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Adobe Photoshop Integration: Panoramas Part 2

Lesson 38 from: Adobe Camera Raw

Jack Davis

Adobe Photoshop Integration: Panoramas Part 2

Lesson 38 from: Adobe Camera Raw

Jack Davis

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Lesson Info

38. Adobe Photoshop Integration: Panoramas Part 2


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 Photoshop Integration: Panoramas Part 2

This is what's bugging me here the fact that I'm going to have to crop so much of this out just to look up the hill here in maui so there's a couple things you could do one you could try and re create it have photoshopped automatically create the entire outside of this image which in this case is gonna be asking a lot and I haven't done it on this image yet so I don't know what it's going to dio but we could try um that's asking a lot there's not much bush structure here for it to recreate thes bushes that never existed before and they're that high contrast remember I sent my black point not knowing that I was going to crop this out so the likelihood that it's not going to do a great job on that it may do a pretty good job of clouds let's just see because the concept is the same um no matter what you do and the concept is is that with content where phil you can ask photoshopped to re create out of thin air portions of your photograph and it does it based upon sampling the edges of the ...

area just inside of what its going to expand to the outside and here's a couple of tricks that are really cool for doing that I need to select all that transparent area that's what I'm gonna ask it to fill so one how can I select easily that transparency in fuchsia? Well, it's actually very, very easy to dio you simply hold down the command can the mac or control key on the pc and click on the layer thumb now and that's actually is a really, really good shortcut because that ability and you see the marching ants all around that layer because that works on everything in photo shop command or control clicking on anything in photoshopped loads it as a selection piece of type a mask photograph if there's something inherent transition between opaque in transparent either in a mask or something like a piece of type they will automatically give you marching ants which is nice because marching ants you can feather and do all sorts of cool stuff with you could paste things in dis elections there's all sorts of things in this case is nice because it automatically selected my item on that layer. The problem is is that I don't want to fill the layer I want to feel what's outside of the layer so step one commander control clicking on the thumbnail for that layer will load it in um as a selection too since we're talking about selections were going to go select inverse that selection not invert but in verse so now if we look up closely you'll notice that the marching ants are now selecting the transparent area cool awesome thank you I also need to tell photo shop what it's going to try and use to fill this area so actually need to encroach inside of this area to do it's little magic so I need to take it and I need to expand the selection to encompass a portion of the photograph and that really is a little bit of a variable we'll start off with something like forty but you're going to go also under select modify expand you want to expand that selection and we'll put him flat twenty we'll try twenty again I'm thinking I'm being a little bit creative but we're going we'll say twenty why not? Okay well try twenty we may do forty but you can see what it did it expanded it so now it's has this amount of information and now photo shop says okay I got it you want to meet up fill this up with that and it's cursing under its breath every time it does content were phil I'm sure it's just going dude you greedy son of a gun those clouds do not it there's a building there what that hedges con there's? No way okay, so I gave you before shortcut for phil that does every fill in the entire book what was that? Remember what that was? Shift leadership backs shift, delete or shift back space on pc shift elite because it gives you every phil including content aware content? Where is this magic that came in a number of years ago with photo shop will say okay and we're going to go who knows what we're going to get? Christina just give us the pc and the mac answer for that thousand press is very impressive especially when there's variations air so subtle she knew that subtlety perfectly where is that phil in the menu bar oh, there is no you have to know the keyboard should know it's under edit phil let it fill so that's that same one here you can also do you get to content or scale and stuff like that but let's hide this selection that's pretty good pretty good pretty good you know that it actually threw in an extra building didn't even in very poor, pretty good that's why the program is that it only get pissed up. Yeah, pretty good you know you do that because it's doing that was wow that's pretty darn well we're still going to fine tune it, but if I was so greedy that I didn't want to crop it out, that is pretty darn impressive that any of that good of a job on their including parts of the building and this little area here where it actually you know you could probably use that even with a crop, so that actually for me that was more impressive than I was expecting it to be, and I knew that it was going to be good. It is some fantastic technology content where is fantastic and the last section I'll do some war since I did get a little wow out of there, we will do a little bit more with continent where let's go ahead and do finalize that retention that I'm actually going back up and I'll show you another thing that you could do related to panorama is which are very useful, but we're going to come up here to our healing brush making sure, and we can come up here to, um, all layers, and we're going to come up here and listen to this. Use the spot tool with content where will sample oh layers, which is a good habit to get into and retouching because if I want to leave my original intact, when I have something like again, my spot healing brush, which is the one that has content aware as an option, meaning it's going to use that same technology that we that was just saying to recreate something out of midair, not have to borrow from one area and move it to another, which it's obviously doing but it's doing more than that. You could see it actually extended the lamp the lamp stopped here it actually added this lamp that content where that same technology can be put into a brush and I'm turning on sample all layers which means that the retouching will be up to this layer here not on my original let's get rid of our green thing here oh, you know what is going on there which is pretty good is my selection is still going on? I had hidden the selection but I had not de selected it okay? So under a selective in d select so it was just working within that selection so now it's uh it's gonna go so very cool in terms of what it's able to do even without a little bit of our brown going on here let's use this for our lamppost here again it's using the same technology we're doing before it make that I say that supports pretty good you'll also notice that because I'm using my walk I'm it's taking advantage of the pressure sensitivity when I do a little t need light stroke even though the brushes that big it's giving me a fine point to it so that I think is great but you know, this is gonna be pretty uh you know, can it can you get away with it? You know, if it's an instagram shot yeah that's totally fine just a quick question here where you're doing that, do you? I know people are a little bit different do you like to draw lines like you're doing or do you sometimes just tap tap, tap, tap, tap, tap over a certain area when using this brush? I'm usually drawing I'm not tapping individual squares. I mean, you could you know that the concept of not doing such a large area so it can chew in little bites is a good concept, a general concept because obviously when you do a longer area and if it does take into account multiple things, different colors, different shapes, different textures, like I kind of just did with that building that's asking a lot, as we also did with this entire one giant content where phil, we asked it to make clouds, buildings, bushes it did all of that in one, it is able to go out over a large area and do quite a bit of work, but doing it in smaller segments could very well be something that you know is a benefit, but I'm doing, you know, general areas at one fell swoop cool in there, throw another question from edward m do you ever do a cr adjustments on a siri's of bracket exposures before bringing them into merge to hdr or into creating these panoramas? Yeah, the idea of um, tweaking a set of bracketed shots and then sense doing in hd are before you stitch the panorama ifyou're going doing a panorama by going quickly, click, click, click, click, click, click, click, click, click and getting this huge set of dynamic range, which we're going to do in a second with an individual with two shots um, and then stitching those together. So you've got this y panorama and you've got this huge dynamic range is something that's very popular? I don't do it nearly as much as I used to in the past, because the amount of shadow and highlight detail I can pull out of a single image. So where was mandatory before? If I have rich blacks and, you know, bright lights in the in the sky as an example, unless much less likely to do it now, because I can do it in a single, single shot, I have that latitude at my disposal. The other thing to keep in mind is, um, when you're creating, when you're combining exposures, and usually it works just fine. The concept of taking three images and combining it into an h d r three images hdr three images, hdr three images, hdr combined those separate final images into a panorama works fine. The thing is, is that three images brought into one is now a different image even though it's just extending the tonal range there really are three different photographs with three different pieces of metadata and sometimes you would think that because they should be in perfect alignment that they are still just like a single shot but they're three shots and sometimes the stitching will get confused because we're here you noticed that where it's looking for the individual pixel where it's finding that stitch and you have this this hybrid image which is not one but three and you have another hybrid image and sometimes when it comes together it gets confused because the metadata is not there for a single image and even some subtleties can be a little tweet so um I'll usually do it by extending the range of a single image but it's a great idea and if you really are going for that extreme hdr look then it's a beautiful thing but you know I think ben does that as well ben's got a urinal whole class here on hdr and I bet panorama stitching of hdrs was in there thank you you're welcome I'm the last thing that I'm going to do on this shot here we're going to leave that foreground here and should have done more is take advantage of one there's are fixing that we did for our little seems so there's our little retouching that we did to get rid of those um the last thing that will do just for fun on this one is going to come up here and I will use adobe camera now in this case, if there was a reason for me to keep these separate layers intact because I may want to go back and do something to them I could before I filtered it if I just did a command e that would merge that down and now I have a single layer and I can go right to a cr right here within photo shop, but rather than do that, what I'm gonna do is I'm going to make a smart object from both of these layers just to show you how you can have the complexity of a multi layer document and still not destructively used adobe camera within photo shop and that's this concept of not bringing in a smart object I could not bring in these separate elements as a smart object because photo merge will not work with smart objects so I could not start with a smart object but there's nothing stopping me from right clicking, selecting multiple layers and say convert to smart object does that make it into a raw file? No, what are smart objects, smart objects of things that I know everything about their existence prior to becoming a smart object? What was this layer before? It was a smart object a multi layer document I want to get back to the multi layer document I double click on the thumb nail it reminds may actually should tell me what it's about to do it tells you after your edit the contents you go what it's like starting halfway through the conversation but what it's going to dio is open up a separate window with my layers intact we look at our things over here that's what was just open it opens up the multiple layers here is that single layer I double clicked on it and opened it up with the layers intact I could tweak it modified to whatever I want when I close it which is what it was telling me let's go ahead and I'm gonna invert those retouching is just so you can see it when I close it and save it it's going to go back into this file so the layers air still intact there's still distinct but I've now moved it into a smart object the great thing about that smart object is I can do this as many times as they want and go what was I thinking? Because that's kind of a dumb thing to do recieve it close it and now it's going to go back to that file so I have access to all those layers or whatever it was part of that file if it was a raw file double clicking on it takes it back to adobe camera if it was an illustrator file double clicking on a smart object that came from illustrator sends it back to illustrator so you could do whatever you want closing an illustrator brings it back into photoshopped this case now that I've got a smart object when I come up here and go filter camera and now is going to open up what seems like a single layer in the photo shop and now I could do something like that graduated filter and you see it's the same interface here we don't have some options there is no safe we asked about that yesterday there is no safe and there is no, um done as it were it's not going to send you back to bridge you look over here, you'll notice there's also no snapshots because this is now a kind of an entity that only exists in here the metadata that you're doing in here you really you could get back to it right with you when you're in photo shop but you're not saving off you can't save off a separate file or save snapshots to it, so there are a little bit of differences but all the features air here, including coming up to the graduated filter and taking something like if I want drag that down and really, you know, draw the eye into the scene by darkening up that top of that file or again clicking and dragging maybe in the foreground and kind of minimizing the building structure here to really draw the attention to the center or even taking now what I'm doing is I'm unifying the whole siri's now, this is the first time that that's all been in one unit, so now I can come up here, maybe with the adjustment brush, I'll come up here and I use something like clarity further make that pop right around that where the sun is coming through. So I'm gonna take that saturation up take that clarity up that's my story that I'm interested, okay, if this is a lot cooler than it is over here again, and that changes over time, I could also say new with that grady in and I can come up here and say, if that's, I'm getting a little bit too blue, I can come up here and add a little bit of yellow. I can kind of balance out that just in a little way so I can balance out the tone. So you have at your disposal the entire tool set of cr, and in this case we're doing it too and here's our before and after we're doing it to still a layered set of documents if I wanted to come back and retouch it, this is a smart filter it's completely procedural whatever is in here it will do this to buy come up here double click it do like I just did before right and I find tune that retouching come up here back to my retouching tool come up here one of you know do this this is the great thing it's going to come up here we touch it on that layer I close it save it it will bring it back into your single layer document and reapply the camera onto it what's that called fetchit it's a really nice little bitch and little way of working. Okay? It is, um the other thing that I'll do in terms of panoramas and using it um with a cr and photo shop has another way to get these edges where I might want them. And for that what I'm gonna do is I'm simply going to go back to my history palate and let's come back to we don't want to come back to that far that history state is my original document without the layers so that I was thinking that I was I should have saved a snapshot you could make snapshots in the history palate within photoshopped they aren't saved with the document but they're actually very, very useful down here because you can grab a portion of the image without doing a save as and allows you to get back to it but in that case, I don't have that so let's, go ahead and do our zizi let's see if I can go back to our pre the thing that you have here yet, I can't go back that far, um, what I was gonna, um, mentioned in terms of this issue, of having our distorted image, I hate to go back, and we do it again, but when you distort an image and what we'll do here is we're gonna take our crop tool, and we're just expanded to teach this concept, and we have our little ridge or little irregularities to it. The other thing that you can do that's often very, very useful is come up here and go to a good old fashioned free transform commander control t, because commander control t actually has access to the this little thing. This little thing is something that's been photoshopped forever, incredibly powerful. A lot of people don't know it's there, it's called image warp and it's again, it's been around for a long time, much like type warp, which you didn't know you can warp live type in much the same way, but what this gives you is a number of things image warp, and I selected it right there is one click it gives you envelopes in which to work with and these envelopes are this little grid structure but if you're getting an arch because you've looked up at the sunset and you're getting a panorama that's doing this another thing you can do is choose arc and you confined tune it to take out what you have to much of and that's usually is the issue is you've shot off a right angle looking down or looking up and so you're getting this angle where everything is going to a vanishing point is why this is being caused so if you're getting something that looks like this then obviously you can add the opposite and just straighten it out so in some ways it's even mohr accurate then using that adaptive wide angle where you're drawing a line so one that's great but too if you use this you also when you're done with um this little envelope you can go back to custom and you still have access to all the elements that make up this envelope okay it's like it's done on a sheet of rubbers you khun do edges you can click in the centre you confined tune your image very entertaining but the main thing that's cool if you've got something like this you've got this arch you can also gently come up here and take those corners and take thes lines and also expanded so it no longer is this odd shape you can just kind of drank out these corners especially if there's not a pertinent thing like your main subject matter is the little red ball in the corner you, khun, take these subtle distortions where you don't have to retouch it in, so this may be a another way to compensate for the fact when you have this irregular shape, you don't want to crop it down to the minimal size you have your content where phil, which is often was obviously going to create something that never existed, or now you have image warp and these wonderful little drag handles on there that are going to let you come up here and fine tune this shape of your file and you'll notice that you go well you're distorting it, I am distorting it, but not in any way that nobody's going to notice unless you get really greedy kept keep going back to you can actually get away with murder and it's excellent if you're into panoramas, which presupposes another question should you guys be shooting panoramas? Yeah, and aram is air awesome, right? That's one of the great things about things like I photography and mobile photography is people it has it we have a camera in the five s ridiculously awesome panoramic camera twenty eight megapixels it's doing multiple exposures at thirty frames a second as you sweep beautiful gorgeous high resolution now much better low light, awesome the thing to remember about panorama is another little sermon, a little sermon it coming in here remember when your chute pan knows you never have the wrong lens? Okay, if you're ever in a shot and you're gonna go in all this is great, but I'm missing the context, so you know, being able to not be stuck with this, but be able to get this or if you are shooting a panorama and you go cash, we'll use our little iphone is an example. It's wonderful eight megapixel shot. Gosh, I wish that was, you know, twelve megapixels. Well, what do you do when you shoot a piano in the iphone? Will you rotated up this way? So you grab a lot more of them down and you rotate it and it just went from eight megapixels two twelve you've got more resolution more field of view took half a second same thing with your big boy, a big girl camera. You're right in front of these scene, the waterfall, the whatever this is the money shot, you're going to retire and you've only got a twelve megapixel, you know, whatever, for thirds camera or something um, you can go click, click, click, click, click, click, click, click, click and what was twelve megapixels is now ninety megapixels so panorama is whether you're extending the resolution of the file, zoom in a little bit into a checkerboard with your extending your field of you by doing a wide angle, whatever you've got, even that in a sense, you can think of it, you can almost kind of zoom in because if you zoom in is what you can, and then you create a panorama form it, you've got this huge file that will stitch together beautifully in photo shop that you then can crop into even more so so, um, panorama are bitching ok, ok, yes, I've used I do say so, yes, one quick question what you were just doing, what the warping of the image does that work on smart objects because you'd aren't. You done the the image adjustments and healing on that, but you were only on one layer when you were warping, so this stuff isn't going to work with it because they questioned it. Image warp does work with smart objects. Now we're going will do that right here. Let me just confirm that in here will come up here to open object takes all of two seconds to do, uh, there's, our regular free transform are up here, our image warp is up here, so, yeah, we're still working on the raw data. We have access to our envelopes and different things like that, which, by the way, if the envelope goes outside of the window, so you can't see it. That command of control zero lets you see everything in the file, even if it's off the campus really good to know it's. Frustrating when you can't. So, yes, you can work with smart objects and use the image warp.

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