Raw Smart Objects
Now let's explore the concept of using a raw, smart object, open a finished image first, and then I'll kind of give you an idea of how it was created. Here is my finished image, and the original version is picture I really didn't like. Let's go back and look at it. I'll get rid of any settings that are attached to this so that you can see purely what the camera captured. This is what the original picture looked like into me. It looks dull. These areas on the side need to be brighter. Need to be more vibrant. The sky I wish had detail down here on my wife is I could barely see any detail in her face and her pants, and it just really didn't like it. Well, it was a raw file, so I double clicked on the raw file, which opened in Adobe camera raw, and it decided I wanted to make the sky look better. So I did things like I brought the highlight slider down until the sky started to look good. But any time you do that, anytime you adjust sliders like highlights, shadows, clarity in De Hayes, th...
ose four sliders have a tendency of creating halos, little glowy things, and I can start to see it right along here. You see, it kind of looks like this is glowing, A brighter shade. I can also see it along here where it looks like a darker little halo. They're so I might decide the highlight slider is not the best one to get this guy to be darker. Instead, if I brought exposure down, the entire picture would get darker along with it. And the sky would look good eventually. But I would avoid those halos, so I opened the image. But when I open it, I don't open it normally, not by clicking the open image button I hold down the shift key knowing that is gonna change that button toe open object. When I opened it as an object, I know I'm gonna have a smart object. And so if I have a smart object and I double click on the thumbnail for it, if it was a raw file that it contains, it should send me right back into camera so I could make additional changes. But I want to make changes that I can mask in using photo shops masking tools. So I want to duplicate that layer. There are many different ways of duplicating a layer. If I go to the layer menu right, there's duplicate layer or layer new FIA copy or drag it down the new layer icon. It doesn't really matter right now, but I'm gonna double click on the thumbnail for that copy of the layer, and I'm gonna make a radical change to it. It's not actually gonna be a change I desire. I just want to show you what's gonna happen in photo shop when I click on OK, watch my layers panel. Do you notice that both versions of the picture updated? It didn't just change the one I double clicked on. It changed them both. And that's because any time you duplicate a smart object, it thinks that you have multiple instances of the exact same content, not dissimilar to if you're in a word processor or a page layout program, and you place a logo that's stored on your hard drive more than once. You just placed the exact same file two or three times. Well, if it's linking back to the original contents and you make a change to that original contents, It might update all of those were going to get into that when it comes to it, actually being a useful feature, but for now, it's getting in our way. So I'm gonna choose, undo by typing commands E. And I'm gonna throw away that top layer because we need to duplicate it in a special way. I'm gonna choose layer smart objects. New smart object via copy. The key word here is new. This means to create a new, independent smart object that has no idea that it happened to be the same as another one is contained within it. It's not thought of as being two instances of the same content. No, when I choose new smart object via copy, it looks like I just duplicated the layer. But that layer is now independent of the women's below it. Let's double check to me. Sure, I'll double click on the thumb now for the layer. I'll change my exposure like it did before. Click OK. And if you look in the layers panel, you can now tell that that one is independent of this. I'll choose on Duke's. I didn't really want to make that change. And so remember, I did that by layer. Smart objects. New smart object via copy. Now let's actually double click on it, and I'm gonna optimize that for a different area. Let's say I'm gonna optimize this one for the area where my wife is standing. So for that, maybe I need to brighten the image a bit. Maybe I wanna lower the contrast a little, and may I want to bring out little shadow detail and I don't care what the rest of the picture looks like. Maybe adjust the white balance, warm up her skin a bit, and I'm gonna click. OK, well, we have two versions of the image, one that looks good. Where the sky is one that's gonna look good where my wife is. So now I'm going to make a selection. Let's say I made a selection here of where this guy is, and I need to take away the area where my wife is because it got that selected. Imagine I spent the time which I'm not going to do right now to get a relatively accurate selection around her. Well, now I'm gonna get the opposite of that because I'm gonna use the sky from the image that's underneath, and I'll add a layer mask. A layer mask is only going to keep the areas that are selected. The only area that's selected currently is everything. That's not the sky in the mountain behind. So now that could be put in. Now. If you followed our advanced masking session, you could figure out how toe touch up this selection over here because this is no different than working on ah Bird's wing, where you might end up with a selection that's inaccurate. But we could get that to be accurate in what I would end up doing here is simply duplicating this multiple times, each time making sure it's creating a new smart object and then masking where I need to use each version. I've already done that in a separate document, so I'm gonna close this one. I just want to make sure you knew how I got to there, and I will show you the end result. Here's the end result and I actually interpreted the settings for this file a total of five times. Let's turn off all those different versions, get to the base image. Here's the first version of the image in. So let's say we're going to use that version just for where these vines are were in a vineyard here, and I wasn't concerned with what Karen looked like. I wasn't concerned with what the sky looked like. I was just trying to get the vines toe look good. Then I said, New smart object via copy, and I ended up processing the image again. In this time, I did it for Karen's skin, and I'll put that in here. This one was actually done near the end. Eso it could be put in underneath because it would be covered up already. So here the masking didn't have to be precise. I can show you that at the end. For now, let me turn that off. Then the next one up was for just Karen's pants because she's wearing black pants. It was next to impossible to see any detail in it, so I processed the image just so you can see a little detail. The one above that was just for her shirt, and I went into Kamerad, adjusted it until I thought her shirt look good. The one on top is used up there or it's not red, and that was for the sky. Put in like that and then working a little bit lower than this. If I hide the very bottom layer just so you can see that's what's used on the upper layers, and you can see little holes where her hands are in things. If I had to put something underneath here to fill in those areas, that's where I did. Since that was put on later on, it didn't need to be masked. Quite is precisely. But it all depends if you know how to think about layer mast unmasking. So this is a total of five different camera raw settings applied to the exact same image and then using masks, I combined them together and be able to use a smart object. Made it so I could duplicate the layer into a new smart object. Double click on it in applied different camera settings, repeat the process over and over again and use layer mass to control where they show up. After doing that, I ended up doing a little bit of retouching, so if I turn on the layer above did just see like a yellow flower at the bottom, going away and a few other little distractions. And then I ended up applying some adjustments. And so here's what happens after I just the picture that's like what you would learn in the tonal adjustments lesson or the color adjustments lesson to put this image together. But one of the key elements of pulling it off was the use of a raw file loaded as a smart object and then duplicating it into a new smart object with that special command, which is layer smart objects. New smart object via copy. And that's what I often need to do to optimize a picture where I can't get it to look satisfactory using a single set of camera settings.