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Introduction and Overview Part 2

Lesson 2 from: Adobe Camera Raw

Jack Davis

Introduction and Overview Part 2

Lesson 2 from: Adobe Camera Raw

Jack Davis

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Lesson Info

2. Introduction and Overview 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

Introduction and Overview Part 2

We're going to be starting off talking about what I call my five step tango for instantly optimizing your images in five seconds or less. Well, that will include things like white balance and the ability to do this is going to be dramatically better in adobe camera raw than in photoshopped. As a matter of fact, you would never really want to fix white balance in photo shop. One of the things to keep in mind about it all became a raw because it can work on raw files um files that actually don't even contain pixel information per se it's sensor data. So when you press the shutter in uh on your camera and if you're shooting raw all the light that was there when you press the shutter is coming in, but everything in the menus within your camera which include white balance contrast, saturation, sharpening and color space all of those things are just pieces of metadata that right along with the file they are not permanently affected affecting the file. All of them can be changed that's the hu...

ge power off shooting raw if you were to shoot j peg than all five of those settings are cooked into the file permanently white balance saturation, contrast sharpening and color space so as an example, if you were to shoot this with a j peg in a j file format you would have this moon said over waikiki orange on orange that's what you would have locked in if you would have taken this file and opened it up in photo shop you would have now pixels by definition when you open up any file raw or j peg or tip for anything in the photo shop it's being turned into pixels it's needing to be cooked from that raw original into something that photo shop can work with it becomes red green blue pixels if you could do things like your white balance in your contrast with basic color all these things were going to be working on it and don't became a rock oh you have excuse me access to that raw data you have access to billions of colors versus millions of colors and you have access to the actual colors that were there when you press the shutter. So this is what I saw when I looked out the window and you get back to it literally in seconds because your shot roar speaking of white balance of things like this this actually is a stock photograph this is how you you buy it and so this is a jpeg file so this shows you that you even if you are shooting j peg you have to work with one of your pocket cameras or even your something like your iphone or android um you maybe locked into a j peg you can still do a dramatic amount of color and tone work including fixing your white balance um this is down in tonga I do a lot of landscapes so we're going to be doing yes this is one of those ones for before and so this may be more of what you're hopefully you're doing this sort of thing because you're shooting these shots but this sort of optimizing your image where reason, clarity and tone were using some then yet ing we're using some graduated filters to do graduate in d effects to be able to push our landscapes little pocket shot little gopro shot taking out in front of my house in san diego so this is good as I could get a matter of fact, the fact that this is a camera that's the size of a mock matchboxes pretty darn freaking awesome but it's not like I'm going to be able to do a whole lot with it in camera okay it's not so this isn't this is the case where I'm not, um just using photo shop to fix an image that was taken bad that's as good as I could get in this situation this is enhanced in a dopey camera yes, it is a tad radioactive but hey that's my middle name tells my story exactly right so for me this is pretty darn cool story so before after before after and what you can do with it it was a sunrise okay and something as simple as looking out a ah window of the plane and being able to optimize color and tone is for me abstracts are also a major story that I love telling and uh so you're going to get the general idea again this is a cz good a shot ross shot taken out in front of my house very misty overcast this story was there but needing to push it pull back out the colors that I saw leaving the subtleties of this beautiful twilight shot backlit of the pelicans wings is what we're going to want to show okay here we're playing around with more depth of field you'll notice how I've saw from the background a little bit as well as exaggerated the reflections in the foreground now the brook krystal shot as was that one special effects as I mentioned that she's been around for a long time that model with me uh changing color I mentioned that model's eyes this is changing the colors within the file you can do it you can't really shift colors that far but if you understand the little color swatch available within adobe camera you can actually do miracles in terms of color and again for a lot of us it's going to be tone work this is another j peg shot showing how far you can push the tone work again I could have shot that with the reflector I could have used strobes I could have done a lot to set up that shot but the expression of the cowboy why I love this shot is because of his expression that's the story and for me to be able to tell that story without losing inequality without me stopping the moment stopping the shoot doesn't take anything away from from people who have got the strobes and reflectors and the assistance and everything but if you can tell that story you know impromptu without needing relying on some of those capabilities of technology in terms of lighting then why not? Why not take advantage of it? Then again, I wouldn't say don't shoot with strobes or reflectors and assistance, but if you're shooting you're goingto be ableto do a lot more with your images this one I couldn't use I couldn't set up in on st peter's cathedral in rome couldn't set up much in there you have two seconds as your being pushed through so how far can you push it is literally what you can do with that one shot these are single shots in the past I've taught a lot of hdr combining bracketed exposures to see how far you can push an image I find myself using shooting bracketed sense of exposures much, much less especially since the last two versions of adobe camera or light room doobias engine processing engine what's known as the too thousand twelve processing engine is mind bendingly awesome in terms of what it's able to do in terms of pulling out shadow detail while maintaining quality. Okay, this actually this is an old I think it d to h shut an anti coal burning nikon raw file and the fact that I can pull out that much detail and control noise a tte the same time with one single exposure is bitchin yeah, it's bitchy when you're at the scene and you're taking the photo, how do you know you have a much have enough detail in the dark areas? Are you looking at your history? Graham? I am actually it's a very good question is I still shoot bracket, it sets a shot, but they're morris a safety net I'm shooting under challenging light like this, I'll set it to a three stop exposure and I'll go click, click, click doing a full stop under and over the metered exposure. What would be the meter, but with the camera thinks is the right exposure, and that will give me the latitude that I need. If the meter shot isn't good enough, I can use one of the other ones. It also means that I'm not constantly checking my history graham and things like that so I'm not, you know, shooting a bracket a shot of a challenging like click click click I can move on I know I've got it either one of those shots is going to be great, but dancer question how do I know mainly goingto be wantinto make sure that I have the highlight detail in the shot even more more important than the shadow detail the reason why some people are really concerned with shattered detail is they're constantly under exposing all their shots so they don't blow out their highlights so they're really they're actually degrading their images by shooting it under exposed when they don't need teo and I'll touch on that when we get into the tango I mentioned one of the five those five things that are part of the metadata in your menu settings that aren't permanently part of your file on one of those is contrast and what you see on the back of the camera when you shoot especially you have those blinking highlights turned on that allows you to see if you've blown out a highlight that is based upon the fact that all those settings were cooked into the file which they're not if you're shooting were all and that includes your contrast so that a lot of times those blinking highlights that you see actually aren't accurate so people are under exposing images which, when they don't need teo on, we'll talk about how to do that that would be sitting that changing the settings in your camera to reduce that contrast. So as long as I'm not losing out my height highlight detail in the file, um, I actually have access to a huge about this is definitely radioactive. Um has per the imagine dragons on, uh, the fact that I can pull out this much detail in a file is ridiculous. The shadow detail is there. I don't want to purposely underexposed my images to save the highlight. I want to nail my highlight exposure correctly, and then if I need to, I can do another set of explosions for my shadows, but that's, where the bracket would come in and this kind of lighting situation, I am going to bracket just because I don't have to work. I don't want worry about the shot I want to stay in the right brain mode storytelling mode as soon as you move your camera out of your checking history rams urine left brain that's logic analytical this right here is creative mode, right brain telling this story, exposure, laugh, smile, you know, wave crashing. Soon as I go this now I'm geeking out and going into the full, you know, database management, so I try and stay in the moment moment that's where bracketing can be really useful because I know I've got the shot if I'm doing that um so terms of pulling out detail this again is a shot that I would normally dio hdr to get the sky as well as the detail in things like black leather and rubber and now could be done with a single shot and, uh processed in a dopey camera raw, especially now in the new engine adobe camera raw and its counterpart in light room has been able to do, um some amazing total work for a while, but not without artifacts and that's one of the things that were going to be saying is that your ability to pull out this ridiculous amount of highlight shadow detail without the edge artifacts that you used to get and what was known as the two thousand ten process is really where adobe came, a raw and light room shines okay? And we're gonna get into some more retouching the current version of adobe camera with student the ships with c c has finally what they're calling an advanced healing brush meaning it's actually a brush you could paint with to do retouching so whether it's something simple like getting rid of the patch of sky in the top of this image here, another brooke krystal, shot our whether it's doing if you are doing a shot not on cruise ships, but on people photographing on their vacation, and you need a place for headline here than even things like that retouching is done in adobe camera that's, not a photo shop, so we're optimizing and re touching the image. This's, a very davis renowned wedding photographer, a portrait photographer, another shot, great shot challenging light will say, too, nonetheless challenging, shoot because you've got a bloody piano on the beach, but your ability to do that, even that kind of retouching as well as tonal work, um, is again, all done in adobe camera doesn't mean that you shouldn't be doing retouching and photoshopped. We're actually gonna be doing retouching in photo shop that's part of that photo shop integration that we're going to be dealing with, especially starting tomorrow, but the fact that you can do this is awesome skin work time has been with me for a long time, just because it's so great to have this sample of unifying skin tone and this we're going to do with sliders. This isn't even doing hand work in, and it became a raw no yeah, another brooke krister shot cute little bit of ah you know, kind of wants a diaper rash I don't know what you gonna call the little rash going on, but that can even be gotten rid of in adobe camera okay softening of skin tone whether the proverbial baby or grandpa grandpa, the majority of this work here great shot is going to be in adobe cameras in seattle dodging burn on the eyes we've gotten rid of some of the sunspots we've balanced out the coloration on the nose for grandpa, but with grandpa we also wanted teo do something else in here and we don't need that much zoom is we've got quite a bit of their five o'clock shadow, that sort of thing you're not going to be doing in adobe camera raw even though with the healing brush, you don't want to do individual hairs unless you're one of those saito massa kissed ick people what you would like to be able to dio is though be able to get rid, give grandpa a shave and even get rid of some of the things like rose asia our little crunchy things whatever is going on as well as the beard and be able to do that in photo shop in about ten seconds and that's again why we're going to be going into photoshopped because there are some times where certain retouching sze just should be done in a photo shop not in adobe camera so even though it's an adobe camera all class we'll be using put a shop same sort of thing what we're going to do it we're actually going to use the dustin scratches filter that's a little tease for we're going to do for grandpa but you can actually use it for dustin scratches create anti shot optimized for color in adobe camera and then again using a filter too quickly very quickly be able to do dustin scratches in inside of photo shop changing depth of field you saw that without one modeled going down this one beautiful shot crystal shot just excellent as right as it isthe right now doesn't need any work on it it's already got everything except of course that this bride's maid is out of focus and she gets all caddy because this one is in focus and how come I'm not in focus and shit you know you've seen that happen it's just so messy so in this case what I'm doing is using that anti sharpening feature to change the depth of field again looking at this bridesmaid back here in the background, I've got multiple keyboard shortcuts here, so looking at this um bride's maid in the background here you can see how we're able to actually change the focus as well as do a little bit of dodging and burning on the bride just make her pop sometimes just that fraction of a little bright ning is all that it needs to to enhance our story okay so continuing on and sometimes you need to do these sorts of fix this is actually a is a very elaborate you know diffuse glow going on here what you're seeing in the original shot that I took as part of the photo fusion if you want to come with me in january florida palm beach photographic center does what's called photo fusion f o tio fusion every year great place lots of live workshops but this is actually also being done in photoshopped that kind of exaggerated diffuse glow is best on a photo shop we'll do that as well okay and yes we're going to do the glass glare removal because we just have to and we've got our little girl here that is as I've said sitting on something sharp here they're looking great but she's distracted so what we're going to do is um get him bring him altogether and again that's what we're doing photo shop so you can see that we have taken the head of one and brought them in together same thing with this one here I've got I love doing motion blur motion blur is a challenge to shoot unless you have a tripod unless you cheat this case who have got a coconut on the island of tabaro and fiji if you've ever been to tabara you can do a call out I'm sure people in the audience have been two temporal some of the best surfer in the world is on taboo in fiji anybody watching from cab arua let me know but here's another shot here we're obviously in the water shooting the coconut got the perfect you know hit impact but everything is moving and of course I'm shooting purposely at a slow shutter speeds so there's no way that I'm gonna be able to freeze the coconut and have the water so no tripod one shot got the sharp coconut one hand held blurry with a motion blur and then obviously combining them in photo shop both of the images are optimized first in adobe camera always get the best possible image and since you can synchronize whatever settings that you have an adobe camera you could do this whole siri's of sharp soft sharp motion blur soft panorama stitching, do one image, sink it and then take advantage of photo shop especially since bridge has a neat feature it says open his layers and photo shop so you can automatically do this very, very quickly okay and background swapping if you're nice we'll let you do that another brooke krystal shot here again a beautiful bride what we're going to do is first do are actually pulls him back out on this so first we're going to optimize in terms of color but you'll also notice that slim if I ng going on here? Okay, so that slim if I ng a cz we call it is done within adobe camera, the new dhobi camera has something called upright in it that could be used for fixing architecture, but also, for the first time has this ability to do like a five or ten percent elongating of an image, and whether that the portrait or a figure or anything else like that there's very few people that go, yes, I'll take it next trip, you know, five pounds off, thank you very much, you know, but any significant retouching like this, we're actually going to go into photo shop, and we'll do liquefy. So part of it is just the type the dresses tight, all of us have got that that situation so and reshaping the dress in the fold, it's got nothing to do with the model. We're just doing some reshaping to it. And again, that's liquefied will show liquefy just because so many people don't know how to use that. And in concert, that's, exactly, when you'll be going out of a job became a raw, you can't liquefy within a double camera, so I want to show you what you can do to quickly move from what you can do to where you should be doing your heavy lifting that one is just we haven't showed this one yet, but it's more posture issue I'll leave that one for later and that upright again for being able to fix things like architectural work is fantastic as well as that new retouching. So this is over on molokai if you have time next week I'm teaching a weeklong class on the island of molokai called creative photography for the sole creative photography for the soul and uh and we just had a cancellation so I have some openings next week if you want to join me here on molokai there's a sales pitch, more color work color special effects will do some hand tenting you khun dio some amazing hand tenting in adobe camera as matter of fact, the best hand tinting you can do is in adobe camera raw, not in photo shop if you like the idea of doing hand tinting, okay, um whether subtle or exaggerated that should be done in adobe camera it's better than photoshopped it will give you mawr access to color and tone softening sharpening it's a beautiful thing to do hand tinting inside of four shop also, of course, if you hand tent anything, your ability toe have a unique product that when you sell it, if you're professional portrait photographer instantly sets apart your work from everybody else it's obviously not a filter effect when you do that too that okay so that is awful nice another bird krystal shot with some hand tending okay change you have to feel the way we did that I mentioned that we're going to do some more of that inside of a cr more color work more color special effects you've seen this before if you've been with me and the sinking of it so if you do something to one shot you don't need to re invent the wheel you just copy and paste those settings and paste it to another one do a nice double page spread in a wedding album that's a that's an example more color special effects yet let's just targeted re color pulling out the pulling out the blue from the ocean but leaving the blue in the surfboard we're going to get into some really cool ways of being a target that another buried davis shot again we're here we're de saturating the background as well as doing kind of a glow to it but the difference between that shot and that shot is significant and again no for shop adobe camera has autumn asking in it which is actually excellent but we're going to go into some tips and techniques without I'm asking because as a defaults a little bit hard to control once you know how it works it actually can be as good if not better than a lot of selecting techniques with inside of photoshopped proper okay and more color yeah yes, that is the world's most handsome son in case you are wondering who that could possibly be so more targeted re color black and white commercial we already mentioned that here's a little faux infrared I shoot a lot of infrared we'll actually be doing an emperor class coming up here creative live that I'll be teaching but this is a regular colored photograph and then doing a photo infrared taking advantage of that hs l panel within side of adobe camera and a sandy foster shot beautiful guru in india and again in this case doing a bit of an expressive a harsh hdr look for a black and white portrait okay, so that's a sample of some of the things that were going to be doing during the three days sound good sounds good to me. Good, good. Okay, mr davis throughout a couple question you certainly can't that first segment please, sir. S o photo guys asking this question I'm using camera eight point two with csx on dh I don't see the radio filter or some other features and asking do you need photo shop cc and could you address now at this I think is a good time to talk about this class and which versions of photo shop and we are gonna be most appropriate for the for the education please very very good question first off, you're always going to want to looking up here inside of the bridge under the help menu. You're going to find your updates and you always want to check with that to make sure that you have the latest and greatest close the following happens. Oh, that's. What you need, teo. You know what? I'm gonna let you do that? Because I'm actually just found this morning. A update eight to two. Yeah. Speaking of which, um so I thought, I just did that for you. Continue. So, um, the bernoff doe became around that we're going to be working on is the one that ships with c c not the one that ship's six though everything that we do in the class is appropriate for the job became a raw. That ships was six. There are a few features that you will not find the radio filter. You can't just update your adobe camera bridge and get the latest version of adobe camera. You get the version of adobe camera that's appropriate for whatever version of photo shop you own. Okay, so from that standpoint, there's no free lunch, it used to be the case we actually could update because the bridge, it kind of comes with every piece of software and a cr wass. I came with every version of photo shop or any other piece of software from adobe so you could just update the bridge and you would get the latest cr but that has not been the case for a while now, but the features that will be covering that you won't find in your version of sixes adobe camera is the radio filter you're healing brush was known as the spot removal tool will not be ableto drawing a path, so to speak so you'll be limited but it works basically the same way and thea upright filter those were probably three of the main things that the automatic way of automatically fixing what's known as a parallax issue or a key stoning issue for architecture um those things specifically you won't be finding in your version of it over camera that being said ninety five percent of what we're going to be doing the class is totally, uh apropos for that version of you. But as I was mentioning here, you always do want to come up here and make sure that you got the latest and greatest version of whatever version of bridge that you're working in. Um I'll also mention right here is that is you probably heard if you've owned any version of photo shop I think from cs three on adobe now has a deal where you can get the latest version of photo shop cc and the latest version of light room like room five for nine, ninety five a month for life. No, they're saying for life, asterix quotation marks, but they're saying that they will keep that price forever. And if you think about it, you're spending two hundred bucks every eighteen months to update photo shop if you wanted to do it. Um, and you're only getting either, you know, photoshopping your not getting light room, and you're not getting anything else that comes with the creative cloud in terms of b hands, twenty gigs of online storage you know all that they're sharing of files now topography this deal from adobe of ten bucks a month for all of photo shop, all of light room and the creative cloud membership things like the bee hand subscription your websites and twenty gates of storage and your ability to share between files including your mobile aps and things like that is fantastic and it's actually cheaper than what it was before. In other words, if you were paying two hundred bucks every eighteen months now, in the eighteen months the most, you'd spend three hundred eighty dollars, so actually, you get ten times more software. By getting both of those plus all the creative cloud stuff, and you get the latest and greatest, you always really do want the latest and greatest there's. No reason why you're going to compromise, say, well, I'm going to save a few bucks and not get the latest photo shop that retouching tool, the radio filter and upright, um, let alone all the incredible stuff that's inside a photoshopped proper. All of that is worth the price of admission. You'll make that money back on your first project, so, anyway, so I would highly recommend. And if you don't have it and you want to try it out, you can always go to aa w dot com and get the thirty day trial. So I would download the latest version of photo shop. And then you'd get what we're going to be using in class here.

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