab control color
| | 00:06 |
intensity by increasing it or decreasing
it, but they do it in different ways.
| | 00:13 |
The Saturation slider, I'm going to move
it into the positive values, I want to
| | 00:17 |
increase the color intensity of the red
bathing suit.
| | 00:22 |
However, this Saturation slider is
working globally, so it is increasing all
| | 00:27 |
colors equally and you can see now I have
an unwanted shift in color in skin tone
| | 00:32 |
as well.
So this isn't necessarily the right
| | 00:37 |
slider to be using on this picture.
On the other hand, the Vibrant slider,
| | 00:41 |
I'm going to move that to the right, and
to the positive values.
| | 00:46 |
This is working primarily on the the
primary colors and leaving the secondary
| | 00:50 |
colors such as skin tone relatively
alone.
| | 00:55 |
So I'm way into the higher values and
I've got a nice increase in saturation in
| | 00:59 |
the bathing suit but I haven't done much
to the skin tone, which is in this case, wanted.
| | 01:06 |
There will be a time where you want to
globally saturate or desaturate and there
| | 01:11 |
is a time for the Vibrance slider and the
type of image your working on will
| | 01:15 |
determine which works well for you.
| | 01:20 |
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|
|
5. Tone Curve TabUsing the parametric and point curves| 00:02 |
Let's look at Camera Raw's tone curves
and see how we can get even more control
| | 00:05 |
over the redistribution of the tonal
values in an image.
| | 00:10 |
Generally, I recommend you do your first
processing here in the basic tab.
| | 00:15 |
In this case, I'll select the auto
setting, then come here to the curves tab
| | 00:20 |
for fine tuning.
Here, you'll see a choice between the
| | 00:26 |
parametric curve and a point curve.
Let's start with the parametric tone curve.
| | 00:32 |
Just like Photoshop's curves, the
horizontal axis represents the original
| | 00:36 |
intensity values of the pixels.
The vertical axis represents the new
| | 00:43 |
tonal values.
With the parametric curve, you basically
| | 00:48 |
work with four set points.
The highlights, the lights, the darks and
| | 00:53 |
the shadows.
Instead of placing a multiple set of
| | 00:58 |
points on the curve and dragging the
curve to a desired position like you do
| | 01:02 |
with the point tone curve, you control
the tonal values with sliders found under
| | 01:06 |
the graph.
What's lacking in detail control is more
| | 01:12 |
than made up for in ease of use.
Let's see, I'm going to move the
| | 01:17 |
Highlight slider just to give you an idea
of how the curve itself is moving.
| | 01:23 |
And in real time it's reflected in the
Preview window with my image.
| | 01:29 |
And here, I'm going to darken the lighter
areas.
| | 01:33 |
And if I move this slider, I'm working on
dark and now the shadow areas.
| | 01:40 |
So, you can see you have some control.
You actually have a lot of control, but
| | 01:45 |
it's not overwhelming control.
Double-clicking on the error here on the
| | 01:53 |
slider will reset that slider back to its
default.
| | 01:57 |
With the point curve control, you can
select up 14 different points throughout
| | 02:01 |
an image's tonal range, which is
represented by a diagonal line.
| | 02:07 |
Over in the basic tab controls, by the
way, you effectively only control about
| | 02:11 |
five points on a tone curve.
And as we just saw in the parametric
| | 02:17 |
curve, you control four points.
The default point tone curve preset is
| | 02:23 |
medium contrast, as you can see here with
four points added to the diagonal line.
| | 02:31 |
The linear preset, shown here now,
creates a perfectly straight diagonal
| | 02:36 |
line in the tone curve graph.
This was also an image with no change
| | 02:41 |
from input to output.
The strong contrast preset creates the
| | 02:46 |
curve shown here.
Four points are set and manipulated to
| | 02:51 |
increase contrast.
Again, the manipulation is very slight,
| | 02:55 |
but effective.
To create a custom point tone curve,
| | 03:00 |
start with the linear preset and then add
a point along the straight diagonal line
| | 03:06 |
by either clicking directly on the line
or Cmd+clicking on a point in the image.
| | 03:15 |
You can add up to 16 control points to
the curve.
| | 03:21 |
I'm not going to add 16 here, but you get
the idea.
| | 03:25 |
If you want to remove one of the control
points, select it and then just hit the
| | 03:29 |
Delete key.
Once you've set your control points, you
| | 03:34 |
can control the distribution by the graph
itself.
| | 03:38 |
So, when I click and drag the line up, it
causes the image to lighten between those
| | 03:44 |
two control points.
And if I grab the line and drag down it
| | 03:49 |
will darken between those points.
Deeper sections of the tone curve
| | 03:55 |
represent areas of more contrast and
flatter sections of the tonal curve
| | 03:59 |
represent areas of lower contrast.
Whenever you manually manipulate a tonal
| | 04:07 |
curve, custom now appears.
You can if you want, create a preset of
| | 04:13 |
your own.
To create a custom preset, select Save
| | 04:18 |
Settings from this pop-up menu.
And then here, save the point curve only
| | 04:27 |
and select Save.
I'm going to call this Test.
| | 04:36 |
This preset will also now appear in this
pop-up menu and you can create as many
| | 04:41 |
custom presets as you want.
I mentioned earlier that if you select a
| | 04:48 |
point and then hit the Delete key, you'll
remove that point.
| | 04:56 |
You have to be careful sometimes.
If you hit the delete key when you
| | 05:01 |
haven't selected a point.
You see this icon up here in the upper
| | 05:06 |
left, Image will be moved to the trash.
Now you're trashing your image.
| | 05:12 |
You don't probably want to do that.
If this occurs, just hit the Delete key
| | 05:16 |
again and that will go away and you won't
lose your image.
| | 05:21 |
I just want to end by saying that many
photographers may find all this added
| | 05:24 |
control offered by the Camera Raw Point
Tone Curve a little bit daunting.
| | 05:31 |
For those photographers they're easy to
use or easier to use a parametric tone
| | 05:36 |
curve over here, maybe a better choice.
It's just, you know, the four points that
| | 05:42 |
you work with.
You may lose some control but ease of use
| | 05:47 |
is greatly enhanced.
| | 05:50 |
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|
|
6. Detail TabSharpening| 00:01 |
Camera sharpen controls are found here in
the details tab.
| | 00:06 |
The goal of sharpening is to produce an
image with crisp clearly defined edge
| | 00:11 |
detail devoid of color fringing
extraneous noise.
| | 00:16 |
The challenges apply just the right
amount of sharpening without introducing
| | 00:20 |
distracting noise or artifacts to other
areas.
| | 00:24 |
There's a lot of misunderstanding about
when and how to apply Sharpening.
| | 00:29 |
So it's going to be useful, I think, if I
break Sharpening down into three categories.
| | 00:34 |
One, would be Capture Sharpening.
All that's doing, is compensating for the
| | 00:39 |
purposeful blurring, at either the camera
level or during RAW conversion.
| | 00:45 |
And then there's cosmetic sharpening
which is applied to a specific part of an
| | 00:48 |
image and not another.
For example sharpen the eyes but not the
| | 00:53 |
blemishes on the face.
And then finally there's print or output
| | 00:57 |
sharpening which is based on a specific
size paper ink and destination of an image.
| | 01:05 |
Because there's so many variables
associated with the print or output
| | 01:09 |
sharpening and even the cosmetic
sharpening, I think it's best if we just
| | 01:13 |
stick to the process sharpening.
And here we're going to learn a little
| | 01:18 |
bit about how to use Camera RAW
Sharpening controls to give that image a
| | 01:22 |
really crisp sharp look.
Fundamentally image sharpening is really
| | 01:27 |
just an exaggeration of contrast along
the edges.
| | 01:31 |
Places where light and dark pixels meet.
So Camera Amount slider shown here
| | 01:36 |
controls the intensity of the edge
contrast.
| | 01:40 |
The Radius slider shown here controls how
wide that edge is the detail slider
| | 01:46 |
determines exactly what's an edge.
And the Masking slider gives you more
| | 01:51 |
control over where the effects of the
first sliders occur.
| | 01:55 |
Let me show you what I mean.
I'll start by moving the Amount slider
| | 02:00 |
which in this case is set by default to
25.
| | 02:04 |
I'm going to oversharpen, just so you get
a good sense of how that's working.
| | 02:10 |
I have done something wrong already.
You need to be at a preview level of 100%
| | 02:16 |
or larger to see the effects of the
controls in this panel.
| | 02:21 |
So there's the warning down there.
Let's go up to a 100% so you can see what
| | 02:27 |
happens when I move that slider.
I'm going to go back down to where it
| | 02:33 |
was, double-clicking on the triangle will
bring me back to its default.
| | 02:38 |
Now I'm going to go head and move that
slider again and you can see how the
| | 02:42 |
image preview changes and updates in real
time.
| | 02:47 |
Clearly here we're starting to get into
what I consider over sharpening, and most
| | 02:51 |
of the time your not going to be going
all the way up to the highest values.
| | 02:57 |
It's also useful when your using this
slider, to hold the Alt or the Option key
| | 03:01 |
and click and drag, you can see now the
colors gone, and were just working with
| | 03:05 |
the luminance or grayscale value.
Its a very nice way of visualizing how
| | 03:12 |
the sharpening is being applied there.
So let's reset this slider and go down to
| | 03:18 |
the Radius slider.
This controls how wide the edge is using
| | 03:23 |
a value from .5 all the way up to 3.0.
The greater the Radius value, the larger
| | 03:30 |
the edge and more obvious the sharpness.
Let me show you what I mean I like to go
| | 03:34 |
to extremes just to give you a sense of
how the slider's working.
| | 03:43 |
And to show you even more vividly what
this slider is doing.
| | 03:46 |
Again I'll hold the Alt or the Option key
and click and now you can see the outline
| | 03:51 |
is there for me to see very clearly what
area is being effected by the Radius slider.
| | 03:59 |
I think I'll move the Amount slider up a
little bit as well so you can really see
| | 04:02 |
the effect.
That's more pronounced, obviously, when
| | 04:05 |
you increase the amount.
Now moving over to the next slider, the
| | 04:09 |
Detail slider, I'm going to do the same
thing.
| | 04:13 |
I'm going to hold down the Alt and Option
key, click and drag, and you can see how
| | 04:17 |
I have a much better idea of where the
sharp needs occurred in this view.
| | 04:24 |
So, that's the Detail slider.
And the Masking slider, once again, very
| | 04:28 |
useful to hold down the Alt or Option key
and click.
| | 04:33 |
Now, this is showing me what areas are
being affected by the sliders above.
| | 04:39 |
So, I can actually create a mask, that
says, okay, in the dark areas here, don't
| | 04:43 |
apply any sharpening.
So, you can see, when I release the Alt
| | 04:48 |
or Option key, this area, continuous tone
area over here, is not a blotchier or
| | 04:52 |
noisy looking, because I've created,
basically, a, a mask that says, don't
| | 04:56 |
affect that area.
Okay.
| | 05:00 |
But now this edge area here is not
affected by the mask and the sharpening
| | 05:05 |
will occur there.
So this is very useful, especially if
| | 05:10 |
you're using this on someone's face with
skin tones where you want to hold the
| | 05:13 |
smooth skin values and desharpen let's
say the edges around the eye or teeth.
| | 05:21 |
I just want to remind you that what I've
been talking about here what I refer to
| | 05:26 |
as process sharpening however if your
talking about sharpening for output there
| | 05:30 |
are so many variables and your really
going to have to customize your
| | 05:34 |
sharpening based on the criteria of your
output device.
| | 05:41 |
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| Managing noise reduction| 00:02 |
Most digital images have some electronic
noise, and it's cause varies.
| | 00:07 |
It's more apparent in some images and
barely noticeable in others.
| | 00:11 |
Higher ISO values will definitely enhance
the effect as well as under exposure or
| | 00:16 |
long exposure.
Processed over sharpening because also
| | 00:21 |
enhance electronic noise.
Camera Raw gives you very basic control
| | 00:26 |
over the noise, effective but basic
control through the detail tab.
| | 00:32 |
Here, in this picture, which was taken
very high ISO, 6400 ISO.
| | 00:38 |
My daughter's gymnastics meet, the reason
went to such a high ISO was they didn't
| | 00:43 |
allow any flash and I needed the higher
shutter speed which I got 1/640th of a
| | 00:48 |
second to capture the action.
You can see here from a slight
| | 00:55 |
magnifacation, there's some noise
apparent but when I zoom in a bit, you
| | 01:00 |
can really see the noise appearing.
I'm going to use the noise reduction
| | 01:07 |
sliders and get rid of some of that
noise.
| | 01:10 |
Luminance, which is by default set to
zero, is probably the most effective
| | 01:14 |
control your going to get over noise
reduction.
| | 01:18 |
I'm going to move that slider to the
higher values, and you can see right away
| | 01:23 |
the noise diminishing.
However, if I go too far with this
| | 01:28 |
Luminance slider, you can also see
there's a compromise in sharpness.
| | 01:35 |
Right there, I have a relatively smooth
skin tone but there's definitely been a
| | 01:39 |
loss of sharpness.
The color slider which is by default 25,
| | 01:45 |
is also an effective way with some images
depending on the type of noise.
| | 01:52 |
And it doesn't compromise the sharpness
nearly as much.
| | 01:57 |
I can see a little bit of help here with
the color slider but most of the
| | 02:00 |
effectiveness is coming, with this image
from the luminent slider itself.
| | 02:08 |
So the idea here is to find a nice
balance between sharpness and smoothnes.
| | 02:14 |
And I'm going to reduce this image a
little bit so you can see that when I go
| | 02:18 |
back the noise is not hardly apparent at
all.
| | 02:24 |
And I've still gotta nice sharp image and
I think its a very pleasing image so this
| | 02:29 |
worked very well.
I'm going to be honest with you that the
| | 02:33 |
controls you find in here in Camera Raw
for noise reduction are good.
| | 02:38 |
And they're especially fine for certain
images.
| | 02:41 |
But you're going to get a lot more
control, probably more effective control
| | 02:45 |
if you go into Photoshop and use Reduce
Noise Filter found in Photoshop which is
| | 02:50 |
just really a fantastic way of getting
rid of noise.
| | 02:56 |
But Camera Raw, the reduced noise
function here is fine and it should work
| | 03:02 |
for many of your images.
| | 03:05 |
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|
|
7. HSL/Grayscale TabBasic black-and-white conversion| 00:01 |
Let's look at a very simple way to
convert a color image into grayscale
| | 00:06 |
using Camera Raw controls.
I'll also give you a very basic overview
| | 00:11 |
of the complex controls that are
available through the grayscale mix.
| | 00:17 |
So I'm going to start over here by
selecting the HSL/Grayscale tab, and then
| | 00:22 |
simply clicking here, Convert to
Grayscale.
| | 00:27 |
And you can see Camera Raw has
automatically changed all the color
| | 00:31 |
values into grayscale.
I have further control over how that mix
| | 00:36 |
occurs down here, below Grayscale Mix.
For example, if I select Auto, Auto's
| | 00:42 |
very interesting because it's actually
taking to account that the human eye
| | 00:47 |
perceives luminance values differently
based on colors.
| | 00:53 |
For example, we see blue as much darker
than green or red, even if it shares the
| | 00:57 |
same physical brightness values.
So sometimes this auto mix will do a much
| | 01:02 |
better job just than a simple Convert to
Grayscale.
| | 01:07 |
Now if you want to have Camera Raw always
use the auto mix, come up here under your
| | 01:13 |
Preferences and select Apply Auto
Grayscale Mix When Converting to Grayscale.
| | 01:20 |
Then it will automatically use that
formula that I mentioned earlier when it
| | 01:25 |
converts over.
You could always go back and fourth
| | 01:30 |
between default and auto here to see the
difference.
| | 01:35 |
Now for the most control of your
grayscale conversion, you're going to use
| | 01:38 |
these color sliders.
For example, by moving the Red slider, if
| | 01:42 |
there's any red values in that image,
which there doesn't seem to be very many,
| | 01:46 |
it would change those values.
Let's take a look here where the orange is.
| | 01:51 |
There's more orange in that image,
therefore when I move the Orange slider
| | 01:55 |
you can see the effect, and I'll move on
down to the yellows where you can see a
| | 02:00 |
lot more change there.
Now, you're seeing right away that one of
| | 02:07 |
the problems is working with these
sliders after you've converted into the grayscale.
| | 02:12 |
It's hard to figure out what colors were
there.
| | 02:15 |
So this is where this Target Adjustment
tool really comes in handy.
| | 02:19 |
You can see I have it selected Grayscale
mix.
| | 02:22 |
And now, I place my cursor over and part
of the image.
| | 02:27 |
And click, and drag down.
And you can see the slider here, in this
| | 02:32 |
case the Yellow slider, is darkening
going to the left.
| | 02:37 |
I'll find another area of the image and
click up.
| | 02:40 |
And now I'm lightening up the yellow and
there's more greens now with that.
| | 02:45 |
So you can see how dramatically different
you can make an image by controlling
| | 02:50 |
these sliders, either directly from the
slider themselves, or using the Target
| | 02:54 |
Adjustment tool.
Just amazing control over grayscale conversion.
| | 03:00 |
Once you start working with it, you'll
never turn back.
| | 03:04 |
It's just an amazing tool and great
conversion.
| | 03:06 |
Quality is super as well.
So, enjoy.
| | 03:13 |
| | Collapse this transcript |
| Working with hue, saturation, and luminance| 00:02 |
For specific control over colors in your
image, go to the HSL/Grayscale tab.
| | 00:09 |
And here you can convert to Grayscale,
which we've shown how to do in another video.
| | 00:14 |
But you can also control the Hue,
Saturation, and Luminous values based on colors.
| | 00:20 |
So, let's take a look for example, at
Saturation.
| | 00:23 |
I click on this, the word Saturation,
this tab, and now, when I move my red
| | 00:27 |
slider, I'm desaturating just the reds in
this picture.
| | 00:33 |
And now I am over-saturating the reds in
the picture.
| | 00:38 |
Now I double-click on that arrow that
brings it back to its default.
| | 00:43 |
I can work on the green specific as well.
Desaturate the greens in my image.
| | 00:48 |
Oversaturate the greens.
I can go through the sliders that way.
| | 00:53 |
Or we can go ahead and we've seen this in
another video how we can use the Target
| | 00:57 |
Adjustment tool.
And go right on the image itself and
| | 01:03 |
control saturation or desaturation
directly on the preview itself.
| | 01:10 |
And you saw that the sliders over here
moved correspondingly.
| | 01:16 |
So this is the Saturation controls.
We can control Cue as well.
| | 01:22 |
So here I'm actually changing the color
of the apple, or wherever I place my
| | 01:27 |
cursor and drag up or down.
I'm changing the color, the Hue.
| | 01:34 |
And then if I come over to Luminance,
actually I think I'll go default here.
| | 01:38 |
Now I'm going to go to Luminance and I
can control the Luminance value based on
| | 01:42 |
color values, as you can see here.
Alright so that again just much more
| | 01:52 |
control over your image using the
HSL/Grayscale tab in Camera Raw.
| | 01:59 |
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|
|
8. The Split Toning TabCreating a split-toned image| 00:02 |
Camera Raw's Split Toning controls are
found here in the Split Toning tab.
| | 00:08 |
And the basic theory here is that you can
control the tint and the saturation of
| | 00:12 |
the tint applied to the highlight areas
of an image, separately from those
| | 00:15 |
applied to the shadow areas.
And the Balance slider in the middle
| | 00:21 |
controls the range of each.
Let's see what I mean by demonstration.
| | 00:26 |
First of all, if I move this slider now,
the Highlight Hues slider, without moving
| | 00:31 |
the Saturation slider.
You won't see any effect whatsoever of
| | 00:35 |
that slider because there's no saturation
attached to it.
| | 00:41 |
There's a couple things you can do.
You can either move the Saturation slider
| | 00:44 |
over to a higher value.
And then, when you move the Hue slider,
| | 00:49 |
you can see the effect of your changes
there visually.
| | 00:55 |
And then, you can go back and adjust the
saturation later.
| | 00:59 |
An easier way is just to hold down the
Alt or Option key, click on the Hue
| | 01:03 |
triangle there.
And now I can see the color involved with
| | 01:09 |
the highlight toning.
Now, when I release the Option or ALT
| | 01:14 |
key, it goes back to not showing anything
because there's no saturation.
| | 01:19 |
But now, I can move my Saturation slider
and get it just where I want it.
| | 01:26 |
Now remember, this is affecting the
highlights.
| | 01:28 |
Now, if I come down here to the shadows,
I'm going to do the same thing.
| | 01:33 |
I'm going to hold down the Alt Option
key, and now I'm going to work just on
| | 01:36 |
the shadow areas here.
I can make it a completely different tint
| | 01:40 |
if I want to from the highlights, and
then I want to move my Saturation slider here.
| | 01:49 |
So, I'm controlling, in this case, I'm
adding a slight kind of a greenish, blue
| | 01:53 |
tint to the rock, which is a shadow area.
And a little bit of magenta tint to the
| | 02:00 |
highlight area in the sky.
Now, I can adjust the balance through the
| | 02:04 |
Balance slider so I can move the emphasis
to one or the other.
| | 02:09 |
Here, I've basically cut out any effect
from the Highlight Tint slider, and this
| | 02:15 |
will do the opposite.
Now, we've just put everything into the
| | 02:20 |
highlight tints.
So, this gives you control over exactly
| | 02:23 |
how much goes in the highlights and how
much goes in the shadow.
| | 02:28 |
And this is a very useful control for
tinting images.
| | 02:31 |
It not only have a range of colors, but
you can specify whether they go into the
| | 02:37 |
highlights or the shadows.
| | 02:40 |
| | Collapse this transcript |
|
|
9. Lens Correction TabRemoving chromatic aberrations| 00:00 |
Let's see how to use Camera Raw chromatic
aberration sliders to fix images that
| | 00:05 |
have color shifts.
Mostly on the outer paramater of the image.
| | 00:11 |
And this is something that occurs often
times if you're using a wide angle lens.
| | 00:16 |
Or, it can happen with longer lenses as
well where there's distinct edge
| | 00:20 |
transitions on the outer edge of the
image.
| | 00:25 |
This is a prime candidate for chromatic
aberration this picture, it's here in
| | 00:29 |
front of me.
So I'm going to take a look on the edge
| | 00:33 |
as I'm probably going to find exactly
what I'm looking for.
| | 00:37 |
Which is this edge shift the color here
is very clear and it doesn't surprise me
| | 00:41 |
that it's occurred in this image.
I'm going to come over here to the Lens
| | 00:49 |
Correction tab.
And under chromatic aberration you'll
| | 00:53 |
just need to experiment to see which one
works the best.
| | 00:57 |
You'll see what happens.
I'm going to go to the right using the
| | 01:00 |
fixed red cyan fringe.
And in this case, it's actually
| | 01:03 |
emphasizing the problem that I'm having.
You can the cyan is much more distinct.
| | 01:10 |
Now if I go to the left, this is probably
the way I want to go.
| | 01:13 |
I'm pretty sure it is.
And you can see now the cyan, I've gone
| | 01:18 |
too far.
I'm into a red fringe now.
| | 01:22 |
But there's a place right about there
where I'm losing my cyan fringe.
| | 01:27 |
I don't have a blue yellow frame so I'm
not worried about it.
| | 01:31 |
But let me just show you by using these
sliders what happens again.
| | 01:34 |
Here we are.
If there had been a blue fringe that
| | 01:38 |
would have helped decrease that.
And moving to the right would have fixed
| | 01:42 |
any kind of yellow fringing.
In this case it's adding blue.
| | 01:47 |
So I'll go back to neutral, on that
slider, and I'm pretty sure I've got it
| | 01:52 |
where I want.
I'll go to the extremes again just to
| | 01:56 |
make sure, I added red.
And that it's taking away the red, but
| | 02:00 |
increasing the cyan so, right about in
there.
| | 02:03 |
I have fixed this fringing let's take a
look along the other edges here.
| | 02:12 |
Looks pretty good.
And that's the chromatic aberration
| | 02:17 |
controls of Camera Raw.
| | 02:20 |
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| Vignetting| 00:00 |
Camera Raw's vignetting controls are
found here in the Lens Corrections tab.
| | 00:07 |
When I move my lens vignetting slider to
the positive values, you can see the
| | 00:12 |
edges of this image lighten.
And when I move to the negative values,
| | 00:19 |
you can see how the edges darken.
The midpoint slider is used to expand or
| | 00:28 |
decrease the range of the effect.
| | 00:33 |
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| Post-crop vignetting| 00:01 |
What happens when you apply lens
vignetting controls to a cropped image?
| | 00:06 |
I'll crop this image here using Camera
Raw Crop tool, crop it to its essential part.
| | 00:13 |
And I'll come over to the lens vignetting
slider I'll move move negative values
| | 00:19 |
which should darken the edges, doesn't,
move to the positive values which should
| | 00:25 |
lighten the edges, it doesn't.
This is because Camera Raw is working on
| | 00:32 |
the entire uncropped image and not taking
into account the areas that are no longer visible.
| | 00:40 |
However, with post cropping editing
controls, this is no longer a problem.
| | 00:46 |
You can see now how moving the amount
slider into negatives values actually
| | 00:50 |
does have an effect and I'll move the
amount slider into positive values.
| | 00:58 |
And once again, working just the way I
want on this crop image.
| | 01:03 |
With post vignetting, I have even more
control using the Midpoint slider, the
| | 01:07 |
Roundness slider and the Feather slider.
With the Midpoint slider, this will
| | 01:13 |
decrease or expand the range of the
effect.
| | 01:19 |
The Roundness slider controls the shape
of the effect.
| | 01:28 |
And you'll be able to see that more
clearly when I use the Feather slider
| | 01:32 |
which controls the feathering.
This increases feathering when I move to
| | 01:39 |
the higher values.
And, there there's no feathering.
| | 01:42 |
And, now you can really see the affect of
the Roundness slider when there's no feathering.
| | 01:47 |
You see how the change occurs with shape.
So, the post crop vignetting controls are
| | 01:53 |
really super useful when you have a
cropped image.
| | 01:59 |
And they're also very useful when you
have the single point of interest that
| | 02:03 |
you want to emphasize and you can't
create multiple interest points.
| | 02:08 |
In other words, you can't make multiple
circles or multiple vignettes.
| | 02:11 |
But it works very well especially on
images like this.
| | 02:17 |
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|
10. Presets TabCreating and applying custom presets| 00:02 |
Let's create a custom preset in Camera
Raw and then apply that custom preset to
| | 00:07 |
another image.
I'll start with the Auto setting in the
| | 00:12 |
Basic tab and then I'm going to go over
here to the Tone Curve tab, and I think
| | 00:17 |
I'll use the Point Curve and Linear.
And I'm going to reverse this, so that I
| | 00:26 |
get a image with a inverse point curve,
and you can see how that's created a negative.
| | 00:32 |
Now, I'm going to go up over to the HSL
greyscale, and let's convert that to
| | 00:38 |
Greyscale, like that.
Okay, so I want to make a preset of this.
| | 00:47 |
I like that look, and I'm going to come
over here to the Presets tab, and I'll
| | 00:52 |
select down here, New.
Now you can see I don't want all these
| | 00:58 |
settings here, so I'm going to start with
the Point Curve, and I'm going to add the
| | 01:03 |
Grayscale conversion.
So now I just have those two controls
| | 01:11 |
that will be part of my preset and let's
name this preset Invert and Grayscale.
| | 01:20 |
Okay, and then I'll click OK.
And you can see how that shows up here in
| | 01:25 |
my Presets tab.
Now, the cool thing is that if I come I'm
| | 01:31 |
going to close out of Camera Raw.
Done and I'm back now in Bridge.
| | 01:38 |
And now I'll go ahead and I'll find
another image, let's say this image here.
| | 01:43 |
And I'll hold down the Ctrl key and
click, and scroll down to developed
| | 01:47 |
settings and you should see my, yes,
there it is.
| | 01:51 |
Invert Grayscale.
That's the custom preset I've just made,
| | 01:54 |
and I could select that straight in
Bridge itself.
| | 01:58 |
Now I could also of course, go into
Camera Raw and that preset will show up
| | 02:03 |
right here as well.
So this is a really cool way to come up
| | 02:08 |
with a specific look that you like using
some of the Camera Raw controls.
| | 02:15 |
And then make a custom preset, and apply
that to one image in Camera Raw, or you
| | 02:20 |
could apply it to a whole series of
multiple images in Bridge.
| | 02:26 |
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