Lessons

Lesson Info

Essential Adjustments

I'm going, Teoh, just open an image and this image I like to crop. If you look at the image, you will see that on the edges of the frame brushing the left side. There's just a sliver of bright information left, and there's a larger area, right, information on the right about to get rid of. So I'm gonna use the crop tool in photo shop. Over here on the left is the crop tool, and when I click on it, it puts a cropping rectangle around my picture where I congrats the sides where the corners and pull it into Tell it exactly where. How much of the image of like a crop out problem is when I get near the edge. If I want a crop out, just this tiny amount that's over here on the edge. It's next to impossible for me to do it, because it snaps to the edge when I get close. So I mentioned this before, but as long as you have your mouse button held down, you can hold the control key, and for the length of time you have the control key held down, it will not snap to the edge, so I am able to get it ...

really close to the edge of my photograph. Just make sure you let go of the mouse button before you like over the control key, because if you let go of the control key first, it'll just suddenly snap to that edge. So that's the main thing I wanted to mention there. So we crop out small areas on our photographs. Know that when used the crop tool, though at the top of your screen will be a check box. It's called delete cropped pixels. If that's turned on, anything that's outside of the cropping rectangle that I define will be thrown away. If it's turned off, the information that's beyond the cropping rectangle will be retained. You won't be able to see it. It'll be beyond the edge of my photograph, but it'll still be contained within the picture. So if I cropped this out and I had delete cropped pixels turned off, then that information still there and if I go back into the crop tool again, I could grab the edge in re introduce that information into the picture. So if I want to change my mind on my cropping. I could do that. Sometimes I find that to be nice, because what I'll do is I'll set up my document for a custom size because it's for my personal use. But then I know that somebody is gonna ask for a print of that image, and they're gonna want it in a standard size, and I'd rather not have to crop further into my photograph on the second time. I might instead go back to the crop tool and just bring back some of the information that I had personally cropped out for my version of the picture. By having that delete crop pixels turned off, its a nice feature to know about. Another thing when you use the crop tool is if you find that whatever it is you're attempting to crop is at a slight angle and you need to fix that if you go to the crop tool at the top of your screen will be an icon that's supposed to look like a bubble level. You know, the little spirit level that you might use the level o'clock or something else, and we can use that to straighten things. All I do is I choose the crop tool that I move my mouse up to that icon at the top of my screen and click on it. So it's active, and now what I can do is click and then drag within my picture. And I just need this line that is produced tow line up to be parallel with whatever should be straight in that image. And when I let go, it will rotate the cropping rectangle to make it straight in. That could be really nice. I'll hit, return or enter now, and you can see that that's been straightened out. So that is just a very quick idea with the crop tool. Then there are a bunch of general adjustments we can use in photo shop. I'll open another image here, and let's see what we might want to do with it. Here. I'm gonna choose image adjustments and brightness and contrast with brightness and contrast. First off, you'll find old school photo shop users telling you to avoid it. Know that you shouldn't avoid it. Brightness and contrast is a great adjustment. What happens is about six versions of photo shop again. Brightness and contrast was a terrible adjustment, and There's a lot of old school photo shop people that are used to the old version and have never reevaluated brightness and contrast. It's perfectly fine to use it in the modern versions, but brightness is just gonna control the overall brightness of my image. In this case, I think it needs to be a little bit on the darker side, and then contrast is going to control how great of a difference there is between the bright and dark areas and the picture. As I bring this up, we get a bigger difference. Dark areas get darker, bright areas get brighter, and if I lower it, they become more similar, and it can make the image sometimes feel a little bit more dull. But in this case, I think increasing contrast a bit and bringing my brightness down improves the image. I'll turn the preview check box off. Here's what it used to look like. Here's what it looks like now, and if you want to see what this used to be, like the version of it where people tell you not to use it, and some people might still say that because they never re evaluated it, you could turn on the check box called use legacy, and that means make it work old school the way it used to work, then this is a terrible adjustment where the second I brighten, do you notice the blacks and the image or no longer black? If the second I darkened the whites and the image or no longer white in all that kind of stuff? But as long as used legacy is turned off, then brightness works great, and so does contrast. Now, when I apply an adjustment, I usually do not apply it directly to the image. Instead, I apply it in a way that's not permanent, and I want to show you the difference in applying it directly versus doing it in a way that's not permanent. If you go to the image menu and you choose adjustments to get to your adjustment, what you're going to do will affect one layer within your document, and it will, in general, permanently change that layer. What I mean by permanently change it is if we save and closed the image in open it a month later, there's no way to remove that adjustment that you've done. It's permanently changed what's in the image. If, instead of going to the image menu and choosing adjustments, you were to go to the bottom of your layers panel instead. And that's where there's 1/2 black and half white circle down there. This guy, you click there. You'll find a similar list of adjustments in one of the choices. There would be brightness and contrast, and that's going to produce an adjustment layer where the adjustment does not directly affect the layer were working on. Instead, it appears as its own layer. So now it's a Ziff. You're standing at the top of the layers panel looking down, and you have to look through this adjustment before you see the picture. The original unchanged picture will still be sitting underneath, so if we turn off the eyeball for the adjustment, we would end up seeing the original. The other advantage of working this way is I can do things like Brighton the image up like this. And when I'm done, this adjustment layer has a mask attached to it automatically. That mask is a layer mask, the same kind of layer mask we've been working with when we're removing the background something in the layer mask will be active by default. So as long as you've created that adjustment layer, you could just grab the paint brush tool. And if you come in here in paint with black, you're going to remove the adjustment from wherever you paint. So in this case, I'm brightening the photograph, and I don't want it to brighten the background. So I just grabbed a paint brush tool. I make sure I'm painting with black, and I paint over the areas that I did not want to brighten, and they go back to the way they used to look. So now if you look at my layers panel, do you see all the black paint in the mask? That's where the adjustment is incapable of changing the picture. And so if I turn off the eyeball in this adjustment layer, you can now see that it's on Lee affecting that one area so I can do all sorts of adjustments in paint on the masks to control exactly where it happens. The other thing that is special about an adjustment layer compared to going to the image menu and choosing adjustments, which is what I would call a direct adjustment. Is this kind of adjust it where you go to the image menu? Can Onley effect one layer? And that's it. If you have 30 layers in your image like if I go and open one of the images that we created earlier today, let's say I go to this one, which has a bunch of layers in it. If I create an adjustment layer in here, I can come in and do something like I'll choose a black and white adjustment. So it's obvious the entire picture becomes black and white because the way an adjustment layer works, it is if you're standing at the top of the layers panel looking down and you're looking through this adjustment before you can see what's underneath it in this case, that layers making things look black and white. But an adjustment layer. Could Onley affect the layers that air underneath it? Because if you're standing at the layers palette looking down, if this adjustment layer is down a ways, when we move it down here, anything that is above it, your eyes would see before it saw that adjustment that's underneath it in. So in this case, you'll notice some layers are affected by other layers or not. The layers that are not affected by it are the ones that are on top. And so I could drag this down until it's just above the texture that's there. So the only affects the background, the lower parts of the layers, Uh, and so I find that to be overly convenient. I can also turn off the eyeball in the adjustment layer to hide it and see what the image looked like Without it. I can also come back, and in any time I conduct will click on the left. Part of the adjustment layer will be a little icon. Hear it represents what type of adjustment it is. If it's levels, it will look like a little bar chart like thing. If it's in this case black and white, it'll look like a black in a white rectangle. But if you double click on that icon, it will bring you right back to the settings that were used to create it, and you can change it even if it's a year later. If you saved and closed your image, you open it again. That layer would still be there. You can still double click on that icon, see the settings that were used and modify them. So it's not permanent at all, which is great. And if later on you decide you don't like it, you just click on that layer and drag it to the trash can. It'll be gone. You're back to your original without. Let's look at Ah, a few things we can do with those. I'm going to just open a few images. Let's get to bridge. To do this, I'm gonna convert this image to black and white. Now you could go to the image menu, choose adjustments, and there's a choice. I'm sorry. Image menu. Choose mode. There's a choice called gray Scale, and that would take all the color out of your image in make it Look black and white. But if you were to do that, you noticed that when you choose grayscale that are not three periods after it, which means there are no settings related to it, and so you're not gonna have any control over what it looks like If, on the other hand, a better alternative to that is before you convert to grayscale mode create an adjustment layer, and the adjustment layer you're going to use is one that's called black and white. When you choose black and white, you're going to get a serious of sliders here, and you can adjust the brightness of areas that used to be these various colors. And there's also a little hand icon. You see it right over here. That's special. If you click on that, then if you move your mouse on top of your picture, I don't personally remember what color is sure it is. I don't know if you do or not, but I'd have to guess in Move the right slider. But with that little hand turned on, if I move my mouse on top of the image and I click on a shirt, it will figure out what color his shirt used to be. And it'll hot highlight the proper slider. And if I dragged the left Albrighton and dragged to the I'm sorry, dragged with right Albrighton, trade to the left all darken. I confined tune that it's not gonna on Leah. Just a shirt, though it will adjust everything that's the same color as a shirt. I'm not sure what color. This used to be, Ah, click on it, and it'll highlight whatever it used to be. And I can adjust everything that was that color as well. If you want to. At the bottom of the adjustment panel, there's an eyeball right here. It does the exact same thing as the eyeball that is next to the adjustment layer. It just might be that your layers were covered up so you can't get to that eyeball. That's the only reason they offer it in the other spot. But you could turn it off to see what this used to look like. And remember what colors were there so I can see there's some green and the sign. So now I know I could turn that eyeball back on. Click on where there used to be. Green addressed the greens, and so the eyeball just temporarily turns off the adjustment. You can turn it back on to see what you've done, but by doing a black and white adjustment, you have more control. If you choose to truly make this image black and white, then when you're done with the black and white adjustment, then change the mode of your picture to gray scale mode grayscale mode Image takes up 1/3 the amount of space on your hard drive than a color image, but only if you change the mode of the image. It has to do with how it makes the image behind the scenes. But if I choose that it will ask if I want to flatten the image, say yes, That means merge the adjustment into the image, and then it just told me to use what I already just used. Adobe has a lot of dialogue boxes that appear that air I find to be overly annoying. If they ever say Don't show again, turn it on and, uh, do that so that's a black and white adjustment. But let's look at some of the other things we could accomplish with it. This image he looked close at. It look real close. Check it out, little lizard dude sitting right on his face, which I thought was pretty cool. I wanted that to stand out more, and I look at this image as a whole and I thought there wasn't much color going on. The color doesn't really help the image much, so when I ended up doing to make that stand out is I added a black and white adjustment layer, and I didn't really move the sliders. But if I needed to, I could click on the hand. And maybe you take whatever color the body used to be and see if it could make it brighter. This image didn't have much color to begin with, so it's not going too much. But one other thing you can do when you do a black and white adjustment is there's a little check box called tint. Tint means at a hint of color back in. So if I turn that on right next to that will be a square of color. And if I click on the square of color, it'll bring up a color picker. Usually I go for really subtle so color, just a hint if you want it. But that's the tent check box. Now if I want that to stand out that part where the the little guy is on the face, all I'm going to do is grab my paintbrush and I'm gonna paint with black. Remember, anytime you have an adjustment layer, it comes with a mask. The mask is what's active. So when I paint with black, what it will do is in essence, remove the adjustment from wherever it is I paint. So I'm gonna paint right on. Were that little guy is quanta thing lizard? Whatever it ISS get it to stay in color. And therefore I think that's a leg. Get it to stand out. So if I didn't do that, I'll turn off my mask by holding down shift and clicking on it. He blends right in. You barely see them, but if I do that, it might be enough to make that stand out. And imagine if I made a big print of this and put it up on the wall. You might not realize that immediately so small. But if you spend any time looking at it at all, you'll probably notice that standing out because of the color difference that we have. So I love being able to use adjustment layers so I can paint on their masks in limit where they show up, and usually what I'll end up doing is just building up a bunch of adjustment layers to do various things. For instance, in this image, I might darken the edges of the photograph if I darken the edges is probably going to keep your attention. Where is brighter? More in the middle of the photo. So what I'll do here is I'll go down to the bottom of my layers panel, create an adjustment layer. I'll use the one called Brightness and Contrast, and I'll just lower the brightness. And I'm your only looking at the edge of the photo saying, How dark could I get away with? And then I'll grab my paintbrush in with a huge, soft edged brush. Bigger the brush you use, the softer the edge becomes because if you have the brush that's the size of the tip of your pinky, it only has half of the width of the tip of your pinky to fade out. You have one the size of your head. It's got half the with your head to fade out, so the bigger the brushes softer, it gets off, click in the middle, and I'll just paint around a little bit to say, Take the adjustment away from this middle portion. Let go When you look in the layers panel, Do you see all the black paint. And so now if I hide this adjustment layer, you'll see I'm really darkening the edge of the photograph in a subtle way that might help your I get drawn to the middle, where it might have more contrast and I can build up a bunch of these. Let's do another one. I'll do another brightness and contrast and let's say I'm thinking about the statue that's here and maybe I think it needs to be a bit brighter and have a little bit more contrast. Then I can paint across this mass to say Where do I would not want it to apply, And I can start by painting across the whole darn thing, get the whole mass to be black. You see, my layers panel is black. Then I come up here and I'm gonna switch this around and paint with White, and I'm only gonna paint it in where I think it needs to be brighter and have more contrast. So maybe on Lee on the face, that's here to draw your attention to the face in some of the head, and I could possibly do some of the body. I don't even have to be mega precise about it because the adjustment of making is still relatively subtle. It's not overly dramatic, and so you wouldn't notice where I stopped as long as I'm using a soft edged brush. And if I turn off that by turning off its eyeball before and after, is that making your I go more to that area so I could turn off all of these by dragging down the column where the eyeballs are in the layers pound. Here's what the image originally looked like, and then I can slowly turn these back on and say, Here's what I've done with it Whenever you add adjustment layers when you have a new one always added on top, unless you have a good reason to go out of order because whatever is at the bottom is considered to be applied first, then what's above it, then what's above it. It's just the way it's thought it so often. Times all have even 10 adjustment layers to adjust various areas within the picture and just optimize it. Fine, tune it. So let's look at some of the other things we might be able to do now. That adjustment, called brightness and contrast, there's an issue with it, and that is the brightness. Slaughter is gonna in general control the entire image, and so you'll be limited here. All creator. Breast brightness, in contrast, adjustment layer. And I think he's too dark. I don't think the rest of the images too dark, so bring my brightness up here in order to get him bright enough. I need to go to about there the rest of the images way too bright now. I couldn't paint on the mask toe. Limit it just to where he is, but I don't feel like painting on 90% of the mass to get it off of the rest of the picture. So sometimes I'll end up doing the following to cheat image adjustments. Invert Now invert means make something a negative of itself, so if it has white turning black, it has black turn it white. But in this case, what we're working on is this mask where I would usually put paint. That's what it's going to invert. So watch what happens when I choose image adjustments. Invert, watch my layers panel, See how now we have black throughout the whole thing That way, don't have the paint over the whole thing to get black in there, just a simple way of doing it. And I could come in here now in paint in my adjustment where I could have used the quick selection tool to select this guy before I ever made the adjustment. Zoom out. And so now, if I turn off the eyeball for this adjustment before after that, better in the black that's in the mask prevents it from applying to the rest of the picture. And so simple things like that show you a simple color correction technique, taking just a moment to get rid of a feature that you won't usually find turned on. And Photoshopped there's a little mark on her shoulder that's called a color sampler. And it means that I've messed with this picture before in some way using a tool called The Color Sampler one we're not talking about in this class. I just want to get rid of its it's, uh, Marks now to come and correct an image, you have many different choices and how to do it, and I might have time to share others, but I just want to show a Quick one. For now, I'm gonna create an adjustment. I can use either levels or curves. It doesn't matter which one, because the feature we're gonna use is available in both of them. I'll use levels in this case, since it's the only one of those two we've talked about this far since I used an adjustment layer for levels. It shows up in this little panel, and what I want to do is get some special automated options that are available in here. In order to get to them, I need to go to the upper right corner. This icon indicates there's a menu hidden there. Click there, and one of the choices there is called auto options. That means there's some automatic color correction built into this, but I need just need to tell it to turn it on in. Apply it. I do that by going to the upper right corner of levels and choose auto options. Now it's automatically adjusting my picture, and I just need to tell it what type of adjustment to use. And these are my various options right now. It thinks I only want to adjust the brightness and contrast of the picture. So if the image looked kind of dull, this would make it pop a little bit. But what I want to do in order to automatically color correct the image is changed to settings in here or what they are. There's a choice called find dark and light colors. You need to turn that on first. Then there's a second check box called snap neutral mid tones. I need to turn that on its Well, If you turn on those two settings, then you have, in essence, turned this into automatic color correction. You don't even have to know what it's using behind the scenes to do its work. It's using a lot of sophisticated stuff to try to color. Correct this picture. What did I dio? I went to a levels adjustment. I went to the upper right corner, where indicated at a menu, and there was a choice called auto options. That's what caused this to show up. I changed to settings, and that is fine, dark and like, colors in snap neutral, mid tones. If I think I'm gonna use out of locks, have a lot of terrible looking photos, I'm gonna turn on check box at the bottom called Save His Defaults. And therefore, I'll never have to remember those two settings again because I can just click OK, and then any time I go to auto options, it's going to remember those settings and already be turned on. So this is a picture. My wife, Karen. This is the day we were married. Uh, and if I turn off the eyeball in that adjustment, here's before where? I don't think it looks very good. And here's after in for an automatic adjustment where I didn't even tell it anything about the picture. I don't think it's too bad. I could always do further adjustments after that to maybe make the much more colorful or brighter. But it's nice knowing about some automated color correction options. Then sometimes I need to find tune the colors that are found within an image. And if I want to accomplish that, one way of doing it is to create an adjustment layer, and this time I'm gonna use a choice that is called hue and saturation. I find it be overly useful when I choose hue and saturation. This is what the adjustment looks like, and it has a hand icon just like we had when we had the black and white adjustment. Any time you see that hand icon, it means if I click on it and then I click and drag on my picture, you'll do something related to the adjustment. I really wish that that hand icon would be turned on automatically all the time. Every time I ever choose this, I can get it to do that. The way I do that is I go to the upper right corner. That usually indicates there's a menu hidden in. One of the choices is Auto Select Targeted Adjustment Tool. That little hand icon is called the targeted adjustment tool. If I choose this from the side men, you only need to choose it once and now. From now on, any time I ever do a hue and saturation adjustment layer, that hand will automatically be pushed in so I can right away movement mouse on top of the image Click Inhabit, do something related to this adjustment, and I could do the same thing if I come over here and do that Black and white adjustment. Remember that one? You notice it's hands off automatically pushed in as well because we have where the side menu Auto Select targeted Adjustment Tool turned on. And so it does it for all of the adjustments that offers that little hand icon, which is nice. I wish it was the default. Now, what can we do in here? Well, if I move my mouse on top of the image here, I'm gonna click on the green background and then I'm gonna drag to the left and you see it becoming less colorful by drag to the right. It will become more colorful, but let me find an image that has more colors in it, so it might be more obvious what it's doing. I'm gonna go to bridge with shift. I'm sorry, Option commando, and let's grab a colorful picture. Here's some fall color. I'll go and do a hue and saturation adjustment. Layer the little hand icons already pushed in, and now I can go to something like this blue sky. Click on it, dragged it left. If I don't want you to see much blue or drag to the right to make it more colorful, I can click on the oranges or reds within the tree make it less colorful or make it more colorful, and I can find tune. Their colors click on the greens more colorful, less colorful, that type of thing. But it's not only making them or less colorful, I'm gonna click on the yellows that are near the top edge of the photograph. I actually have three sliders. I can adjust que saturation in lightness. Hugh means basic color. If I wanted there to be a different basic color in that area, instead of having yellow leaves, I want to be green. I grabbed this. If I move it over far enough, all the leaves that used to be yellow will now become green. Warrick. Move it. The other way to change them to read were anything else. Most of the time, I'm not necessarily using this to blatantly change the color. I'm using it to fine tune it. I want the yellows to be the tiniest bit more orangish yellow or something like that. So I'm moving into small amount. Saturation is what we've been adjusting. When we just clicked on the image and dragged, that's how colorful various things are. Then we have lightness, which is how brighter, dark they are, so I can take all the yellow leaves and make them brighter or make them darker. And so I use this all the time to find, too, in the colors of my image. Most of time, some of the colors are relatively dull in the image. I might come in here, for instance, and click on the blue sky and take the lightness of the blues and say dark him up a little bit and make them a little bit more colorful as well. Can also shift the basic color of the blues. Let's see what happens if I turn off the eyeball before after you see a little change in the sky. I don't usually make you know dramatic changes. Necessarily. I find tune things during the picture, but I find hue and saturation to be overly useful for doing so. You make sure that hand icon has turned on you click within your pictures so it targets one particular color, and then you have the three sliders. You can adjust the fine tune it. Yes, Could you also discuss that check box with option? Call a raise in the U. S. Sex parties with the option called colorize, which is in there is mainly if you have a black and white photograph, and it has no color to begin with. If I turn on color rise, it's going to in this case, it pulled all the color out, and then it added color back in. And now I can choose the basic color that I'm adding by choosing the hue so I can say I want blue, Let's say and I can control how powerful it is with the saturation slider. So it's one way of adding color to a black and white picture, not overly useful in a color picture. It's gonna pull all the colors out, but that's what it's really designed for. We had a similar check box when we converted an image to black and white. It was a check box called Tint in the black and white adjustment in, so you could use that instead if you're gonna be converting image to black and white, black and white adjustment up their tent in that adds color as well. So this is a more modern adjustment than hue and saturation. We used to not have this adjustment, and then that check box and hue and saturation was more essential. But the adjustment, called black and white, has it as well, and I find it to be more useful. So here, let's just do another image, hue and saturation. This is an image from Iceland. The hand I comes automatically clicked on. I'll click within this iceberg and see if I could make it more or less colorful. Maybe I want to make it a little bit brighter, a little darker. I click on the background. Maybe I want to change the exact color, make it more orangish. Possibly you see how I confined Tune that. Sure, I could make it like blue or purple or something, but it usually is gonna look on natural if you dio eso. Oftentimes it's just a very slight shift in the colors that end up making to find tune things. Turn off the eyeball before after subtle changes. Now, a lot of the adjustments that I've been showing you can also be performed in a dialog box that is called camera camera is a very good thing to learn. But it's a matter of we only have so much time here, so I just want to show you what it is and just give you a hint at it. But if you really want to get in depth, you should take it class. That has more time to devote to it. So if you have an image that you have not opened yet, instead of double clicking on the image to open it were dragging it toe file that's already open. Within photo shop, you could go to the file menu, and there you have the choice called Open, which would open it just like double clicking. But there's a special choice called opening camera opening Kamerad Onley needed if the file that you're working with is in a file format other than raw format, raw format comes only from a digital camera directly from the camera. If you got a file from somebody else, it's probably gonna be a J peg or a tiff, and it wouldn't automatically open and camera. You'd have to choose this menu command. It's easy to remember keyboard shortcut for raw command, our control arm windows. This is what camera looks like, and there's all sorts of features in here. It's an amazing tool to explore. We only have a limited in my time here. But know that a lot of the things that we have been doing with individual adjustments in Photoshopped can be done right here very quickly. For instance, if the dark part of the photograph means more detail, you need to brighten it up. There's a shadow slider. If you move it to the right, it will only try to brighten up the dark portions of the image. I don't if you can see that what it's done. Here's before years after you see much brighter that became in camera. You can double click on any one of these sliders and a reset it to it's default setting. So to show you before and after I double clicked on this slaughter, which snapped it back to its default setting. And then I just clicked. One more time, which pulled it back toward my mouse, is so I could bring out shadow detail. But in this case, I actually wanna make it harder to see the shadow detail. Bring that down. I think that makes the highlight show up, show up more in here. You could do color correction in order to perform color correction in the upper left. There's an eyedropper tool, this one. There's actually two of them. You want the one of the last. If you click on anything that should be a shade of gray, you think it should be white or any shade of gray. What I mean by a shade of gray is an area that should not contain color. It shouldn't be yellow or pink or orange or green. It should be neutral. Nothing for color will. This paper that makes up these lanterns, I believe, would be white paper. I've never done this on this image before, but I'm gonna try to click on it and see if it can use that. And it's going to try to color correct the image. In this case, it might be a little bit too green or yellow. I'm not sure, but on a lot of images it's gonna make a dramatic difference in the picture and really improve it. But you need to find an area that should be a shade of gray. Doesn't matter how bright it is. Aziz, long as it should be a shade of gray shin contain color, and that's the eyedropper near the upper laugh. But otherwise, we have controls in here that are similar to brightness and contrast. Exposure would be similar to brightness. Contrast is the same as contrast if you want it just bright or dark and the bright part of the image. We have a slaughter called highlights, which could do that, but it's a really nice adjustment to be able to use most of the time. You use it before you open an image, and when you're done, you hit the done button. And if you look within bridge, you'll find that there's this little circle in the upper right, and that indicates that this image has been adjusted with camera. And if you open it, it will apply the adjustments again when you open it. If I want. I can also use that within the main part of Photoshopped, meaning If I've already double clicked on an image and it's completely open within photo shop, you can find the camera adjustment under the filter menu. It's going to be called right here. Camera filter. It's a weird way they implemented it instead of putting it under the Adjustment layers area or under the image adjustments spot. Technically, it's difficult to implement in photo shop, so they had to do it in a kind of weird way. But it's right there under filter, and you can get to it from within Photoshopped.