Adobe Camera Raw

Lesson 23 of 46

Adjustment Brush and Recoloring

 

Adobe Camera Raw

Lesson 23 of 46

Adjustment Brush and Recoloring

 

Lesson Info

Adjustment Brush and Recoloring

This follows up on yesterday's effect and we'll start a little bit mohr into our port to be touching. Um and that is this idea of doing this selective re color effect going on. So yesterday we did that little trick where we came up here we used one of our presense. We made a little pre set called d set okay, which gave us this wonderful ability to come into the hs l take our ta t tool which also has a keyboard shortcut of tea coming into something like the reds in the file and re saturating it. Now the thing with this why work so great with a girl in the blue wall is there was a girl in the blue wall. She wasn't wearing a blue dress under blue wall. In this case we have the exact same obnoxious colors in the bridesmaids dresses as we have in the little bouquet of flowers, which also happens to be in the skin tone. Probably not the best use of this effect that we're going for ok, we could take it down that did are reds and oranges. We could see if there's something just in magenta tze a...

nd may be again if she had just, you know, magenta and purples, it could be that we could play around with something which again, is what I did in some other samples yesterday but this is a case where I want that entire bouquet full color, and I want no other colors in the file a standard thing similar to what was going on with the young man who had reds and yellows in his skin tone. I want isolated I don't want the tide to change with the lips to change when they change something else. So this also relates to the area of auto mass because we're going to create a hard edge mass for this scenario here of, um, our little bouquet of flowers now there's a couple ways that you can do this effect and this is a little test, and maybe we're even pull in the studio audience, jim, into this situation, I want to de saturate everything in this file except for the bouquet of flowers, and I want to maintain the most amount of control possible, and I want to do it in the least amount of steps. How am I going to do this? That's kind of a a really tough question because we don't want to hang around here because you guys got just tell may I stop playing with so one the one of the intuitive waves might be is that we don't do this convert to gray scale, we set this back toward default, we take our adjustment brush, we do just what jack did where I'm going to take and de saturate the brush we'll have auto mass turned on and I paint over everything but the flowers and there I'm done in other words I'm painting or the brush which is a d saturation brush and leaving a hole behind for the flowers I could also doing the exact same concept paint over the entire issue with this de saturate brush and then used the eraser with the auto mass turned on and just erase the flowers which would save steps I wouldn't be doing the entire thing I would just be doing the flowers so that would be least number of steps also get the job done but what would be the problem with that in terms of this issue of one in control? The problem with that is that I've got a hole where the flowers are and by definition the whole means that's not selected I can't change it I have no control over the flowers all I've done is select the background so I want to be able to control the background and de saturated and I also want to control the flowers as well I wantto both I want all the control that I have so there's actually a couple things that you can do here um and it only takes one extra step to add a lot of control so what I'm gonna do here is I am going to do this de saturate de saturate brush all I've got going on is de saturate I don't have goingto have auto mass turned on and what I'm gonna do is I'm gonna paint over the entire file one second boom I'm done tap the white key if I want to see it yep looks like I got it so now I've got that and now I have absolute control over that everything that is basically inside my tango is at my disposal which is we'll see later on means all sorts of things in terms of the color and tone for this background for the foreground here I'm going to hit new and all I need to do is take that saturation to not zero in other words no effect I take it to plus one hundred remember this is just like a database manager these sliders are just siri's of math if I take out minus one hundred and one adjustment and then on top of that other adjustment I add one hundred plus saturation go over neutral I go plus one hundred what's going to be the result back to normal I'm back to full saturation this again showcases how this is different from porter shop if I took my color photograph de saturated and then try to re saturated by exaggerating the saturation what would have been a photo shop it would laugh at me it would just say dude there's nothing there you just took it away. What are you doing here? I'd have to punch a hole in it, and I'd have to do that scenario. This is justa siri's of math. If I come up here with that plus one hundred on top of these flowers now, turning on auto mask, what was the main tip I wanted to make sure you had when you start doing your first brush stroke within using not a mask completely inside that area, don't get close to any edge. So when I come up here, I am completely masking out, and even though I'm on top of something that has been de saturated, the fact that these numbers measure back out to neutral, in other words, full color is the secret mickey mouse club handshake and it's a great concert, because if you wrap your head around that that's, another one of those things were going, wait a minute, that means that I can take this out here and headed here, and I don't have toe you start thinking in ways that actually will allow you to do a lot of work. I'm going to tap that y key so I can see when I spill, what was the other tip that I gave you about working with the auto mask, that if you do get spill outside and if you race what happens it becomes mohr intelligent actually becomes more intelligent so I'm gonna come up here and I'm gonna make it a harder smaller brush I'm in the eraser why? Because I'm holding down that option or old key I'm going now click outside here and you can see that it's an intelligent eraser as well as paint brush I'm not going to come down here you can also see how quickly you can go even on things like this option are all clean it up got it? Thank you even this big of a brush let's, come down here and get a little spill now come on, that's pretty darn cool the brushes twice a cz big as the tip of the flower and yet it is staying inside that flower. Ok, what do you do when the software does something nice for you? Say thank you. Okay say thank you. That was awfully nice because again, remember when software's buggy it's because you're copping an attitude, not because the programmer did something wrong so before as we know it, um when things weren't quite working, right? Obviously it's not this version of camera raw it's my attitude that is needing adjustment. Okay, so you can get that when I get to you notice that the inside here is some things are just so different that, um it's having problems with the inside of each one of these flowers here. So at some point I just turn off the auto mask and just hand paint in these areas. There's no reason toe, you know, have auto mask work so hard for, um, certain things just turn it off and no longer need that feature for things like you know this, okay, but that is great works for me will say that we'll tap the waikiki. And now, because this is a separate entity on both of these areas and I see that question that's coming up now, not only can I change color, which of course I can come up here and find tune that if I wanted to be more passed out but I also have access to things like clarity if I want to make it pop, I can also shift the colors if I wanted to, you know, be more purple or whatever I can come over here to my background if I tap my qi here's my pin for the background maybe this area here, I want to come up here to my shadows, bring in a little bit of shadow detail, a little bit of clarity for them, maybe anti clarity for them, you know, whatever I want to do, so I confined tune these as separate entities because they are and also in here if I add something here remember I can remove it here if I had clarity in the background here I can take out clarity here and again it will balance itself out so remember these air just a siri's of mathematical equations and they work beautifully together yes question so why wouldn't you do your preview of the earth you're president of the the d saturation and then come in with that targeted brush and all the weight but one hundred is because it's like global versus targeted good question the question is using this other little technique here let's go ahead and take this adjustment out delete that background so now I've just got a oversaturated thing here and we're gonna come over here and we're going to use our d set preset and it does work you can see here that it doesn't work it's actually undo that right there it doesn't work if you come up here to the basic panel and you d saturate so you can't do that because it's not accessing the individual colors that's de saturating the file theoretically it could but it doesn't so that little trick of de saturating doesn't work if you were to use this preset it does work um you'll notice because I did that in the er when I painted it I had access to all the different elements and it's it's a sense it's like my basic panel in there. Um and now the color is taken out here but I'd have to do my tone workin the basic panel so I would do the h s l d saturation and then the basic panel for tone because I was already in the adjustment brush I did them both in one fell swoop theoretically though if you wanted to you're absolutely right since I did use the hs ellen the de saturation if I wanted to say bring things back in like the green in the background you can combine these techniques you know and do that and sometimes that it actually is good that is actually is a good tip in the sense that sometimes it's easier to do whatever you can do globally with a slider and then fine tune it with a targeted adjustment so it's actually that is a great concept okay but the one thing you can't do is use that de saturating the basic panel the last thing before we go into portrait's per se is one more thing I wanted to do with the healing brush and that is because we will be using it for doing our facial retouching and um that is well let's do a couple things one and we have another brooke krystal shot and we're going to come up here we're back to our target adjustment with the spot removal tool we have our hell we have a again let's will leave the feather off until we're done certain things you can change that feather after the fact so I will like doing that um if you come up here and you want to get rid of this if we think that this is a distracting piece of light here ah this is also good reason why you have that ability to change it later you'll notice that in this area because it's trying to match the tone of the original source file I'm getting this you know, glowy spot which actually is better than it was has been in the past but it still is, you know, a glowing spot um because it is trying to do that matching this is where the benefit of the clone comes in because the clone is actually grabbing a different area and moving it into that location but because of that if we don't take advantage of that feather let's hide that you can see that hard edge this is where that feather comes in handy to hide the patch that we're doing so you are responsible for that patch and why you'd use clone over hell clone actually is going to move a chunk over you both of these have access to feather feather is really important in terms of clone because there's no other way to hide the edge hell has a bit of that already built into it you can use a much less, uh, radius in terms of that feather okay, so I wanted to mention that in terms of cloning he'll same thing goes here this one I think I did um this theirs is our little tango looks a little excessive to me um but what we did with that healing brush is I'm going to take it up quite a bit let's take it we'll start off with hell because if you can do hell since it's going to try and match it here's that he'll actually has some feather to it no matter what and I'm gonna come over here and click one felt click it's going over here this is actually one of the benefits of light room is that you can move that source and destination in real time and it actually will update whereas in there became a raw you're forced to do little teeny adjustments and that's also what it's really good to be able to know about that wiki so you can hide and show your selection but there is again especially if I was doing a headline over that area that's a pretty good fix between that and that ill as you'll notice has got no feather on it whatsoever that as I was mentioning why the hell is so powerful because it's blending in that texture from one area to another if I wanted to come up here and continue that process on things like the swimmers in the foreground or things like that especially now with the new feature, we can come up here in paint let's, turn back on that v one thing. If you go right up to an area that does have high contrast, this is another issue for some people here is if we just came over here and did this patch sometimes you get this little halo, you get a little halo coming up here as you come up it's actually move a little bit closer. That's. Nice feature that I can move this a little closer. You get a little halo going on here if you make sure that your source has the same contrast edge on it as it the destination source and destination with no halo. Okay, so just make sure you grab from a place that has that same inherent contrast as where you're putting it and your mess, much less likely to get any kind of halo artifact. And again, you do have now feathering as an option, so that is also a real nice feature, and it also works quite fast now. So if you come up here and do things like those little floats, you actually can get a lot of work done in the past. The reasons why you would rarely use that spot healing brush for doing any sort of significant retouching inside of a cr is one it was slow that it actually took quite a bit to refresh you couldn't draw an actual shape like I did with swimmer there um and you didn't have a feather option the fact that all of those air in there is actually fantastic actually means that yes it's a true retrench retouching tool now and um there's no reason why not to take advantage of it. Okay, yes, I guess you'll always adjust that feather edge even know you're only it like sixty percent before you print will you go into it like one hundred percent and like really look at that edge? You absolutely should absolutely you are responsible, you are responsible for that edge and like you said, you'd actually it's a great point because what subtle on screen could be exaggerated on print? So that's a really good it's especially good without using that feature healed is such a great job of matching it even though it was a hard edge before there would be times where again, you didn't see it on screen, but it actually wasn't the settlers you'd like, so that a little bit of feather even on something like hell is is a really nice nice picture last but not least this is a little tip that I'm going to show it actually can you guys figure out what the heck this is? That's actually is an un retouched photograph that is looking over the size of a crude side of a cruise ship. This is the shadow of the ship in the black sea in st petersburg, russia. That's the color of the water. But this is the shadow of the ship and the birds are flying along the ship as it comes into duck. But I do. I love the the, um the contrast of color that's. Why, I think I want to get a little bit straighter and that did not make it straighter. And I just love I love cemetery. Some photographers hate symmetry. I love it with my background in graphic design. So cemetery and that sort of thing is just great. Actually wanted to speak of cemetery, going to make it perfectly symmetrical just to drive you guys crazy. But let's, say in this case, I want to find tune some of the segal's here. I wanted to move them about or I might want to get rid of a sequel here. But I want to find too. And I want to cheat. Okay? I want to do photo shop where I don't really want to take something out. I want to move something so let's do that going back to our I'm spot removal tool will have it on hell zero feather still is a starting point hundred percent opacity size I'll take up the brush a little bit and I'm first going to come up here and I'm going to get rid of this bird okay and we'll come over here and there is its old match great awesome wonderful except I don't want to get rid of it I want to move it so this is taking this spot and moving it over this right start finished green red so what does that end but we know that that's the right exact same size for that bird right so is there anything stopping me from going like like this and like this and moving the bird or replicating the bird no nothing at all problematic in that cool groovy but they're the exact same bird now what's were actually is very cool is that because it's using the healing it actually can will heal it wherever I put it it's going to try and blend that in wherever I put that bird is going to try and blend it the best it can into that background there it gets a little confused when it's on one background and the other but it is a great job of blending so if I wanted them that there you can move stuff around especially with this brush especially since you have irregularities especially since it's going to match up so that's cool but now we obviously have two birds can I rotate it and scale and do everything I can to do in push up no that's been greedy cut me some slack it's the procedural editor you can't you know next year when they bring in the holographic scratch and sniff feature okay I did that out that can't go out people find out okay thank you for that courtesy laugh okay but eh so now I want to get rid of this one so is there anything stopping me from getting rid of this one? Well know what I can do is actually what I'm gonna do is I'm gonna temporarily and this gets a little bit of tricky I can't paint on top of this one here can't paint we're exactly on top of it but I can come just outside of it and start doing a paint as long as I'm outside of it that's zoom in a little bit so you can see what I'm doing okay so as long as I'm outside as long as I can see that brush I can actually paint now it's saying okay dude do you want me to use this one so that's a little confusing so no I don't want to do that I want you to get rid of it you can see I actually did that I didn't quite fill in that entire one so let's go ahead and do that so the replicated bird is at the bottom. I want to make sure I get all of it, including that little interior section and it's now going to choose a different area, so that bird is actually there. Let's, hide that here's our preview. We have removed it from one place and moved it to another, something that most people don't think is possible within dopey camera or light room. Everything that we're doing here is exactly the same in light room, okay, whether that's a stronger composition or not, I don't know. It was annoying me that it was so close to that border, so well, say that I like that there. It is a beautiful job. The healing is awesome. None of that is using even their feather, as I said, because it does such a great job of healing. Oftentimes you won't even need that.

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 Photosho® 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 an 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

Reviews

a Creativelive Student
 

Jack Davis is my favorite Creative Live instructor, and this 3-day Camera RAW series is just amazing. I learned so much that I can apply to my own work. I shoot photos for field ID guides, and conditions are not always optimal, and the things I learned about working with RAW images really made a difference when I'm working on processing images. Thanks, Jack (and thanks, Creative Live for offering these great classes)!

a Creativelive Student
 

This was the most comprehensive class on ACR that I've taken. Jack is a great teacher as well as entertaining. His approach was thorough, going through not only tools and their associated panels in ACR but touching on organization in Bridge and in the last few sessions, going through some things in Photoshop that ACR can't do. My mind is blown and I have a much better understanding of everything that can be done in ACR. I was pretty excited to get Jack's presets for ACR as well as most of his images with the purchase of this class. When you open up snapshots of Jack's images, all the settings are there so you get a real feel for where you can take your own images. Thoroughly enjoyed this class and consider it money well spent.

a Creativelive Student
 

This class is wonderful. It is amazing how much more you can do in camera raw than photoshop. I highly recommend this class!