Join Deke McClelland for an in-depth discussion in this video Lab and Camera Raw with a JPEG file, part of Photoshop CS3 Mastering Lab Color.
In the previous exercise we witnessed the tremendous difference that you can achieve when correcting a JPEG file, what I'm calling an untreated JPEG file in the Lab color space. So in other words nothing has been done to it, except for our modifications in Lab. Now we are going to move on to that same JPEG file, first treated in Adobe Camera RAW, so we made some initial modifications in Camera RAW and then brought into Lab and you will see that makes a difference, whether good or bad, every one of this scenario is going to be a little different than the others.
So here I'm in the Bridge again, inside the 00_introduction subfolder, inside the exercise_files folder, there is this image called Woman-2 ACR JPEG, meaning that the JPEG file has been processed in the Adobe Camera RAW. And you do that, by the way, if it was a JPEG file- it is a PSD file so that I can just walk you through the process without getting bogged down by the details. But it was a JPEG file you'd go up to the File menu and choose Open in Camera RAW in order to open it in the Camera RAW plug-in. But since this file's already built, we are going to take a slightly different approach.
I'm going to first open that image inside of Photoshop and there it is. And notice that we have got a Smart Object it says ACR.JPG because it is a Camera RAW Smart Object. So if I double click on this thumbnail right here, we are going to open the image inside of the Camera RAW plug-in. And that opens the file here inside of the Camera RAW interface as you can see. I'm going to go ahead and zoom in to the image. And notice that we have applied a few modifications.
I have adjusted the Temperature which is to say that I have warmed the image up by elevating this value here which adds yellow, so you can see if I take the value even higher we are going to warm the image up even that much more. A value of 12 though worked out pretty nicely. Then we have this opposing axis of Tint that allows you to either offset the colors with a little bit of magenta or green. Now what it is interesting about Temperature and Tint is they are analogous, not quite identical but very close to identical to the axis, so the A & B axis in a Lab Color mode.
So Tint is very much the same as A and Temperature is very much the same as B as we will see later. It also reduce the Exposure a little bit. I reduced the Brightness. I changed the Vibrance so I brought out some of the low level saturation in the image, just in order to take a first step at some correction. So I'm just going to go ahead and cancel out of there. I just want you to see that I did make some changes and that it is going to affect the final image. All right, otherwise we are pretty much making the same modifications, if not exactly the same numbers.
I'm going to start by turning on this Smart Filter here for the Gaussian Blur. I have Gaussian Blurred her this time 20 pixels instead of 25, so not quite so much. And then I haven't yet set it to the right Blending mode so lets go and do that by double clicking that little slider icon there and I'm going to change the mode to Overlay. And that is going to once again give us a nice coating of digital makeup, click OK. We need to limit our digital makeup to just the light areas. So I added a Luminance Mask and I'm going to Shift- Click on this mask icon in order to turn it on.
Oh nice. So once again if I zoom in on the image here, you can see that this is what it looks like without that layer of Gaussian Blur and this is what it looks like with the Gaussian Blur. Notice the hair, once again, not much affected because I protected the hair with this Luminance Mask. Alright lets zoom out a couple of clicks here and lets add the A/B Levels layer so I'm just effecting the A & B channels with this Levels adjustment layer. Now my settings are different this time and if you are curious, I mean you have access to this file, you can compare and contrast on your own but these are different settings to accommodate the modified file because I had already changed the Vibrance.
For example and the Temperature and the Tint inside Adobe Camera RAW, so I had to accommodate those modifications with this particular Levels adjustment layer. And then finally I went ahead and adjusted the lightness of the image using a Curves modification right here. So it just ever so slightly brighten the highlights. Now let's compare these two images to each other, so these are the fully corrected versions of the images. Again I'm really bumping up those Saturation values. You might not care to go that far but I really wanted these images to have an almost graphic impact.
So this is the untreated JPEG version of the image and this is the ACR, the Adobe Camera RAW treated version of the image. And you can see that they're slightly different. Now which is better? I don't really know. I mean that's a subjective decision. I would say I liked this version better, the one that went through Adobe Camera RAW, because it has a little less of the crimson colors going on in the face. It's little warmer, little more toward the yellow than this image is right here.
So we have a few more pinks inside of the untreated JPEG image. Now that is something we can adjust, we can spend sometime getting both images very close to the same. But we made things a little easier by processing the image in Adobe Camera RAW first. So that is an option and that is not an option that we are going to explore in this series. We are just going to go straight ahead with Lab adjustments. Adobe Camera RAW is for a totally different series. But I just want you to know that is a possibility. In the next exercise, I will show you how to really go ahead and correct a RAW digital camera image in Camera RAW because that is where you want to work.
You either want to work in Camera RAW or in Lightroom, then bring it into Lab and then just make some slight modifications. Stick with me.