Adobe® Camera Raw

 

Adobe® Camera Raw

 

Lesson Info

Adobe® Camera Raw Interface Insights

Let's go through some, um, interface options and, um, go through that we have on the left hand side, we have our film strip and again, that is similar if you're if you use light room, probably not. If you're using light room, you're probably not going toe be switching back over to adobe came around, though some people have learned light room and are using bridge and camera port of reason I will mention, as an aside you will be, even if you are a light room user, you will be using adobe camera raw because if you go from light room into photo shop and you want to retweet those images, by definition, you've got to tweak those sliders in adobe came a raw you don't jump back into light room per se, so if I go from light room, I go into a shop, hopefully taking advantage of what's known a smart objects so I still have everything that I did in light room is still inside of you put a shop around a filter really cool, groovy filter, and then I want to tweak those sliders that I had done in ligh...

t room. When I double click on that file, it will taken overdue adobe came a rock, it will not take it down back into light room. When I'm all done I'll go back in the light room but I will be using adobe camera also here a light room user you will be using adobe camera because the dough became a raw could be applied to video and you have everything in adobe kamerad means you have the entire develop module of light room at your disposal for video right now video in light room is only a truncated version of the capabilities of the developed module cool awesome great doesn't have things like clarity ok doesn't have the shadow slider um it's awesome but you're gonna want to use the full power of the develop module for your video and for that you'll be doing it in the shop for that you'll be using it became a raws version of that engine rather than light groups okay, so that's just to say you will be using adobe camera raw even if you are light room user and that's why you're probably taking this class if your light room user because you know you will be yeah not just really piqued my interest so can I bring a mp for file into camera? Well yes and no um you can't in the camera that we're using here there's no video is allowed but remember since now adobe in cc again worth the price of admission since adobe has made a doe became a raw filter anything that you can bring into um photo shop can be filtered with adobe camera which means anything from illustrator any clip of video any anything that you can bring so what you do is you take a video clip bring it in place it is a smart object and then you will actually be running double camera as a smart filter on that video clip so it is it's a huge thing and you get all these things that when people say it wasn't worth the price of upgrade yeah, what part of yeah didn't you get I mean it's so all you need is one feature to justify that cost if you how many addictions do you have in your life? Right? Photo shops upgrades is the cheapest addiction you're going tohave you probably spend more on aps than you do on anyway don't get me started okay, so we have the filmstrip on the left hand side you also on the filmstrip you can collapse it if you need more space so some people didn't know you could do that you can make it that big you can make it pretty small you can collapse it all the way down what am I doing? I'm clicking on this little area here and just yanking on that to spend that spread that up okay um you do have the ability to select all and synchronize so when you have multiple things selected will get to the synchronized appear in the left hand corner where you khun synchronize your settings um you have down here in the bottom left save image this has been updated in the current version of a cr for photo shop cc and allows you to do a number of things mainly you're gonna be converting them into digital negatives jpeg tips or photo shop so anything you do here and you can save off including the digital negative you'll notice that I'm teaching with dmg files the nice thing about dmg files is that they store the metadata inside of them they say raw and yet they also have the metadata if I were to give you my nikon f files they would have to have a sidecar file and it just gets messy so I used the ngeze purely for a um the elegance of having a self contained file this does bring up a point can you open up a j peg file and save it off as a digital negative and if so does that make it raw yes you can and no it doesn't um that so just as an aside just because you see a d and d file does not do not think that it is not that it is a raw file it may be a heavily retouched completely j peg cooked and fake file with the moved pyramids and everything else you know happening do not trust a dandy to be a original file um I will mention speaking with angie's which are really great is that you can now use eh? You always want to have with dan ji's this load fast low data for have the files open up faster there's no downside to that it just puts in what's known his header information to make it load faster it's very slight in the file size but you can actually use a lossy compression now in here so if you are sending files out you didn't need to for some reason keep them raw or you wanted a group to take on the road with you or something like that it is true raw data it's a very minimal compression it does save a lot on file size um and it is part of the smart preview technology that's built into the new light room which is incredibly cool. You can also now brand new is not only preserve picks account but you can say take it down to something like a you know four megapixel file so it's a true raw file your going tow it for megapixels or eight or ten or what if you want you can still have a tutto three thousand wide image um that you can still work on and ah still do your white balance everything else you do for a raw file so if you knew that was the only size that you needed and going on the road and you'd still be able to upload the tweaked images a lot of people would do this conversion to a whole set of images that you knew you were going on the road, but you didn't want to have it be a terabyte of information you wanted it to be, you know, um down to ten megabytes so you can do this our present count okay, you can if you do something like j peg and stuff like that that remove the location data is always now in any of the safe ones, so in terms of things like caution, you can change the color space now within here so you could automatically take them out in terms of that and you can resize, um, the image and you can put in height and a whip. So in terms of optimizing for the web, this is great because if you're already in here and you didn't want to take advantage of that image processor, you can instantly batch process you can select all when we have our select all here everything on the left hand side give it a height thing with srg b j peg with a compression setting even limited to a set file size and you're done and it will automatically save them out either in the same location or to a different location, okay so very, very cool the fact that this has been extended and again even something as simple it like that may be worth the price of upgrading that's new to cc continuing on down the interface I'm going to continue on down here down to the lower left you've got your zoom in features teo zoom in on a file zoom in, zoom out you can also double click on the magnifying glass and the upper left to get one hundred percent double click on the hand teo automatically fit in window if you are in any zoom factor that you'd like, you could do a commander control o is also fit in window is a keyboard shortcut command or control o his fit in window if you don't want to go back to that hand um if you have a serious of images selected let's say we had that serious of panoramas and I want to work on all of them at one time um I could reset the defaults for each one of them so they've got them all selected but I want to use this image as the main image I want to work on that's what this thing is if you ever wondered what this is for selected out of thirty three this third three images for selected and the left and right is your ability to move through the selected images without de selecting them in other words, I don't have to if I have five images, I want them all selected because as I come up here and tweak its going to actually be processing all four of those images at the same time so I can come up here and find two in it, and you'll notice that each one of these images is all being changed. And so this little left and right arrow allows you to go through the images that are currently selected and make the one that you want in the center. So that is that let's continue on back to open objects, open objects of versus open images, open images means it's going to rast arise whatever you do in our dope became a raw and open it up as good old fashioned dumb pixels and photoshopped. If you open it up as objects it's going to take all that raw information again, even if you did it to ajay pig tiff or raw file, all your sliders, all your retouching, all your luscious goodness is going to be maintained, and they will open it up in the photo shop is a smart object, you can still filter it, you can still do all sorts of things to it and still get back to the raw data. So we'll be spending more time with smart objects I'll explain it more but I like that is a default how can I make that a default open objects that goes back to this little thing which looks like a piece of hypertext right? This is telling me right now what are known as my work flow options which is saving s rgb at whatever size this is a small original file pp I and any sharpening that is applied to it click on that and it brings up here workflow options so this is where you can change it again this is you think of this as your output options so if I'm going to output in the past since you couldn't unsafe change the color space you'd set your workflow options to whatever color you were going to do and if I was using this save option for things like j pegs for the web I would leave it in s rgb change it again if I'm going into photo shop in this case since they've added the ability to change whatever color space you'd like on saving I'm going to set that back to adobe rgb is my default color space you can resize it as a default so it always does it these workflow options or for every image that's in here umm if you open up in photo shop and you had that resize turned on it would resize that file and it wouldn't be whatever color space you're in, you can sharpen on it on output. We're going to get into detail and sharpening later on, but this is where that open in photoshopped a smart objects things and I have mine checked. If you want, you can always just hold down the shift key on the mac or the shift key on the pc slightly different exactly the same and that switches the toggle between open images and open object so you can if you idea of the deep fault of open a smart objects, I can always get back to it by simply holding down the option key before I click that button and it switches from open object toe open image. And that is again is whether it's going to restaurants that cook everything I do in adobe camera before it sends the photo shop, or will it look exactly like it does? But it maintains access to those sliders is what a smart object is going to be. So yes, on the image sizing received selected five or six images and it's a mixture between landscape and portrait orientation will the width height taken account those of maximum with okay, so if you come up here and you do that well, in this case, you've got both width and height so you could set in, I would say this means maximum so it's not going to change the aspect ratio, so if I wanted them to be a maximum three thousand pixels even though it's a landscape shot I would put in three thousand by three thousand and then the maximum length will be three thousand and this will be a thousand, so I put in the exact same measurement what I thought is could be a maximum if you are doing it for a presentation and you want actually the height thing with to not be more or less because you don't want it to, you know, interpret it down, it has to fit with inside that window, then you can put in set parameters, if not then his example when I do a slide show my images of bigger and it fits in window on the fly, so if you definitely don't want it to fit in window on the fly and you could put in a very specific size in here and it will always be within that, but you cannot change the aspect ratio you can't, you know, distorted to fit makes sense. Um, really, briefly, because I know we're going to get questions about this here color, space and bit death um, and you'll notice here that this in this location here, I can set up all my different color spaces, so if I've got these are ones built into it so here's costco so here's a costco color space so I can come up here and save it out to a j peg with a custom costco or whatever printer workspace so this gives me access to all those different um color spaces and if I've got here by come up here um if I go to j peg and this is also going to give me on save output to all my loaded um co spaces so both of those are built right into adobe came around now go back to here um the color space you are going to be doing that's back up if you shoot a raw file most for our files are saving what's known as ten to twelve sometimes now forty norm or bits of information per channel so um versus eh jpeg file which is saving it in eight bits of information per channel this gets really geeky but it's two to the eighth power is what is being saved for each one of the red green blue channels to the paris twenty fifty six colors you only have two hundred fifty six shades of red, green and blue in a jpeg file to fifty six times two fifty six times two fifty six equals sixteen million potential colors which is plenty of colors if they're in the visible range you want shadow and color highlight detail most printers can't print sixteen million colors so eight bits of information is fine, as long as those sixteen million colors are exactly where you want them in terms of color in tone and that's. Why god made adobe camera right to get your image exactly where you want it in terms of color and tone, so can you open up something in a photo shop with eight bits of information per channel and still go to heaven? Is the question, and I say, yes, you can, because you've already done everything that you needed to do to get it within the color orange you wanted. And again, a lot of, um, printers can't print beyond in a bit. If you wanted teo it's totally fine to do sixteen bits of information per channel that will take it up, probably ifyou're again, a camera that she's twelve bits of information per channel into ralph I'll you'll now have sixty billion potential tones in that file. Instead of two fifty six shades of red green blue, you'll have four thousand shades of red four thousand shades of green, four thousand shades of blue, your subtleties and blues and skies and big enlargements. Giant prince is great. The thing is, is that one? Your files will obviously be twice as big, um, in terms of their size, the storage on disk that work twice a slow because you're having a press process twice as much and you'll have probably half the filters available to you because a lot of the filters and photoshopped do not work in sixteen bit per channel so that's up to you also, if you are working in sixteen bit for channel, you want to make sure that you are definitely working on a very good calibrated monitor because with sixty billion potential colors at your disposal, you'd better make sure that that color that that monitor is as good as possible. That's one of the reasons why I don't use the pro photo color space and when I go into photoshopped pro photo six sting bit is going to maintain all the information as much as possible. Even though it's still cooking the file, it has huge range of number of colors and huge range in terms of the gamut of those colors the reproducible range of colors of that color space of pro photo the problem is very few of any monitors can actually view pro photo no printer can print pro photo unless you really know soft proofing really well, there's no reason for you to be working in pro photo you're a potential of making something look good that then you hit print you go, what is this is much greater because you will be ableto make colors that can't be reproduced and therefore the colors on press or on your printer will have to jump to the nearest closest color so you're nice sunset with a yellow you know son goes lime green because it couldn't reproduce it if you've ever seen that shift that's the reason why color matches for printing it has its uses but not for me most people in photographers and s rgb is I'm afraid the color space for every pocket camera every web, every email application is all s rgb and most printers even professional printers have backwards calibrated their systems deaths rgb which is a shame because it's an awful color space but since every camera defaults to it, most printers use it which is a shame but it also shows why it's important for you to do all your color and tone in adobe camera hugely important repeat that since s rgb is such a poopy color space to use the technical term, you'd better take advantage of the billions of colors getting them all in the reproducible range of colors that you want and then cook it out to your mandatory s rgb before you leave adobe camera raw because then you're taking advantage of the billions of colors, knocking it down to these crummy little a bits of information per channel so even more than any other place because once you go into footer shop you're cooking the file the pixels of even if you use a big giant color space you're still cooking the file and things like white balance are going to be permanent in your file. So okay, so workflow options adobe rgb eight bits of information for me is fine because I do everything that I could possibly want to do in terms of tone to my images I know I am going to do more color work then I'll leave it in sixteen bit I also do a lot of filtering and I want to have access to my filters I'm not going to re size to it and I'm not going to sharpen for the screen if you were going teo batch process a bunch of things out you could take advantage of that you could scale the files down and that would be fine with me. We have the capabilities and you have custom profiles, but I as a default do not have it sharpen because it changes if I had a default, these of the workflow options which am I going to dio is going to be screened glass you're met well, I print all of them, okay? So there's no reason for me to set a default because I don't have a default I'd much rather know what I'm going to print too and I sharpen it based upon that but they are very good algorithms and they're there okay and you can come up here and create workflow option. So you can come up here if you do one's for print, for my inkjet printer, for costco, for baby photo, for whatever. Um, you can come up and create your own sets of presets now, so that is excellent for your workflow options. You're not stuck with one. You can make a cz many as you like. Ok, okay. And this again, is that open objects, and this is that holding down that shift key, just so you can see that my default defaults to this, and then holding down that shift. Key just toggles between open image verses, open object.

Class Description


Get ready to master the hottest new Adobe® Photoshop® image-editing tool. Join award-winning photographer and Adobe® Photoshop® expert Jack Davis for an introduction to Adobe® Camera Raw.

Drawing on his Adobe® Photoshop® expertise Jack will demystify Adobe® Camera Raw (available both as a filter within Adobe® Photoshop® and an application within the Bridge application). You’ll learn about using Adobe® Camera Raw as a flexible image-polishing tool that enhances your photographs in less time.

You’ll also learn about sophisticated retouching techniques from eye and teeth enhancement to skin color unifying. Jack will also cover creating special effects like high key black and whites, selective hand tinting, cross-processing, and changing depth of field.

Whether you’re a Adobe® Photoshop® beginner or a long-time user, you’ll leave this course with the tools needed to easily create jaw-dropping images with less effort.


Software Used: Adobe Photoshop CC 14.1

Lessons

1Introduction and Overview Part 1
2Introduction and Overview Part 2
3Adobe® Bridge Integration: Workspace
4Adobe® Bridge Integration: Preferences
5Metadata Templates
6Adobe® Camera Raw Interface Insights
7Adobe® Camera Raw Tools and Panels
8Five Step Tango Part 1
9Five Step Tango Part 2
10White Balance and Vignettes
11HSL Global Adjustments and Effects
12HSL Effects and Faux Infrared
13Adobe® Camera Raw Sharpening and Dust Removal
14Enhanced Curves, Cross Processing, and Solarizing
1Five Step Tango Review
2Radial Filter
3Sharpening in Adobe® Camera Raw
4PPI and Printing
5Targeted Adjustments
6Graduated Filter
7Healing Brush for Retouching
8Adobe® Camera Raw Auto Mask Feature
9Adjustment Brush and Recoloring
10Glamour Retouching Part 1
11Glamour Retouching Part 2
12Targeted Skin Color Unifying
13Dust and Scratches Filter
14Portrait Retouching Part 1
15Portrait Retouching Part 2
1Targeted Coloring
2Hand Tinting
3Smart Filter Painting in Adobe® Photoshop®
4Masking and Recoloring
5Radial Filter Retouching
6DeSharpening and Healing Brush
7Adobe® Photoshop® Integration: Diffused Glow
8Adobe® Photoshop® Integration: Panoramas Part 1
9Adobe® Photoshop® Integration: Panoramas Part 2
10Adobe® Photoshop® Integration: Combining Images
11Adobe® Photoshop® Integration: HDR
12Adobe® Photoshop® Integration: Background Eraser
13Adobe® Photoshop® Integration: Liquify Filter
14Adobe® Photoshop® Integration: Content Aware Scale
15Input and Output Sharpening
16Split Toning
17Soft Proofing and Printing