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Adobe Camera Raw Dust Removal

Lesson 13 from: Adobe Camera Raw

Jack Davis

Adobe Camera Raw Dust Removal

Lesson 13 from: Adobe Camera Raw

Jack Davis

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Lesson Info

13. Adobe Camera Raw Dust Removal


Class Trailer

Day 1


Introduction and Overview Part 1


Introduction and Overview Part 2


Adobe Bridge Integration: Workspace


Adobe Bridge Integration: Preferences


Metadata Templates


Adobe Camera Raw Interface Insights


Adobe Camera Raw Tools and Panels


Five Step Tango Part 1


Five Step Tango Part 2


White Balance and Vignettes


HSL Global Adjustments and Effects


HSL Effects and Faux Infrared


Adobe Camera Raw Dust Removal


Enhanced Curves, Cross Processing, and Solarizing


Day 2


Five Step Tango Review


Radial Filter


Sharpening in Adobe Camera Raw


PPI and Printing


Targeted Adjustments


Graduated Filter


Healing Brush for Retouching


Adobe Camera Raw Auto Mask Feature


Adjustment Brush and Recoloring


Glamour Retouching Part 1


Glamour Retouching Part 2


Targeted Skin Color Unifying


Dust and Scratches Filter


Portrait Retouching Part 1


Portrait Retouching Part 2


Day 3


Targeted Coloring


Hand Tinting


Smart Filter Painting in Adobe Photoshop


Masking and Recoloring


Radial Filter Retouching


DeSharpening and Healing Brush


Adobe Photoshop Integration: Diffused Glow


Adobe Photoshop Integration: Panoramas Part 1


Adobe Photoshop Integration: Panoramas Part 2


Adobe Photoshop Integration: Combining Images


Adobe Photoshop Integration: HDR


Adobe Photoshop Integration: Background Eraser


Adobe Photoshop Integration: Liquify Filter


Adobe Photoshop Integration: Content Aware Scale


Input and Output Sharpening


Split Toning


Soft Proofing and Printing


Lesson Info

Adobe Camera Raw Dust Removal

Dis removal is going to be targeted, but sharpening will be global someone open up these images something I shot a long time ago at an x games and first thing what we're gonna do is we're going to get rid of the despots and you can see that there's a despot here this is actually shooting this with nikon and that means you're using multiple lenses and everybody's trying different lenses and stuff like that which means there are mess the lenses are absolutely a mess, so you have to, um spot your images as it were now the challenge with spotting images is the subtleties. What is subtle on screen is going to be exaggerated in print your screen, khun reproduce all these millions of colors that I mentioned before you're actually if you're working in here, you have potentially billions of colors in your disposal when you print what is a subtle transition between one tone and another because it can only print x number of colors much less it has to choose one or the other in other words, it's k...

ind of like a post arising but even in subtle things, so something as subtle as a spot here when you do print you go, where did those come from and of course that's a very expensive where did that come from? So you want to be able to, um see what you're working on, and you want to make sure you get it. Well, this is the new advanced healing brush, also known a k a the spot removal tool has a very, very cool stuff related to it now, including feather, but it also has this little thing right here. Visualize spots. This is a new feature that is just very, very, very, very cool visualized spots and I want to see a little dog just coming up going visualize rover, okay, but visualize spots actually does exactly that. It allows you to see it, and you've got a variable slider here that is going to highlight all the spots, and these are all little despots now we'll all of them show up. I don't know that will depend upon your printer and your format in your paper and everything else, but the fact that I can see them all is amazing and awesome, fantastic and cool and the fact that I can actually work while I'm in this mode. So let me turn off my obnoxious green circle and take my size up, but I didn't come up here, and I believe it is hell about size and feather and opacity, and actually you can really hell doesn't need feather as opposed to your other option clone, which could use it more so I'm gonna actually take my feather down I don't need it that feathered but you click and it's automatically going to choose a new spot and since we're in a sky here you can see as long as it doesn't automatically like there chose a spot to fix a spot and there's so you click it chooses a spot as long as it's fine, you can leave it if you don't like it, you can move it okay, so this is how this tool works you can see it's actually working pretty quick so again gonna go click click, click, click, click and this is also why you can see at some point if you're not doing major retouching in photo shop or if you're not doing major retouching to the image, it could be that this is actually just a quick is doing in photoshopped tap tap have to have done don't even need to go in for shit excuse me, especially since you can see it and turn off visual eye spots and there's our little fixes and I'm going to hide that those little spots um by tapping the wiki the wiki for visualized okay is gonna allow you to hide those spots and here is my before and after so even though the only spot I can see really is this one right here, I actually got rid of a ton of spots which is really good to know. Ok, so there's my preview but the real thing that I wanted teo share with you at this point we're going to be doing more retouching with the healing brush, especially when we get into really drawing out retouching with it is something that a lot of people don't know or don't take advantage of is that if you do have a siri's all these images were shot at the same time and if we look at our little death spots here okay, so that despot and that spot that was there, that despot and that despot are the same dust spots so there's, nothing stopping me from coming up here. Let me, um, shift click through all these images and this is again that situation with whatever is in the past, whatever is in the center is kind of the parent of sinking. So if I have all these selected aiken, come through it and go okay that's the one I fixed, all of them are still selected that's the parent I hit synchronized and I'm going to come up here and do spot removal, and now I've just spotted oh, my different, um, images now the thing that you're gonna have to do is you probably want to turn on that visual eye spots and make sure that none of these spots are on somebody's nose or something else like that so I can come over here and go, okay, there's one miss that's, because that moto cross her was probably in that position on that one and there's a couple more that I can get here, but you can see the fact that it did ninety percent of my work is pretty darn cool, right? So that is a really nice time saver that you can go through it, and if you don't need if there's like, you know texture and here that's going to hide it, I'm just going to delete the ones that are that I don't need to worry about, okay? So I've gone through, and what we just did is we spotted four files and basically the time that it took to do one, and the fact that we had that visual I spot mean that I did it, and I knew that it was done for each one. So now we've got all of the images spotted and ready to go, except that this one, we do have the bike in there. So, like I said, we want to make sure you do want to make sure that you don't have elements, okay, makes sense, so that is synchronizing oh, you know what? What I think was, um, going on is that I had all of those selected, so as I was spotting, it was actually spotting the other files at the same time because I forgot to de select the files, so as I fine tuned one, it was apply them to another one. So remember to if you have multiple images selected, not only are you automatically tweaking the other images just because they're selected, but when you're using the spot tool, you're also spotting all the images at once, which I don't recommend I do one and then synchronize it let's dio tu mohr actually, we're going to do the start of talking about these global adjustments, which we're still working on. We've got this one, which has already been started and we've got this one here let's see if we've got one more okay, we'll do those two first let's, go ahead and get rid of, um, this one and actually let's go back to our camera defaults so that upright I didn't really quickly on that one, the chicago bean, but here's one where we've got a few different things going on, we've got the curvature of the lens and we always have the upright, so I wanted to do this again has the official project for that one, so this one we can do that again, we've got the four options here auto will take a stab at it you see I'm still getting some bow at it so let's actually go back and see if it can find a profile probably can't because this is a little waterproof point shoot camera so I'm gonna say that I'm not gonna worry about that so I'll take care of the upright first and then I'll take care of the wide angle nature of the glass afterward so we'll go back to manual there is our auto there is thie horizontal you can see where it's trying to find the horizontal in the images here is our vertical which is similar to the auto but you can see what it's doing here it's maintaining mohr of my foreground in just affecting the auto just affecting the verticals as opposed to auto where it's actually trying to do multiple things it's actually probably more accurate in terms of this just doing the vertical and here is everything and you can see how that is radically changing its bringing this building way to the foreground there actually in parallel to each other but that's what it's having to do so that's more accurate and out of all of those I think probably that one is the most accurate for that file I'm not gonna have that crop feature that I mentioned before in terms of crop where you can have it come up here and constrained to image if I were to crop it would crop it out, I'm going to do that myself in for a shock, but what I am going to do is under manual. Aside from these upright options, you have these different transformations. Let's, take a look at them. You've got what they call distortion, which is often known as barrel or pin cushioned distortion that is thie distortion that's taking place because of the lens. So this is what's taking place with that lens profile. We can't find a lens profile, this is going to fix our image based upon that distortion you have vertical, which is going to be the key stoning you can see where I can shift it as if the image is laying down or going up. You have horizontal thing going into the distance. A nice thing for some of these things is forgetting buildings. It could be that you've got some sign ege, you know, some great old hanging sign that's up here, you can't shoot it right angle so you can shoot it and then fix the perspective even though you couldn't shoot it at a right angle. It's also really nice to use if you're shooting something under glass great old poster in a lobby someplace to shoot directly on, you're obviously going to get your own reflection to it. Or if you have to shoot with flash, you're obviously going to get the flash so you stand slightly over to the side shooted at an angle even with a flash get the perfect shot it's got a little key stoning and then you use something like this horizontal and it makes it if you were standing right in front of it, so very, very nice for a number of different reasons you also have in here, um, rotate and scale. Now the nice thing about the scale is that scale you can bring back the area that was cropped and lost, so I mentioned that you can do this in photo shot by first expanding the canvas, but the fact that even if you come up here to that manual let's do one of these otto's here where it's cropping off its cropping off let's will do auto so here's auto and it's cropping off a lot of it. If you come down here to scale, the image is still there, but you have to know that that scale is there so you can actually reduce it down or else you're going to be kind of at a look. I like the vertical I'm gonna like that scale, and then, um you've got two things here that are really cool in addition to scale, and that is the aspect ratio brand new to the current ondo became a raw and that is going to allow you well we'll see in a second with this image but in this case I'm gonna come up here and and now I'm going to do that barrel distortion I'm also going to come down here and show the grid so I can see what I'm working on and now I'm gonna come up here and work to get the sides of the building's straight in other words, I'm going to compensate for that barrel distortion by putting a little pin cushion distortion in here and um I like that so here is our that was before you can also actually I like that you can see that it is leaning still back you come up here and it's just like you're on, you know this paper so you can change that anyway that you'd like and I could crumpet now that I've got a little bit more space but again, that may be something since in a photo shop you who do have things like content we're fill that can actually re create these corners from scratch as long as you're not too greedy and he wanted to build a building but it could do some amazing stuff so no normally I would do that sort of cropping in flower shop that made turn that off and um I'll just do a basic crop here this was the story I'm getting most of it I've got my colorful thing down there and I would prop it like this leaving me to be able to recreate that I don't want to crop out that water I'm saying that I don't want that I think I wanted that I like that better hold it more so anyway that is the new upright feature it's a great starting point and then you confined to knit using the rest of your parameters to get it where you like it and again just to show you where we started there is one snapshot camera defaults so that's a pretty dramatic difference between what we started with and what we're anyone okay imagine that's just terrific for all those architectural photographers out oh it's a it's an absolute lifesaver yeah on the fact that you have an auto setting so you know it's always great if you can get seventy five percent of the way there with a button just like the number of the things that were going to be doing why not that's huge if you save those those minutes add up and in the case of this one a lot of times the person may not have even known where to start there's so many different parameters as you saw even those auto adjustments each one took a different path and path to get to that goal. So um sometimes these automated options it will give you stuff that you never even thought of yeah, very cool. Thank you. Ok, but what about using and um and we may do a little tease in photo shop as well what about using upright for some things other than ability first up, this is a grant another great book krystal shot here it is optimized I'm using my my license to optimize color and tone we're using our tango we're doing some other stuff to it to get the best possible image that we can but as I mentioned before, none of us what won the camera does add weight the camera does add pounds to it anytime, especially if you're shooting wide angle image you're always going to whatever is in the middle is going to get exaggerated whether it's a nose or stomach or whatever there's no pleasing way of this, you know, situation in a camera um um so there's no situation where you go? Well, yeah, I wouldn't mind being a little, you know, slender river and so what we're gonna do is go up to the lens correction and used this one will feature down here known as the aspect ratio and this is something that traditionally has been done in photo shopped for the last twenty years people have been doing it and basically it long gate the image five to ten percent anything more than that and you're going to get kind of ridiculous, but you're gonna come up here and you can basically, you know, add high heels. I mean, you can just see the high heels and you notice as it as it does that it's radically changing the image every single pixel, so to speak is changing, and this is retouching and color and tony, everything else, you'll notice that as I moved it, it went back to the original assumes they let go it we forming formulated it again. This is a procedural editor and everything is being done. Fly. You could do anything in any order. So even if I did retouching, if I had fifty spots and I just lengthened it, so now everything single thing would be out of alignment. They're all in alignment. It compensates for that it knows the math, and even when you're doing significant retouching, it can re formulate that even when your bending and warping and twisting the image, it can still do that. Okay, so here is that what you need to do is look at it after a while and go at what point is it too much? What point is it obnoxious? At what point is it a feature? What point is that a bug so that's totally up to you what I found, though, is after looking at an image for a while, you go at first, you go well, she looks like she's been stretched after a while. If you look at this for a few minutes and then I turned it off, you're gonna go, oh, well, that looks unnatural, that actually looks more natural. In other words, your mind will get used to it, and it just starts being perceived. So the initial response, maybe that it is a distortion after a while, the lens distortion is actually there. There is, it lends distortion on there. It's actually is closer to the real life, so you can actually get away with it. Now, this case, we start with zero. Here you can go up to one hundred, and you know how far you want to push that, whether that's ten or twenty for teaching purposes, I took that all the way up toe forty just to, um, exaggerated, but

Class Materials

bonus material with purchase

Adobe® Camera Raw Follow Along Images
Adobe® Camera Raw 8 Presets

Ratings and 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!

Student Work