Lessons

Lesson Info

Camera RAW: Localized Changes

all right, so we had talked about general adjustments in Ron. Now I'd like to talk about how to isolate areas more in, apply it in a selective way. And one thing I've done on the computer is I've made it. So if I type in a keyboard shortcuts, you'll be able to see it. So I press the space bar. You see, it's showing up in all that in One thing that I commonly do is when I'm done working on a picture. I'll be in this view. You'll see me pop over to bridge really quick, and I'm just used to using a keyboard shortcut for that in it is shift command zero r o, I should say, for open shift command. Oh, eso If you see that coming up quite frequently, it's me heading over to bridge. There is one nice way to access bridge from within Photoshopped. We don't have to go back and forth between two programs. At the bottom of my screen is a tab that says Mini Bridge, and if I double click on that tab and lower left, it'll pop open. Mini Bridge in this little panel will talk to bridge the program that'...

s running behind the scenes and I can come in here. It looks like one of these pictures is there and navigate my hard drive through this and I'll eventually get this set up in actress Oh my pictures that way. But for now I'm going back and forth just so you get used to that. There's two programs that you can use, and eventually I'll end up just using mini bridge. So let's take a look. One thing that's common these days, that is some people, like some people, don't is HDR. HDR stands for high dynamic range, and that's where usually take more than one shot that varies in brightness. You end up changing your shutter speed between the shots and end up getting brighter and brighter, and you combine those images together in a way that can give you the full brightness range. We're gonna end up doing that, but not today. I just want to show you that you don't always need it. And if you're shooting people, is one time when it might be best not to use it because people move. And if you need to take more than one shot that you combined together, you can run into some issues with that. So I'm just this, uh, a little bit of reminder of what we did before. Just to show you here is an image where ah, usually I would be thinking I wish a shot hdr because look at the highlights there. They're, like, gone and look at the shadows there gone to. But remember, with CS six, you could move these slaughters and pretty radical ways. And so in here first, what am I looking at? History, Graham. I don't see a gap on either end, so I'm not gonna be doing exposure overall, but did you see a spike on the right? Right And spike in the right. Usually tells me whites I might want to bring them down to see if I get the spike to go away. And if that doesn't get it to go away, the next slider I have to work with would be highlights, and I could try it. Okay, Now I'm starting to get those highlights back. You see him out there in the background. You gotta be careful with highlights, though, on some images, if you bring it down a tremendous amount you'll find your highlights end up being kind of gray because if the camera didn't really pick up enough data there to give you a variation in color, it's just gonna plop in some gray. And so you gotta look out for it a little bit, like if you have a sunset or something, suddenly will see Gray where the sun should be and might not want to then And here we don't have any solid black in the picture, because in the history Graham and Left side, I don't see a spike, so I don't need to deal with blacks. But I can bring up my shadows to bring up that shattered detail. You know, on my screen, I'd like to move this even further. I'm assuming on the feed, though it probably is looking about right, possibly saying what I could do that now. Sometimes I want to be able to move one of these sliders further than I can, and there is a way to get some of the flight hours to go further than they usually can. And I want to share that with you before I do that. Let's just see here one of the thing I think about with this images contrast. Contrast is how big of a difference is there between dark and bright, and here we have a big difference. I might need to lower contrast to get less of a difference. So let's say that I want a bigger change them what this will allow me to get well, what I can do is go to the top of my screen, where you see all the tools across the top, and one of those tools looks like an I a paintbrush, and there's actually two of them look like paintbrushes. I want the one without the little blobs around it. So I want this one, and with that, I can come on my image and I can paint an adjustment into a particular area. The sliders over here change to show me the kind of an adjustment I could paint in these air some of the same sliders we would find under the normal adjustments that we were just using. But we don't have them all. If you look in here, I don't have a whites or blacks slider, that kind of stuff, but I do have things like shadows and so I can come in here and tell this that I want to bring up my shadows when I paint. You're not going to see the image change at all when I move this because I haven't painted on the picture yet. I need to paint it in, and before I go painting things in, I just want to double check that. The other settings in here are zeroed out, and I noticed that this has sharpness cranked up. You see that? So if you want to reset any slider to it's default setting, double click on. Just make sure there's nothing else that's gonna get dialed in that you don't expect the numbers at the bottom. They'll have numbers in it because that's the size of your brush. How soft the edges, that kind of stuff. They need numbers, but the ones that are actual adjustments. I get everything zeroed out except for what? I want it Now. If you want more shadows, I could go on top of my image, and I'm using the square bracket keys on my keyboard to change the size of my brush. If you don't have bracket keys available on some keyboards, you don't have them. If you're in other countries other than English speaking countries, you do have a size slider here. You could use that instead. Now I'm just gonna paint across the entire image. It's going to apply that to my entire picture, and now I can come up in fine tune it. I can bring the shadows up and I could get even more out of this image. I could tell it to bring the highlights down even more. It's like being able tohave. The sliders go beyond 100 you know, like in spinal tap. You know that movie where they got an amplifier where the nobs goto 11 goto 11. Well, this is how you get them to go Toe 11 is you grab the adjustment brush, get a huge brush paint across their whole picture in, then cranking whatever adjustment you want. I'm not saying every image needs that or anything, but it's nice to know that it's available. Let's look at some images that can benefit from using the adjustment brush. Some of these images have already worked on, and I'll have to get them back to default settings in order to show you what I've done. But let's see, I'm gonna go to the side menu on this one and just choose camera defaults. See what we started out with. The main thing I don't like about this photograph is this woman's face over here on the left eyes, not not looking all that great. And so let's see what it looked like if I choose undo after I was done to see your face looks fine, and a lot of that has to do with the adjustment brush. Now I did adjust the image, but we've already talked about that stuff as far as what the sliders do in. So to bring out shattered detail, I brought up the shadow slider to get more detail in the sky. I brought down the highlight slider, but that's stuff we discussed before. So I'm gonna kind of skip over some of that And let's talk about just the adjustment brush. I'll go to the brush and I just painted in one spot right here. I'm gonna get rid of that. I'll show you how to get rid of it in a few minutes because we haven't applied him yet, so it's kind of not ready for that part yet. Okay, so what I'm gonna do is get my brush to be smaller using the bracket keys. And do that, you notice the brush has two circles to it. The gap between those circles tells you how soft your brushes. If there's a big gap between him, you have a really soft brush. If the two circles touch, you have a hard brush. You can control how soft or hard it is with a setting in here called feather he had. You could also do it by holding down the shift key When you use the brackets. I'm used to using the brackets for changing my brush size. And if I just add shift instead of changing my brush size, that changes how soft the edge of the brushes. So what I'm gonna do is get a brush that it's small enough that wouldn't get over spray beyond her face. And then I'm going to decide what adjustment do I think would be appropriate for her face. If there's any adjustment in here that's not zeroed out like exposure, I could double click on it. But I think either exposure or shadows would do find in her face exposures Overall brightness shadows is just the dark parts. So I think, Yeah, bringing up exposure a little bit in shadows. Just moving these sliders. You're not gonna see anything happen in the image because you need to paint to tell where toe happen. So now I'm gonna come over here. It's double check one setting, and I'm gonna turn off for now, a setting called Auto Mask cause we haven't described what it is yet, so I'll turn it on only after I've described it. I'm gonna go over here and paint now. Now, I got over spray beyond the edge, which I can fix in a second. Paint that in. And now I can further move these sliders. I could bring up shadows even higher. I could bring up the exposure even higher, and you should see your face changing. All right. The thing you need to do is make sure your brush has a soft enough edge. We can't tell where the edge of it waas and did not get over spray. I got over spray. If you get over spray down at the bottom, we can choose a bunch of different options. One of which, though, is actually at the top where you can either choose, adhere to add to your adjustment. So if I paint in somebody else's face, I could brighten it or I could a race. And so if I said it to erase, then I can come in here, maybe get a smaller brush. Usually that gives me a smaller brush, I think the smallest and get to his 10 then and you can come over here and get rid of the over spray. Uh, so if you want to ADM or to get in on other people's faces or other areas, appear at the top, tell what you want to do when you paint. You want to add pretty wanna rice at a race to the adjustment. New would mean I want a completely new adjustment, something different than this one. I want to do saturation or sharpening or something else. Eso If I click that, it means I'm done with this one. Want to do something else? So let me just choose new so you know how to deal with more than one of them and let's dial in. I don't know anything. Let's going here. I'll double click on some of these sliders. Zero amount. And let's say I want to make something mawr uh, saturated. So I bring that up and I paint somewhere. I'm not trying to make a beautiful image here. I'm just showing you that I've applied it somewhere. If you have more than one of these, then whatever your mouse is on top of your picture, you're going to see these things known as pins. Each one of those pins represents a different adjustment. Depend that's active has a black dot in the middle of. So that was therefore I can see him working on one in the upper right. The pin will show up wherever you first clicked when you applied that. So I first clicked on the sky. When I applied that one, the other one I started on her face. If you mouse over one of the pins and just hover over it without clicking, it will give you an overlay that shows you what part of the image is affected. So this one is affecting that part of the image this one is affecting that part of the image. Make sense if you want to switch between him just click right on the pin. Then the black dot shows up in the middle. It means it's active. These sliders update to show you what that adjustment waas so you could find Tune it. And now, if I add two or erase, I'm adding to erasing from that specific adjustment that makes sense. Overall, if you don't like one of your adjustments, let's say I hate what I did to the sky. Click on the pin so it's active and hit the delete key leader backspace. Get rid of them, and so we can dial in all these different kinds of adjustments. So let's look at a few images where you might want to do that. And let's figure out a few things that could help us be a little more accurate. Let's see here. Here I was traveling on Route 66 which I've done 2. times now, and I found this motel sign in the motel in the distance, and I wanted to see what I could dio. But there's actually mixed lighting in here. There's a street light that is to the left of the scene, and it's causing there to be two different light sources in here. There's also a different light source where the building is. So I might grab my white balance eyedropper here and click on something that would be a shade of gray. I think the poll that is supporting the sign is painted grey so I can click on this side of the pole in white balance for the light source that's falling on that area. Or there's another light source that was falling on this other poll, and it's gonna look quite different because they're two different kinds of lights. You know, one might have been a incandescent. The other might have been some when he comes sodium vapor, that kind of thing, and they're gonna give up different colors of light. So I need to click around here and decide which one do I like. And I could also click on areas of that house. If I confined areas that should be gray screens kind of far away from me right now. I'd have to kind of zoom up here to see if there's any appropriate graze their ah, the word motel, nicely painted with white whites, a shade of gray, right? So I drop her right on that and whatever light falling on that should be corrected for when I click, which have already done. Looks like it was most like the same kind of light that was falling on one of the signs because it didn't change much. We'll double click on the hand tool. Remember, that's how you zoom out to 100% not 100% Teoh fitting window. But now you see, the light that's coming from the street light that was here isn't looking very good. It's way too blue. So I'm gonna grab my adjustment brush. One of the changes I can make with the adjustment brush is the white balance and that's new in photo shop, CS six in CS five. You couldn't do white balance. You had a lot of these other choices, but that wasn't there. So what I'm gonna do is I just look at this and I noticed that it's way too blue, so I'm gonna take the slaughter and move it away from blue towards the opposite of blue, which is yellow. If you're not used to thinking about color like this, blue and yellow are the opposite of each other. And that means that if I make something less blue, I'm automatically making it more yellow. It's like a seesaw or a teeter totter, where blues in one hand, yellows and the other. And so if I say there's too much blue in the image of losing this and on and I say Last blue, less blue, less blue, I'm going to automatically be shoving more yellow in because yellow absorbs blue. That's just how it works. And then if I keep going and I go too far, I will have gotten all the blue out of the image, and now it's gonna start looking overly yellow. That's how it works. And that's why your images made out of RGB red, green, blue. But when you print out, you don't print with red green blue ink you print with science, magenta and yellow. Those are the exact opposites of red, green and blue. If you want to remember the opposites and things, you can actually do it in photo shop. We'll talk about it a little bit later, but if I go to the window menu and open the info panel, you'll find in the left side of the info panel is RGB and on the right side is seem like a and the opposites air directly across from each other. All right, if you ever adjust an image and it's got a slider in the name of the sliders Red, moving it one way will make your image more red. Moving in the opposite way will make it more science, because science, what's used to absorb red light. So we'll get into that a little more when we get into more interesting color adjustments place. So we were in this all right, And I came in here with my white balance tool and I white balanced one area of the picture made another area to blue. So I came in here, grab my adjustment brush, and I come over and say I want that Les Bleus. So I push the temperature slider away from blue, which means towards yellow, And I'm gonna come in here maybe with a softer brush, you know, I'm gonna paint it in. It's gonna warm up that particular area, make it look less blue. If I turn the preview check box off, you'll see before and after you see it changing. And so you want to do this. Any time you have mixed lighting, you have. You're outside and you have moonlight lighting overall building. But on the building, our little lights on the outside that I turned on the porch light or something. Porchlight is going to be a different color of life in the moonlight, so white balance for the majority of the scene. Then going with your adjustment brush and push it. You'll see the extra lighting that's in there will be two yellow or to something, moved the temperature in 10 slaughters away from that color that it has too much off and painted in just where those little light sources are in the porch lights or the front door light or whatever, and you can make it look like they're all lit with the same color of light if you need to, you could do the same thing if you find that the shadows within your image are to blue. What happens with shadows is the area that or not that is not in the shade is lit by the sun, and if you white balance for that, the shadows air not lit by the sun there, lit by the blue sky in so blue sky. All that big blue area is lighting your shadows, and it's much bluer in that area. So if you want the shadows to not look so blue, you could go in there with the white balance slaughter moving away from blue, and you could paint in your shadow areas if they're going too far. There's one thing. It's real nice mill, and that is in camera raw. We have a slaughter called clarity and clarity. I think of is emphasizing textures, the texture of wood, the texture of brick, the texture of skin. Whatever it is, it's gonna bring out the details in that problem with clarity is that it makes people's faces look older because every little detail, the textures and your skin get exaggerated. And so unless its picture of baby, they're probably not gonna look great. Clarity turned up babies have nice, smooth skin, but the rest of us don't. So there's a trick, though. Let's say I want to use clarity, and I want her hair to have the clarity and so I'll bring it up. In fact, let me go to the new process version. Remember that little This little exclamation point means, Hey, you adjust it with an older version and we don't have the new sliders available here. If you click that, it will make it so it gives you the new sliders and what I'm gonna do here, something's gonna crank up clarity, and I'll do it where she won't like it. This is Cassandra, by the way. And I don't think clarity is gonna help her skin. Much clarity, though you'll find, can both be positive or negative. And so if you bring clarity into the negative range, it's going to soften textures. It's gonna make it harder to see textures. It's somewhat like blurring. And so here's the trick that I could do. I can bring up clarity until I like the look of her hair ignoring her face. And I'm just gonna remember what it was set to in this place. Plus 50. Then I'm gonna go to the adjustment brush and I'm going to take clarity and put it to the opposite of what I applied to the entire picture. Remember, I had it at plus 50. I'm gonna bring its negative and by doing negative 50 and in fact, I might even go further so that I negative 50 would just undo what's applied to the whole image, making her face look normal when I painted there. But if I go even further, it would apply negative clarity to her face. Because this negative 50 is just counter acting the plus 50. That's on the whole image. In order to actually get negative clarity on her face, I needed to go beyond that, not just counter act what was there. So I bring it up here toe 65 and now I can come in here and make way brush a little bit harder edged smaller and just painted on her face. And I have something else turned on because your face is getting much bright. White white balance. Nice expanders really gonna love me now? Uh, but you notice the face like, just really weird. That's because temperature is still dialed in. I'm gonna double click on the temperature slider, get it zeroed out and make sure nothing else that here is getting applied. Now I'm gonna turn preview off now. Just so you know how Preview works preview. Will Onley show you what you're doing in whatever tab is currently active or whatever tool is currently active. So when I turned preview off, it does not show me the original picture. It shows me what this particular tool did to the picture, and so if I turn it off, here's before. Here's after you see how her face is getting softer. I'm counter acting the clarity that was applied to her hair and everything else first. Then I won't even be on that. And it's now any times below 50 because I have applied to the main image. I'm actually doing negative clarity and it's softening your skin. And so that's one thing that could be really nice. Other adjustments I could do here. I can say I want a new adjustment. And if you look at her eyes or rather dark so and if I was thinking about that as if it was the entire the of the photograph, if there was a spike on the left, I think about blacks, but there's no spike there. If there was a spike there, her eyes, the middle's might have been black. Instead, I'm probably gonna think about either shadows if it's mainly the dark part of the image or exposure if its overall brightness. But her eyes were pretty dark to begin with. I'm gonna bring up shadows and then get a small brush, and I might want to zoom up a little bit. Grab that brush again, doing a new adjustment, bringing up the shadows, and I could paint right where her eyes are now. You gotta be careful. There's a setting in here. I haven't looked at that, I bet has turned down and it's down below. It's called Flow Flow means how much of the adjustment that you're asking for. Should I put in on your first paint stroke? If flow Is it something other than 100 you'd have to paint back and forth over something to build up the adjustment. That's very useful. When we're working on people's faces and a little part of their face. It's just a little bit too dark. Another part is way to dark. That way you could turn down the flow and say, Only need a little bright ning, where it's just a little bit dark, and then where it's really dark, I'm gonna paint over it three times and have it build up so flow means how much you're gonna give me my first paint stroke. If I bring it up to 100 you get the full strength. So now if I painted on here, I'm not sure if I ever got it up to 100. I will do that. And that means I might not have gotten her skin all the way to negative clarity because that was turned down a little bit. But let's see, I confined to knit or bringing up my shadows. Now you see your eyes changing. I could try a little exposure with exposure. He often really be careful not to get over spread because you'd really notice it. And the other thing that's nice for eyes is clarity. Clarity can give it a lot more contrast to make those eyes kind of sparkle. But now there's a problem, and that is with brush that I'm using. It's very easy to get over spray on things and otherwise have to be overly careful, and it takes too much time, so there's a feature that can help me not to get over spray. What that feature is is down. Near the bottom is a check box called auto mask. All right, When auto mask is turned off, you can freely paint wherever you want. There's not limiting for your pain, but when I turn auto mask on, you'll see that when you look at my brushes across here in the middle of it, yeah, with auto mask. When I click, it's gonna try toe only get paint on the color that's underneath across there and try not to get paint on stuff that's a lot different than that color. So one thing I could do to this image is I could say I want a new adjustment. Zero out some of these sliders and for her teeth. I could come in here in either bring highlights up to brighten highlights or I could bring exposure up, and then I can come in here and click, and I'm just gonna make sure the cross hair never touches her gums or something that's different in the color of her teeth. I saw on painting here doing here. I might have hit her come over on the left, but it's gonna attempt to prevent me from getting much over spray. Now it isn't perfect her teeth, especially if I have a white balance. This image could have some hints of the surrounding colors, and so it's gonna mess up somewhat. First off, I'm doing too big of a change. Let's bring down the exposure a little bit here and let's see what it looks like. A preview. Do you see your teeth changing? Getting whiter. But I'm always gonna check for over spray because I think I saw some happen. I'm gonna mouse over the pin in key, see areas around her skin, her changing. So I would want to say a race. And then I would come down here in paint just on the skin. If you still have auto mass turned on, it will try to not paint beyond the color you're going over. But I like using smaller brushes where I'm more certain what's going on. They're now I got mainly her teeth, So don't think about Damascus. Mean magic. It's just a little bit of help, and so we can do her teeth, her skin, her eyes. Now, if these are things that you do quite frequently when you have the setting dialed in and you have things like auto mass turned on and you've adjusted the flow to say how much you want. Try going to the side menu that's near the below the history ram and on the right edge. Click there, and you might just walk over here and create a new preset and just call this teeth whitener enough. And then, if you go to another pin, let's say the ones for eyes. If those air the settings, you seem to always use your eyes. Go to that side menu, say new local correction setting and call that brighten eyes, and then the next time you come in and you grab the adjustment brush instead of having to dial in everything that you had, just go to that little side menu. And that's where you're gonna find any presets that you've created in. So you'll probably have your skin preset your teeth. Priests at your eyes preset, maybe hair preset. You know all sorts of things for that, and that we don't remember all those sliders in what you want to do with them. Instead, you can just quickly access them to find them. You gotta first go to your adjustment brush, though, then go to that side and you can find any presets you've created down here. If you find those pins to be slightly annoying, which sometimes they are, there's a check box at the bottom called show pins. Turn off all right, and typing a letter V is the keyboard shortcut. For that I want to show or hide those pins. Um, there's a setting within light room. I'm not sure if it's in here, uh called something like auto show pins, and that means only showed the pins while your mouse is on top of the picture. When you move away, they disappear, and that's rather nice. I'm not sure if it's in here. I don't see it as an obvious setting, So adjustment brush. Use it first, if any of the sliders in the normal area where you adjust the image. If you've maxed them out and you wish you could move him further, also use it for working on localized areas, if one areas to orange to blue to bright to dark and go in there and painted in. Remember that auto mask is going to attempt to help you by Onley putting the paint on top of the color that's underneath the cross hair so make sure it's set to the setting you want, because if auto mask is on and you're not aware of it, you might paint in some area thinking it should be doing what is what it should. And it's not because it's trying to help you and isolate things more. Remember, flow means how much of the adjustment should you get on your first paint stroke should you have to paint over it more than once to build it up. So if you're funny, it's just not giving you what you want. Eventually, airflow is too low if you want to mess with your coworker, but their flow down with 2% none of their brushes will do anything you know. It's like 2% of their stuff. If you're using the adjustment brush is. And let's say you did her teeth for some weird reason. You wanted a crazy white effect. Would it compound on itself if you went and got a new brush and did it again? You can paint over one area and then say you want a new adjustment and then paint over it again and it can build up, so that way, if you need these sliders to go to 20 instead of just 10 or 50. You could sit there, put five layers on top of each other of that painting, each time doing a new adjustment. And, yeah, I can do more. Yep. And I love how you guys represent the Internet because you just ask the question that I was going to ask from Bill. Guy can add, which was Can you add more than one adjustment brush on top of another for going beyond 11? So thank you for that 12. Okay, Question from Al Venice. Is there a difference in the way my camera will show the history? Graham and the way light room are a CR show that Mr Yes, your camera is creating a little J peg file and show you a history graham of it. So it will take on the the color space that your cameras That too, And it will have the, um you will represent what a J peg would look like. So it's not gonna be the same as what you seen came around will be similar. And just a clarification from Damien Vines. Is it true the auto mask works via color differences or contrast differences? I don't know exactly. I think of it is a combination of both either difference in brightness or difference in color. As far as I know, it's both. But I haven't, like double check to make sure I'm actually right. Yeah. You have a question? Yeah. When you place a pen and paint, can you scale the size of that? For instance, if you just put a dot somewhere, would you be able to scale the size of that? I mean, after applying it. Yeah, I know. You would instead have to choose a race and then a race around it because it's already been applied. It is. It's not just a speck with a size setting. It is like real paint is so yeah, it wouldn't quite allow you to just scale aside, so yeah, just if you was too big, then you want Teoh simply, um, choose a race. Just pain around her. So here these kinds, I funded Moscow, and my guide in Moscow is overly embarrassed because this didn't happen before the revolution or something, you know? And she didn't really want me to see it, but I thought it was great Where did BMW hat in other things, but their faces are a little bit much When, uh, with this so I might come in here, flow up good and see if I can end up shifting them. Yeah, I get their faces, get away from Magenta to get maybe away from yellow. Or maybe it needs more yellow and then maybe less colorful. Don't want to look great. Though it is a limit to how far I could go there. Photo shop, I'd be able to completely fix them. In fact, if we if I remember this image, I will try to remember to bring it up. But you see the difference from very red to less so red. Once we learned about a justice and photo shop will be able to make that any skin tone you want. I can perfectly match any skin tone you ever show me. It's a simple concept of how to do it in camera. There certain things that you're more limited in, so it's not as fun. Uh, any other questions you can ask a couple more. That's okay with you. All right. Dallas beef guitar. If you would like to know if you ever use clarity to sharpen a picture that's not tack sharp? Uh, yeah. I mean, I don't think of it is sharpening, though, because sharpening usually is working on fine details. So just a terminology standpoint, you might say de blur kind of thing. Uh, it will help, but it's not a miracle worker, So yeah, I do think of it. If an image is a bit soft, I'll go in there and do it or this is a quick one. Do you normally use a mouse or do you use a tablet Ever I use either? I almost never use a mouse, so this is kind of weird to have this. I either use a tablet or I also have a little track pad. I'm so used to a laptop that has a track pad in it that I have apples, little track pad that sit next to this. And that's just so it's always accessible if I'm gonna do a good amount of painting, especially if I'm gonna be working on faces where I need to dodge and burn, meaning Britain in darkened things in a selective way than a tablet will be essential