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Dust and Scratches Filter

Lesson 27 from: Adobe Camera Raw

Jack Davis

Dust and Scratches Filter

Lesson 27 from: Adobe Camera Raw

Jack Davis

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Lesson Info

27. Dust and Scratches Filter


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

Dust and Scratches Filter

This is not only for people of the older age bracket but this idea of little hairs you know, especially around the edge of a portrait that's lightly lt'd when else does this sort of thing happen of little teeny hairs on the side of a person's face? Even teenage girls, all of us have got hair on our faces and if you got no nice backlit, you're going to get it whether it's, peach fuzz and cute or whether it's scraggly like grandpa or it's whatever so it would be really nice if you could get rid of all these little teeny anomalies as well as fixed these little spider veins and everything else in one fell swoop right it's a huge job let's take care of that in one fell swoop let's first go ahead in here I like doing those snapshots we're going to another snapshot since we did the retouching since you guys will be getting these snapshots and I'm going to now open this up photo shop, we haven't spent much time in photo shop, but I think we need to start doing that because this is that situati...

on where you have photoshopped your disposal I'm really not trying to be macho showing how far you can push tomorrow everything that I've done so far I think it is as good if not better done in camera raw than in the shop this right here, it would be a huge waste of time to do it so let's show it how you really should do it and that's going to be opening it up in photo show proper. Okay, tap the f key for full screen mode. I like that. The nice thing about that full screen mode is it lets you go to any corner of the document and you're not locked into the grid, so tapping that f keeper full screen mode there's a little photo shop freebie what are we going to do now? What we need to do is obviously use the remove beard filter in for a shock, which has been in photo shop for twenty years. It has been there for twenty years. Very few people know about it that's because it's erroneously named filter noise, dust and scratches. Now, before I do that, you're going to notice that this image looks a little bit different then most specifically in relationship to the layers palette. That little icon in the lower right hand corner means that this is a smart object, meaning that it knows everything about its existence prior to becoming a smart object, which in this case means it came from adobe camera raw. It knows everything about it the dhobi camera rawness, which also means it knows everything about its existence when the shutter was pressed which is pretty darn cool this was a raw file, it would have the raw information in there and every slider in every snapshot, every single thing that was done to that file is part of it, which it happens to be so that is extremely cool. It also means let's go ahead and make our thumbnails larger so we can see what we're working on. It also means because it's a smart object when we apply a filter like filter noise, dustin scratches that it's going to be a nondestructive application of the filter smart objects when you play a filter to it by definition they become smart filters, which are non destructive and procedural just like what we've been doing in adobe camera wrong, which means it's bitchen matter of fact, a huge amount of work can be done in photoshopped procedurally ah, layer style one of those things that I've made hundreds of my one click while presets which you can buy it. Wow, creative arts dotcom are mostly all procedural because layer styles are ridiculously powerful, and they also fit into this category of non destructive pliable share a ble copy and paste herbal sinkerball they're awesome dust and scratches right here because it is and let's come up here and not show you too much this filter is actually going to be inside of this layer I don't need to duplicate the layer, filter it and then blended back in or mask it. You'll see in a second that this filter is actually being applied to my original but non destructively. Okay, so how does dustin scratches work? Well, first off, what you do is you have these two parameters here. Both radius and threshold. You take radius big enough to get rid of the offending little areas of small contrast like dustin scratches, but in this case beard, salt and pepper beard say mazza dustin scratch little teeny anomalies. What this does is within this radius, we'll blend that information into the offending area. It finds a little teeny is a series of contrast, and it blends the outside pixels inside. It does exactly what we want. The thing is, protect this up it's actually soon out and then zoom in you can actually see the hairs. Um, when you come up here and take that radius big enough to get rid of defending areas, it also softens everything else in the file. It's, very much like a smart blur, leaves razor sharp edges, but it gets rid of these subtleties. The problem is, is that's just too much that's known as a blur, so but it did get rid of my beard. It also got rid of the noise and the and the pores and everything else except if you know about this next slider threshold which is at what point does this filter kick in? Does it start in other words, with the threshold zero it affects every single pixel in the file but as soon as you take this up it says ok, I'm not gonna work on subtleties on ly gonna work on those harsh specs the pieces of beard says I come up here, I can actually bring it back up and you keep going until you start bringing back the offending areas so let's go where we're starting to bring back that up it looks like about fifteen maybe I'm getting a little bit of beard here, you know? So somewhere around twenty, nineteen or twenty getting a little bit of beard maybe back down to something like fifteen you're in see that I'm able to actually bring back in the skin texture but remove the beard in one fell swoop okay without any retouching was yeah that's exactly that is correct it is a wow moment it's bitchen it's cool it's been in photo shopped for twenty years nobody's told you about except for me because nobody loves you as much as I do okay? But it is an extremely cool movement for not ah feature but not only for beard but obviously dustin scratches and a lot of things like that now it is going to work on eyelashes as well as beard and that's where the next cool part of this comes in I'm gonna hit okay and you're going to see that this filter smart filter dustin scratches is actually inside of our layer I move over all the way you could do it come on um you can see that it's actually inside this layer I have only one layer here but I can turn on and off that filter it's completely non destructive I can turn off more than one filter a time I could actually apply multiple filters and I have a built in no cost no obligation mask the other thing that's cool is if I double click on dustin scratches it brings back up the dialog box so I can change the settings cool double click over here and it brings up my capacity and blend mode justus if it is on its own layer even though it's not also super cool and groovy so just as an example double click on this I think I can take that up to twenty double click on it and again I could turn it on and off but the cool part is is that it has this free like I said layer mass I'm gonna click not on the layer itself but on the mask you can see that border is now around the mask not the image and what I want to dio is rather than paint out what I don't want because it got went too far I may wanna paint in what I do want so in this case I want to fill this layer mask um the smart filter mask with black and then I'll paint in the effect white is goingto allow everything to be revealed and black conceals white reveals black conceals because those things rhyme they don't actually that's not a good pneumonic device because then you go white which one was it makes it's not a great pneumonic device I'm sorry rhymes but it's not a great demonic device I'm going to give you a great shortcut for phil shift elite the nice thing about shift elite is it works the same with the mac in the pc but it basically lets you fill with black white gray patterns content aware for automatically retouching the history if you have a state in your history wanna fill with foreground background or any color you like? So shift elite is a great shortcut because it lets you feel with pasta anything possible in the entire universe. So that's what we have here so I'll just say black hit okay and now that's hiding it I'm going to now come back over to our regular brush tool I'm going to use just a good old fashioned soft paintbrush at one hundred percent and now what I want to do is making sure that my four grand color is set the white so I can punch a hole in this mask revealing the filter I want to exchange my foreground and background colors so let me give you a couple more people of shortcuts that is one if you tap the deaky that sets the default colors back to black and white this I'm already on a mask so it automatically sets the foreground white in the background to black if I was on a colored portion of the layer tapping the geeky, you'll notice that they're already full color from where they were last used tapping the geeky says it to black and white in this case black is now the foreground rather than white the other way if you're working on this and using it and your painting on a mask you want to switch between black and white, black and white, black and white to paint and tied it's the ex key the ex key exchanges your foreground background colors so you can paint so we wanted to be white I have the mask active I'm gonna come up here and if I can do a good imitation of our galactic razor I go normally enforced the students to do that sound but it's too late in the day wait also says that is a non destructive mask if I want to change after I create the mask can still change those settings cool let's pretend that we've got the thie high school girls with a little bit of, you know, hair along that edge, okay, so you can actually come up here and do a sweep, um and get rid of all sorts of little anomalies, okay? We're not going zip and that now when it comes up to other portions and here so here's our before after okay, again, a great little thing when we come up to things like these little spider veins, I really don't need it at a hundred percent aiken paint on it right there and it gets rid of it, but that's almost too much, I don't need that much fixed to it, so I'm going toe tap the five key whenever you have any brush active in photo shop and I stole a shortcut is tapping any of the number keys changes the opacity of the brush if you don't have a brush active, you have something like you're moved to active tapping the number keys changes the opacity of the layer that's currently active, both little nice shortcut. So on the brush, I tap five it's changed the capacity to fifty percent up here, and now I'm gonna come up here in paint, and now I am kidding rid of some of these things on grandpas, nose and face softening up in general okay, that may be a little subtle on the recording but it's actually is a really nice feature I'm going to go underneath the eyes and just kind of the one thing I want to stay away from is the eyelashes but this is a great little skin softening overall and again it doesn't have to be someone of thie retired persuasion which I now fit into I can now get discounts on food at denny's how tch okay, so I'm gonna come up here these those little crunchies you can just say that I just went over that is little okay so I'm gonna come up here looks like that settings on this one I actually had it a little bit more intense setting it's actually change that les I said double click on this setting that that's actually that did kick in I think I just had it turned off so there it got rid of those I called him crunchies I don't know what those things are but they're gone now when it soften up this a little bit around here again the only thing I'm trying to stay away from is the hair and um again it's just a wonderful little softening at fifty percent coming up here and here is our before after before after you kind of gotta let zoom over here so you can kind of see what's going on before after looking at the cheek before after okay, it's still grandpa? He still got, you know, ninety year old skin, but it is less distracting question, yeah, maura photoshopped in a cr question but while you're in here just kind of prompted something, you might know the answer smart filters air awesome, you know? And now you could stack another one on top question is, why didn't adobe allow us to get a separate mask for every filter that gets stacked? Aren't you going to end up having to use that same ass down for the rest of the filters that you'd stack that's true, if I wanted to add another filter to this, if I wanted to add another effect to it, I have one layer mass that's affecting everything. Um when I think they did it for simplicity's sake, most people don't, they wouldn't be stacking all set of recipe of filters together, so the thought was is that that works for most another thing that's not in there is the advanced blending sliders you have blending modes these right here are available, but you don't have the advance blending sliders, which are these which mind bendingly possible those air not available? Also, I think it's more of a issue of simplicity because by the time you added this and each single one of these had a separate layer mask on it it can get complex that being said is there a way around it? Yes there is you can simply take this turn this item by right clicking on it say convert to smart object and now you can add another filter on top of this it will have its own mask and ad infinitum um you could do that if you'd like but um you certainly can there's nothing stopping you from doing that. The nice thing about the smart filter technology especially in relationship to adobe camera is one duh became a raw is a filter that works with smart objects awesome but this adobe camera also works with another type of smart object that's very useful which is a clip of video and as I mentioned yesterday even though light room does video um and became a rock does not per se the fact that adobe cameras now are filter within photo shop which can be applied to video it's now the entire capabilities of adobe camera light room itself on lee has a truncated version of the developed module for video so this is one time where a double team rockets to thumb its nose and light women say oh yeah couldn't you do this and light room sits there with its no head down pouting in the corner because like because doe became around so much so anyway you get the idea here is our overall um effect on grandpa and we're good to go including our work on his beard removal okay makes sense. Okay. Ready for a question? Yes, professor davis yes. So I have a question here from austin and it's just something that I was like hi, I was like, yeah, this is interesting so austin asks, is it dangerous to be doing so much work without being able to save it? Whereas in light room it saves the changes as you go can you address that? And I was sort of curious about that as well, because there's no real saving well, I mean, in a sense, it's more dangerous in a sense, it's safer because like what you do on your aps on your iphone saving is built into it, right? So whenever you say done or whenever you open everything that you do in adobe kima rahat is saved just like it is in light woman is, in a sense, it's even more safe than it is in light room because light room saves it to a central catalog that if something happens to it that is separated from the image and a doe became a raw what it does is to that files if it can, is actually embeds it into the file j peg tiff or d n g actually embeds it into it even with those three different files like room still saves in the catalog doesn't save it with the images, even though it could it doesn't write, you have to do a little command as control ask trick to force the meta data into the files and light room. This automatically saves it with the files and light room if possible. Also, you can have it set up where it will automatically save that metadata too the folders with it so the folders are self contained in a doe became a raw versus using a central catalog. If the question is what happens if something gets corrupted to the file? And even though it has all this wonderful, cool, groovy nous in the file that gets corrupted? Well, that's the same thing with any file that's not unique to this, so I don't, it automatically does save it whenever you leave adobe camera, you can't not save it, so in that sense, it's just a safe as anything else. That is one reason why you may want to save into the dmg format. If you are shooting raw on import, you have the ability to convert to dan ji. If you use this little feature up here this camera downloader, and which will come up here, you can come up here and create some folders renamed files convert to d n g that is a default setting for the it's known as the photo downloader built into the bridge and as you saw when I started it would you like to make that the default setting so there's nothing stopping you from taking that extra second if you really want to make sure and have the files of safe it's possible converting to dmg it saves a lost lesley compressed file which means they're smaller probably then you're all files especially if your cannon shooter um but that way every time you do something to your image it is embedded into that file right permanently so it's really safe it's actually really safe because it's your raw file and all the raw sensor data and every manipulation you've done a great thing about that it really is your negative next year when they come out with that holographic scratch and sniff you really do we open up the file you still have every single thing that was there when you press the shutter like that new noise reduction that is so amazing the new shadow highlight as long as you have access to your raw file, you can go back and re process the file and make it look amazing an image processed five years ago in adobe camera raw looked one way you open up the exact same file we tweak it it's now much, much better if it was a j peg file or something else like that you're stuck with whatever the quality was when it was shot this idea of diy mosaic in the raw sensor data and how much better that gets that means that a raw file is actually an infinitely more powerful file and say a traditional photoshopped file because you can get back to the raw sensor data and what magicians khun do with that cross sensor data freaky cool so it's not less safe and if anything, it's a much more robust filed than even something like a photo shop and that's pretty brilliant I hadn't really thought, you know, I shoot with a cannon five d right now I used to shoot with a twenty I could go back to my original twenty work and reprocess it using the new a c ar and knock out all that noise that I had with those older camera you saw that what I did with the st peter's cathedra those was the d to h there's another shot that he brought up with a d too x, which is a coal burning nikon okay, awesome! It was really fast that all sorts of cool features I was sponsored by night kind for ten years, so at home the latest and greatest but yes, you can go back to an old file and do amazing stuff with it so absolutely that is the power of raw and why one of the great features of it is that since it goes back to sensor data not two pixels as we come up with new technology to work with sensor data you're not limited to the pixels that woodcraft captured great thank you so much you're welcome okay let's do it some mohr um portrait um work save some fun stuff for tomorrow, huh? And as a teaser for tomorrow we'll do this one since we just jumped into floater shop we'll do a teaser in the photo shop actually, well, we're here let's do a little trip into photo shop one we've got an image with riel dustin scratches a great little antique shop shot here one heavily color cast just with time so I'm just gonna go ahead here and we'll just jump to our tango and our tango by adding the opposite of what we have too much of and doing our tone in contrast to the file we can actually do a huge amount of work here so let's actually will exaggerate that even mohr so um starting off in adobe camera even on something which obviously wasn't shot raw obviously this is a scan typically if you are going to scan do save it a zoo hi bit depth tiff meaning you're going to shoot it in sixteen bit per channel ten, twelve whatever that scanner allows, but shoot it in something other than a bit um as much color information as you can, I will give you the greatest dynamic range is possible save it in tip, which is a non destructive, non lossy color file format. Maybe when you use something like l z w that's, lossless compression, bring that into adobe camera that will give you the greatest range. And again, you khun dio a huge amount of work, even if you don't have access to the raw, I'm going to go ahead and we'll just open this since the last filter we did wass are destined scratches as we just saw, we can come up here. Fine tune those settings. Ok, so you again, you take up the radius just big enough to get rid of the offending marks, take the threshold up so that you're seeing the inherent noise in the file. But before you start bringing back defending areas so you can see just about there, I'm getting rid of most of the dust and scratches, and yet I'm leaving the detail in the file on this case, I could just come up here, I use that brush and do things like tap back in the whites of the eyes and maybe things like the lips, okay, so right there is doing the vast majority of my destined scratches using the dustin's grass filter for dustin scratches, what a concept

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