so I like the image. I like the way it looks, but I need to den, go in and work on this image a little bit more. So I'm going to go instead of colors, we're gonna look at the effects panel and in the effects panel. I'm looking to kind of add a little bit more pop to this photograph. I want I want a little bit more, especially back here in the curtains, things like that. And so I'm going to use the clarity knob. So the clarity knob is basically contrast in the mid tones. So I'm gonna take that clarity up quite a bit and you can see what's happening back here inside of this curtain. Just simply grab the, um clarity and bring it up and down and notice how all the tools disappear. When I'm working on something like this, if I hold onto a knob, everything else disappears so that I am just looking at the way my photograph looks and that looks pretty good the way. So a plus 10 clarity is what I I have determined, is great. So I like that. I like the way it looks, and I'm going to. I think I'm...
finished with this photograph. Um, so now I want to talk about the other parts of the effects area. So in order to do that, let's go find another photograph. And this time, we're going to go and find, um let's look for some photographs here in our port folio. There we go. And I want to work on a here. This will work really nicely. Okay, So I'm gonna go into the effects panel, and I wanna work on a landscape and a landscape has a lot of great detail in it. And the texture knob is perfect for landscapes. So let's reset some of these D. Hayes and clarity so that you can see what's gonna happen. So I've done adjustments on this photo already, so I've already got some adjustments done. See that? All that. That's that's That's the way I want it to be. But the effects is where I'm going to get a lot of pop out of this photograph, and one of them is the D. Hayes. So look at the D. Hayes. Look at all that. There's a lot of atmosphere going on, and I want to see from here. I want to see back to these areas here a little bit better. So what I'm gonna do is I'm gonna grab the D. Hayes filter. And the D. Hayes filter is a fantastic tool, cause look what it does it. It cuts through glare and fog and things like that. So whenever you're having some kind of an issue where you want to see further back and you've got too much fog or a little bit too much atmosphere, usually fog, you want to leave because it's an interesting element. But if you just don't have a clear sky, say you have smog and you want to cut through it. That's the way to do it is with the D. Hayes filter, Um, and then I'm also going to add a little bit more texture. Now. The last time I worked on this photograph, texture didn't exist. It was clarity. And so that's why when we first started, I had clarity up here. But clarity also does a lot of contrast, so it adds a lot of contrast, so you can use that in a landscape photograph. But texture is a much more subtle way of creating the textures and and and getting the fine tuned stuff. Simon it. Just zoom in just a little bit so you can see what happens here. And I'm gonna use the texture slider and start increasing the texture and look at the way that adds. So here's a little added texture, and there's without the texture with the texture without the texture, so texture can do a really a lot for you. When it comes to landscape photography, foliage rocks, all that kind of stuff. Clouds, on the other hand, are really nicely done with clarity. Clarity does a really good job clouds because it's much more. It's It's a larger scope tool. Texture is much more for small texture type. Things also textures really great for skin. So if you are working on an image and you want the skin toe look really beautiful, um, what you're gonna do is you'll take this image, and instead of globally adding or removing texture, you'll go into a brush. And if you look here, there's regular settings and then there's brush settings. You you can always take a brush, so we're gonna create a brush and we'll talk a lot more about brushes in just a second, but I take a brush, and then once you have a brush, you can actually go into your effects panel, and you can add texture. Or you can soften texture. And then whatever I brush in that area is going to have that texture or lack of texture added, so you can see what's happening there. So we're going to undo what we just did. Double click a double, click one of these and delete it and we'll come back to something like this a little bit later. But I wanted you to see that you can also brush in texture. You can also brush in clarity wherever you happen. Need it? So inside of your effects panel, you have texture. You have clarity, and you have D Hayes. Now texture obviously is best for skin when it's in the negative. It's great for rocks and foliage in the positive clarity is really great for, like, clouds and things like that, Um, so if you grab it and increase it, you can see those clouds are starting to really pop out. Eso. You could also paint that in with a brush. D. Hayes is really great for cutting through glass glare. It's great for cutting through, um, fog, smog, things of that nature, just atmospheric distortion, things like that. And then you have been yet ing so Vignette ing is is basically just old school tool that we used to try and, uh, give our our image a little bit of, ah, vignette on the side to push people into the middle of the frame. But the problem with vignette ing is that if you let's just make a really deep vignette and let's bring the midpoint in and out C outs on Lee going into the center So vignette ing doesn't really help many photographs like you gotta have a very center focused photograph for in even getting to help obviously wouldn't use it in this way. You would usually just kind of go like this a very light amount of vignette ing and then a fairly ah, deep midpoint with a really high feather. And usually that's what you would do for vignette ing kind of just pushing people in the center. But there are far better ways to do vignette ing with actual brushes and radio filters, so we'll go through that in a minute. So vignette ing is kind of a tool that it used to be, Ah, useful to some degree because we didn't have any other tools that were better. But now we have much better tools. The other thing that you'll find here in the effects panel is grain, and grain is super super important. I love green Grain is one of my favorite things. So here's a great landscape photo. I love the photo, but I really want some grain on it because it's just a little too clean. Cameras nowadays are so much better than the film we were using, but the grain on film helped to give us a little bit of depth and dimension to the photograph. There's something to that, and so I'm going to add some grain to this photograph and simply just going to grab the grain slider and bring it up and usually all kind of stick around 20 ish 20 something, and I'm gonna have to zoom in so I can see what the grain looks like. So here's no grain, perfectly crisp. And then here's a little grain, and then I'm gonna take the size size if you go way high on it. It blurs everything because it starts to interrupt the lines so you can see how even the tree the tree was moving quite a bit. But you can see that the leaves air starting. If I If I take the size down, I can start to see the leaves a little bit better. But when I take the size up, I start to obscure everything. So the the the bigger the size gets, the older the photograph is gonna look. It's gonna look like it's Ah, 18 hundreds photograph, the bigger the size. Now. I usually try and keep the grew size fairly small. And then what I do is I increase the roughness of the grain. That way you see it, so it's too soft there to even see. But here I start to see the green, and I love a low amount of grain. ASUs. Fairly small size of grain, but very rough. That's the best kind of grain for me, and it just gives a better feel to the photograph, especially black and whites. Now, in addition to that, grain can be used really effectively when it comes to, say, a portrait So here's a portrait. I haven't done anything to this portrait, so I might actually go up to the auto and click on Auto. And it doesn't pretty decent job getting it ready. I just need to add a little bit more brightness to her face. And then I need to go into the color and bring the temperature down just a little bit. And obviously get rid of the saturation because there's too much saturation and I'm going to go into the profile browser and go to the camera matching portrait. No, not camera matching the adobe raw portrait. Um, there we go. So that looks better to me, and I am going to take a little bit more temperature out of that. Okay, so she looks pretty good, fairly normal portrait. But if I want to get rid of some of the blemishes and the inconsistencies and skin and things like that, I'm gonna simply go into my effects panel, and I'm going to add some green. So watch what happens when I add a little grain to her face. So by doing some grain, go about 30 and add some roughness to the grain and a little bit of size to that grain. By adding grain, I have effectively smooth out her skin. To some degree now, you can still see that the skin has, you know, blemishes and things like that on it, but it's much more palatable it's not. It were obscuring some of that. So here's without grain so you can see. Now let's go with grain. See how it obscures some of that. So I love putting grain on people because it helps to kind of equalize their face, kind of remove some of the inconsistencies in their skin. All right, so that's in effects. Those are the options that you have, that you have one more effect that's fairly useful as well. And it's useful in both color and black and white photographs. So let's go to a photograph. Um, and really quickly. Let me just brighten this up a little bit. Okay, So inside of my effects panel, I can also do split toning. But before we do split, toning, let's go toe black and white just so that we can see split toning in a black and white condition. So at the very bottom of your effects panel is the split tone option. Just simply click on it and it gives you two tones the highlights so we can go. And what kind of warm up the highlights? A little bit. So I've got kind of a C Peotone going on and then in the shadows, I can add maybe a little bit of blue to it there. So now I have my two tones and I have a little balance knob at the end. So I can say I want this to be a more more of a blue or I want it to be more of a warm with just some slight blue in it. And I think I kind of like it right about there. But I think that the blue is to blue. So I'm going to simply take the blue and go down in saturation. So by moving it up, it becomes more saturated. By moving it down, it becomes less saturated. And the same thing with this this needs to be a little less saturated there. I like the way that looks. I could probably adjust this thing that way a little bit there. I like the way that split tone looks so now I have a split tone. Okay, So if I wanted to use this as a color image, though, I could always go back to the browser, and I could choose Adobe Portrait and notice that I have used that same. I still have a split tone on top of it, so the split tone is on top of the black and white. So once I remove the black and white, I still have that split tone. So then it's a matter of coming into the split tone, and I can remove some of I keep a little bit of the warmth there and remove some of the blue. And then I can re negotiate how this looks. But that split tone helps in warming up the face and cooling down the shadows a little bit. So here's the difference between the split tone. So here, let's do split tone on and off. So if I have the split tone on and then let's turn the split tone off and you can see that it just does a little bit of warmth there. So I like the way you can. And plus, if you're doing any kind of like especially like you doing a sunset, You can always say I want those shadows to be a little bit warmer, and I want the highlights to be a little bit warmer and look at that. You could just change your son set so that it's even Mawr Sunset E. And in this case, I would want to also take a Grady int. So add ingredient in the sky. Um, and we'll do that in just a minute. But I would add ingredient just by going to my local adjustments and adding a grading here and dragging it across the sky, go into the color and warm up the sky so that there's no blue in it. So we're just going to get rid of all the blue in the sky. So now it's just a total sunset, and there's no blue, even though originally, this image had lots of blue. So your, uh, your inside of your effects tool. You also have those split tones