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Targeted Coloring

Lesson 30 from: Adobe Camera Raw

Jack Davis

Targeted Coloring

Lesson 30 from: Adobe Camera Raw

Jack Davis

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Lesson Info

30. Targeted Coloring

Next Lesson: Hand Tinting


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

Targeted Coloring

Could we just talk very briefly about the versions of a cr and a little bit about cc and version six of the creative, creative, sweet and what's going to be most appropriate for people today? Well, uh the everything I'm gonna be doing, um let me put it this way the majority of what I'm doing actually would work in almost any version of adobe camera, so it's not a requirement to have the latest one, which is eight point to which ships with photo shop cc the creative cloud if you had photo shop cs six that version of adobe camera uses the same engine as the current one what's known as the two thousand twelve processing engine, which will be talking about more today, but it doesn't have some of the new features, so that actually came up. You know things like the radio filter, which is very cool or now what they're calling the enhanced healing brush the ability to draw the line or have a feathered edge to the spot removal tool that is brand new to cc so there are some features that are not...

going to be present in the double came around this ship to sea and six but in terms of how the program works and how the sliders work and the engine behind it all it's all exactly the same and forceps six has in c c the photo shop version of photo shop that I want to be jumping into today when we talk about integration will probably be doing some of the new features that are built into c c, but if you had a photo shop cs six, that would also work fine things like when we get into a panorama, stitching things like the adaptive wide angle and the lens correction capabilities, some of them are in c s six, the new upright is in push up cc, so there would be an example where something's will be there some things won't the presets that I'm going to be providing will work with any version of sixes, adobe camera or the current one where I do have some presense that are specific to cc, they're labeled that so you could you know you'd see that. But again, if you're going to purchase the class on get those presets, you're probably going to be wanting to update to the current photo shop we talked about as well, since adobe has, um, really done what they should've done at the beginning as they came up with. Okay, if you guys have owned cs three or later, we'll give you photoshopped and light room and the creative cloud and be hands and the twenty gigs of storage and our fonts and everything for nine, ninety five a month for life which is just great so it was we talked about it's really kind of one of those no brainers now is it's actually cheaper than what it would have been before to upgrade on a regular basis and as I've said out of all your addictions that you guys have because obviously I have none but all of your guys is addictions it's the cheapest thing to be up to date on whatever software is doing is you know, it's kind of a no brainer, especially when all you need is one feature um I usually pay for that price of that update and again and don't be cameras we've seen there's a ton of features that are in here that are going to be a huge time savers and time is money if you can't make back that ten bucks a month and your first job, you know we're doing something wrong and the other questions out there okay, I thought I would start off with something fun today in the dough became a raw we've started off the week with optimizing our images well then moved into enhancing yesterday we got into targeted adjustments which is really going to be kind of embellishing your image is going beyond the capture and doing are targeted, dodging and burning and all our work with the target tools like the adjustment brushed the graduated filter in their radio filter so now we're really going to be embellishing the image in this particular project is what we're gonna do is we're going to do hand tinting of files and for me it's one of the most fun things you can do in light room because it's painting it's actually covered this my painting class because it really is a type of painting in this case hand tinting of images but I thought I would start off with one more sample of the fake painting or the fake hand tinting that we did yesterday maybe even the first day we did a quick little tease on it and that was and that kind of gets to our idea of using presets where if you come over here and do something like our hs l r d saturation and you come up here and let's do a little little zoom in the topic was that in the hse l panel you can do this um targeted uh work on your files let's get scroll down well you have access to all these different colors and actually all the different colors in between all these colors they just happen to have these sliders but you're not limited to it and it's a nice way actually to make a black and white in this case it has not turned it into a gray scale so we have all that information this is the case where yesterday I made a preset d sat preset and remember, I mentioned that the one thing to remember when making a preset you only want to save the parameters that are associated with whatever you're interested in this case. We just did in hs l adjustment. I don't want to save sharpening or anything else, because that would obviously change everything in the file I may already have set sharpening on here or set, you know, been yet or something. I really don't care about it. This little effect d sat will call that and we'll get crazy with it is now with an exclamation mark means that I can go back to that in any time. The nice thing about this is not only do I have access to things like luminosity, we also did this the other day where I used the targeted adjustment tool appear in the upper left hand corner. If we hold it down, whatever is currently active is checked, or you could just come up here and check whatever you'd like, so you can actually see that you can do curves this way, or I could immediately turn the image into a true grayscale. But right now I'm on luminant and the nice thing is is I could come up here and just click on the flower and change the luminosity of that flower. We're going to spend more time on black and white conversion and cp atoning but the thing is that I can come over here and simply click down on what is obviously if we do our preview what it's doing is it's finding the greens in this file and it knows purples it even has the oranges here so I can come up here and click on my oranges and dark in that contrast okay? So for black and white conversion, by the way as a refresher reminder if I ever see anything that makes me go ooh okay or dollar signs come up in my eye what am I going to do if I just did well preset is that's a good question a preset it was when I said make money right I did say that that if you go I could use this again then you're going to make a preset because then it's going to be part of your pre sets it's not associate with that image it's a really cool you know, x y z in this case this black and white conversion is very specific to this lotus and the lily pad, so I'm probably not going to make a preset because that's a very specific color range but what else might I d'oh a snapshot anytime that you see anything vaguely cool make a snapshot and in this case I'm going to say too, because I know a sze yu guys now know that what I like to do is go to camera defaults in here, save the image before I do anything to it, and I usually make a snapshot named zero and that's always going to be my starting point, so now I've got that and the reason why I did two rather than one because also usually what I would do is my tango, and I'm not going to go through the tango again because you guys already know it, but this is where I would do my things like tone and basic color and also things like my post crop than yet, which he now guys know very well and we'll take that midpoint in even more bring our highlights up. And so here I would say that this is my tango ified image and that's usually where I would start off, and I'll name this one and since he's come up alphanumeric li okay, even though I made this one before I made this one, they're going to come in this order, so that is a little refresher. That's what I like to do that's where we started that would be optimized in this case, I went straight to a black and white conversion and did that, okay, so the but the topic is, um color and in this case, using hs l for just a straight black and white, as I mentioned before, I still have that ta t tool there's nothing stopping me from taking the lily pad way up the lotus way down and the orange inside the lotus way up. So if I want to kind of find tune this image and have the lily pad go light rather than dark, which I don't like nearly as much, okay here will take that down, and we'll take both the lily pad, the lotus, and we'll take the interior. You know what? I think I liked it. I think that was a great little conversion. They're the one thing I'll add to it now for a special effect is I'll jump back to that saturation, which is our topic here and there's nothing stopping me from while this t a t targeted adjustment tools active because I switched to the saturation tab it's now going to be working on saturation. That first step that I did was de saturate everything but there's nothing stopping me from clicking and dragging on the flower and re saturating the lotus. Okay? And of course, I'd probably will re saturate the orange inside of the lotus, okay, so that is a little targeted color work. And another way that you could do this let's let's kind of do this another way this is starting with everything de saturated and I'm bringing back up what I want but there's nothing stopping me from going and doing it kind of an opposite way let's actually reset both all those situations I can use that ta t tool in this one rather than starting by de saturating everything I can simply just come in here and de saturate what I don't want rather than re saturate what I do want there's nothing stopping me from saying, you know what? It's that green that's a little obnoxious to me and again I could switch overto luminosity and now I've gotten those two points um and you can see here also that the blues I've got blues here in that background if the blues and the purples air getting real close is actually blew in that water you know I can come up here and try and find tune it that that lotus has got a range of both blues and purples in there, so I'm not gonna be able to isolate that. But that brings up the point I'm wanting to leave this orange the way it is here inside the lotus and because there is a shared color between this area here and this orange here I'm not getting exactly what I want I'm still getting a combination of um, the orange here and an orange in a different area. So what am I going to do with that? Well, this is also where we did yesterday, if you remember, I went into the adjustment brush and there's nothing stopping you from just coming in here real quick and taking a brush let's increase the size of our brush and just painting out any you know, color that I want. I've done the vast majority of the de coloring just by using that hs l panel, but aiken, clean up the rest of it and isolate that lotus primarily using a global adjustment, which is the h s l and then come in here with a targeted adjustment if I want to come up here, it looks like I've got some blue around here as well, I can take advantage again. This is kind of a review from yesterday, my auto mask. I can see that now the mask that I created again, this is for those of you who are just joining us and you're going, do I have no idea what you're doing? It's called a review and women started again, but I've got this here and because I turned on the auto mask and because I'm now going to be clicking outside of this image, I can now actually come up right up to this lotus and actually do a pretty darn amazing job of masking out that area not getting the lotus if I hold down that option are all key that gives me my razor tool and I can come up here and a race if there's some overspill okay but that as we saw yesterday that ability to do that kind of significant masking let's use a different color for a mask that kind of high quality mask um is pretty darn cool or as we've been saying all along bitch okay so there is a little well we'll call it a hand tinting effect but in this case it's just a little you know, d saturation of a portion of the image that actually do what we've got another one one that I had actually planned on doing we'll do that same one on this shot here this is a shot by a friend of mine aaron chang world renowned surf in action sports photographer he has a line of clothing this was hang tag for one of his lines of clothing and this we're going to do that let's go ahead back to that little set of presets there's r d set with the exclamation marks on it back to our hs l we are in our saturation we can come up here and re saturate using our ta t tool so we can come up here and re saturate the ladies even the bathing suits now, if we come up here to the board, which is sharing that blue, you know, at some point you're going toe figure out, okay, is it quicker for me to do that hand removal of color, doing that adjustment brush we just talked about, or do I really need the blue? The fact that it's the bathing suits are blue? I kind of do I do need that so let's kind of work backwards here in this scenario where I want to basically de saturate the water, leaving the girls intact and everything and all the colors associated with them. So let's actually do this let's do it. We've got blues throughout, I've got yellows, there's really not since there's the same colors or in the backdrop, we've got browns and we've got the sand. This would be a case. We're probably rather than using that h s l panel, it would be just as quick to do the entire background using r d saturation trick in concert with that auto mask. And again, that's what we're talking about here I started outside of the area that I wanted to mask this was, in this case, the blue of the ocean, and you can see I can even go pretty darn close to the models. When I get to the surfboard, I'm probably gonna have to do some real fine tuning of that as they get closer to it but you can see even the difference in that area is going to be, um pretty darn quick and I'm here I'm getting the the yellows of the sand and I'm even able to go around the feet of the models, which again that I'm asking is really even though I've got the brush is this big and I'm even coming up here around these areas wants to r I was just asking if you could adjust the sensitivity on the brush you can't what would be in photo shot? What would be known as tolerance um is what you're talking about there and um um you really can't what you can do is fine tune what you're clicking on because that's, what it's going to be racing or in this case selecting I just did this here when I came up to de saturated and I kind of got a little carried away and it went inside the serf board you can see this is being decent traded this was another tip from yesterday that if you do get a little bit of spill and it's not quite as acute as you'd like if he shift over to something like your eraser tool and now we're gonna find tune that that's probably that's a little bit of uh large area as you do, this it's actually going to become or intelligent. So in terms of its sensitivity or its understanding of what you want to keep on what you want to toss, you actually are able to, in a sense, train it by doing this race fix, you know, back and forth. So there is our command. Zero. So this would be a case where it is just easier for me to hand do it because there's so much color matched in the background and in the foreground. So there would be a again this targeted de coloring, in this case, just one color using the brush in the background. Okay? And again, that would be where I'd come over here before I forget and do a one, okay.

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