ACR as a Filter

 

Adobe® Photoshop® CC® Bootcamp

 

Lesson Info

ACR as a Filter

The first filter that we're gonna start with is going to be the Adobe Camera Raw as a filter. So if you open up Adobe Camera Raw, for a JPEG or a RAW image, you're gonna get the Adobe Camera Raw dialogue. But inside Photoshop, you have what looks like the Adobe Camera Raw dialogue, but it has some features that are removed because they aren't working on a RAW file they're just working on a static image. So I'll just open up this JPEG in Photoshop. Now this is a recent shot that I did in Paris. And I didn't necessarily like the shot, but I took it anyway. As we seemingly do. But what I want to do with this is I want to give it the feel of that Paris feel that you would see like a stylish filtered look. So I'm gonna go ahead and just duplicate the background layer. Press Command + Control + J to duplicate that background layer. And then I'm gonna jump into Adobe Camera Raw as a filter. All the filters in Photoshop can be found up here in this top area where you see the word 'filter'. Wha...

t I would suggest is that when you use these filters, you use these filters on a duplicate copy or as we've talked about in the past, a stamped layer. So if you have work that's happening within your image, you can make a layer stamp and do that work on top of there. Another thing about filters is that, some of them will only work... They won't work on adjustment layers. An adjustment layer as we've talked about before, is a calculation layer. It's a layer that knows no bounds, sits on top of your image and if I were to come in here real quick and just put curves adjustment layer on here and go to filter, you'll notice I don't have anything here. There's nothing there, it's all grayed out. I can't do anything with it. But, on the flip side of that, you'll notice that if I click on the mask and go to the filter, I can do some things to a mask. Because a mask is a pixel based object and not a vector based thing or something that knows no bounds. Now let's see what happens with text. So if I were to just type something on here, (typing) and if I were to go to filter, you're gonna see that you do have the option to go to filters but they aren't gonna interact with this quite the same way that they would with a pixel based layer. So for instance, if we go to something like distort, and go to something like twirl, it's gonna say "hey, before we can do this "we have to convert this to either a smart object or rasterize it. Because as it is right now, as a piece of text, it can't do that. So just know that if you're gonna be using filters on text, you might lose that. What happens is if you convert text to a smart object, you can't go back and type in there again. It becomes basically a vector based layer made of pixels. Or if you rasterize it, it becomes a pixel based layer with transparency. So I'm just gonna go ahead and hit 'cancel'. That was really just to show you what happens, cause as we've talked about, pixel based layers, which is what we see right here, we've talked about vector based layers, and we've also talked about adjustment layers, how filters will interact with those. That's why, if we're going to be using filters, we either want to use a stamp on the top of all the layers, or a duplicate of the background layer. So if I wanted to access Adobe Camera Raw as a filter, I can either go up to 'filter' right here, and click on 'Camera Raw Filter'. Or I could press Control + Shift + A and that's gonna pop me into Adobe Camera Raw as a filter. What you'll notice is that there's some things missing here though. You'll notice that we don't have... What don't we have? If we go into lens corrections, we do not have the ability to find the lens profile. Why would we not have that? Well that's because this is looking at a pixel based image and not a raw image, so because it's not looking at a raw image, it doesn't necessarily know what that would be anyway. Because it's a pixel based version. So it's giving you access to things that happen in Adobe Camera Raw, but it's making it a filter and removing some of the raw-based items. So this would work just like it would if you were using Adobe Camera Raw. You've got your exposure, your contrast, your highlights, your shadows, but it's working on basically, it's not working on a RAW file. It's working on that pixel data that you're bringing into it. Another way that Adobe Camera Raw can be used as a filter is if your traditionally a Lightroom user and you want some of those Lightroom things in Photoshop and you're like "man, I really wish I could just "bump the exposure up like I would in Lightroom." Well you can make a copy or a stamp of all the stuff that's happening, and you could bump that up right in Adobe Camera Raw as a filter. It gives you access to all of the things in Adobe Camera Raw that you would have beyond the Raw capabilities and maybe lens corrections. In that case, we would use lens corrections like we used in the prior lesson in Photoshop. One of the things that I often do with Adobe Camera Raw as a filter is if I'm not using things like gradient maps and I wanna color grade my image, I've got access to split toning. So if I come into the hue of any of my colors, I can select what color I want to make my highlights, what color I want to make my shadows, and what the saturation would be on those colors. So what I suggest for this is just like we showed before, bumping up all of the saturation in those colors and then selecting the exact color you want. I'm gonna go with something that's like a cream ish color. Cream ish yellow like that and then bump this up to a nice cyan ish blue, maybe make this a little bit more on the orange and get a little bit more of that reddish color in there. And then from there I could drop down the saturation of these colors. But you know, your not just stuck, I tend to get really stuck into these two colors. I love what happens when I color grade with a blue in my shadows and in my highlights it gets a kind of a yellowish color. But you know, push yourself a little bit, see what happens when you go to something like the magentas or the reds, drop that saturation down so it's not so vibrant and then maybe bring this into something like your greens or something like that and drop that down so it's not so vibrant and then we can adjust the balance of where we want that to be. And now, really quickly we've got an image that now has a little bit more mood and feeling to it. Once I press 'Ok', you're gonna see that this isn't a smart object. Like we opened Camera Raw as a smart object before. We could've made this a smart object before we went into Adobe Camera Raw, but it's not gonna give you that option to turn it into a smart object to come into Photoshop. So if we would've gone back in history a little bit here, right click and say 'convert to smart object', I don't have to fear losing those settings. Cause the last thing I did was Adobe Camera Raw. If we go up to 'filter', you'll see up here, it says Camera Raw as a filter it remembers all things I did from Adobe Camera Raw. It will only remember the last filter that you chose though. So if I press Alt + Control + F It's gonna open up Adobe Camera Raw and it should've just applied those settings but it didn't. It wants me to do it again. (chuckles) It's probably because it was a smart object, we'll see here. So I'll just go into the split tone and we'll just redo it, it's not that big of a deal. We'll just add a little bit of that greenish color, come over here and add a little bit of that magenta color and drop that saturation a little bit. Press 'Ok'. So now, because it's a smart object now, we have the ability to go back into it and adjust any of the settings that we would have from Adobe Camera Raw. They pop on over back into that Adobe Camera Raw as a filter. If I were to try and press 'Shift' and click on 'Ok', it's not gonna open up as a smart object. That's what I'm tryna get across here is that the only time you come into Photoshop as a smart object from Camera Raw is if you're working on a RAW file and bringing that into Photoshop. With the capability of smart objects and filters now, we still have access to the mask as we did before. And one of the things we also have the capability for is 'Blend if' and all of our layer styles. So we aren't just stuck with this filter now with this crazy split tone effect on it. If we go into our blend modes, we can change this to something like 'soft light', 'hard light', 'overlay', or 'color'. Maybe we don't want it to bring its luminance data when it comes over. We just want it to bring its color, which is that split tone color. We could go and come down to color and only apply the colors that are happening with that split tone to our image and allow the luminance values that are underneath to show through. Again, 'blend if' still applies here as well. If we double click inside this filter, move this over, so we're protecting the shadow areas, 'alt' or 'option', and we can blend that in. So you're not just stuck with what you get out of Adobe Camera Raw, you can start blending that effect into the image. And this is where you start incorporating all the things that we've talked about so far. We've talked about a lotta stuff in Photoshop here, we've talked about layers, we've talked about blend modes, we talked about opacity, we talked about blend if. Now we're talking about filters and smart objects and we're just stacking all this stuff together to create these effects with these filters.

Class Description

Adobe® Photoshop® CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you’ll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop® expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop®. Topics covered will include:

Week 1
• Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
Week 2
• Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
Week 3
• Smart Objects , Transforming, Actions, Filters and Editing Video
Week 4
• Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow

Don’t let the many aspects of Photoshop® prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.

Software Used: Adobe® Photoshop® CC® 2018

Lessons

1Bootcamp Introduction
2The Bridge Interface
3Setting up Bridge
4Overview of Bridge
5Practical Application of Bridge
6Introduction to Raw Editing
7Setting up ACR Preferences & Interface
8Global Tools Part 1
9Global Tools Part 2
10Local Tools
11Introduction to the Photoshop Interface
12Toolbars, Menus and Windows
13Setup and Interface
14Adobe Libraries
15Saving Files
16Introduction to Cropping
17Cropping for Composition in ACR
18Cropping for Composition in Photoshop
19Cropping for the Subject in Post
20Cropping for Print
21Perspective Cropping in Photoshop
22Introduction to Layers
23Vector & Raster Layers Basics
24Adjustment Layers in Photoshop
25Organizing and Managing Layers
26Introduction to Layer Tools and Blend Modes
27Screen and Multiply and Overlay
28Soft Light Blend Mode
29Color and Luminosity Blend Modes
30Color Burn and Color Dodge Blend Modes
31Introduction to Layer Styles
32Practical Application: Layer Tools
33Introduction to Masks and Brushes
34Brush Basics
35Custom Brushes
36Brush Mask: Vignettes
37Brush Mask: Curves Dodge & Burn
38Brush Mask: Hue & Saturation
39Mask Groups
40Clipping Masks
41Masking in Adobe Camera Raw
42Practical Applications: Masks
43Introduction to Selections
44Basic Selection Tools
45The Pen Tool
46Masks from Selections
47Selecting Subjects and Masking
48Color Range Mask
49Luminosity Masks Basics
50Introduction to Cleanup Tools
51Adobe Camera Raw
52Healing and Spot Healing Brush
53The Clone Stamp Tool
54The Patch Tool
55Content Aware Move Tool
56Content Aware Fill
57Custom Cleanup Selections
58Introduction to Shapes and Text
59Text Basics
60Shape Basics
61Adding Text to Pictures
62Custom Water Marks
63Introduction to Smart Objects
64Smart Object Basics
65Smart Objects and Filters
66Smart Objects and Image Transformation
67Smart Objects and Album Layouts
68Smart Objects and Composites
69Introduction to Image Transforming
70ACR and Lens Correction
71Photoshop and Lens Correction
72The Warp Tool
73Perspective Transformations
74Introduction to Actions in Photoshop
75Introduction to the Actions Panel Interface
76Making Your First Action
77Modifying Actions After You Record Them
78Adding Stops to Actions
79Conditional Actions
80Actions that Communicate
81Introduction to Filters
82ACR as a Filter
83Helpful Artistic Filters
84Helpful Practical Filters
85Sharpening with Filters
86Rendering Trees
87The Oil Paint and Add Noise Filters
88Introduction to Editing Video
89Timeline for Video
90Cropping Video
91Adjustment Layers and Video
92Building Lookup Tables
93Layers, Masking Video & Working with Type
94ACR to Edit Video
95Animated Gifs
96Introduction to Creative Effects
97Black, White, and Monochrome
98Matte and Cinematic Effects
99Gradient Maps and Solid Color Grades
100Gradients
101Glow and Haze
102Introduction to Natural Retouching
103Brightening Teeth
104Clean Up with the Clone Stamp Tool
105Cleaning and Brightening Eyes
106Advanced Clean Up Techniques
107Introduction to Portrait Workflow & Bridge Organization
108ACR for Portraits Pre-Edits
109Portrait Workflow Techniques
110Introduction to Landscape Workflow & Bridge Organization
111Landscape Workflow Techniques
112Introduction to Compositing & Bridge
113Composite Workflow Techniques
114Landscape Composite Projects
115Bonus: Rothko and Workspace
116Bonus: Adding Textures to Photos
117Bonus: The Mask (Extras)
118Bonus: The Color Range Mask in ACR