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ACR as a Filter

Lesson 82 from: Adobe Photoshop CC Bootcamp

Blake Rudis

ACR as a Filter

Lesson 82 from: Adobe Photoshop CC Bootcamp

Blake Rudis

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Lesson Info

82. ACR as a Filter

Lessons

Class Trailer
1

Bootcamp Introduction

16:22
2

The Bridge Interface

13:33
3

Setting up Bridge

06:55
4

Overview of Bridge

11:29
5

Practical Application of Bridge

27:56
6

Introduction to Raw Editing

11:00
7

Setting up ACR Preferences & Interface

07:39
8

Global Tools Part 1

16:44
9

Global Tools Part 2

20:01
10

Local Tools

22:56
11

Introduction to the Photoshop Interface

07:13
12

Toolbars, Menus and Windows

25:07
13

Setup and Interface

11:48
14

Adobe Libraries

05:57
15

Saving Files

07:39
16

Introduction to Cropping

12:10
17

Cropping for Composition in ACR

04:44
18

Cropping for Composition in Photoshop

12:40
19

Cropping for the Subject in Post

03:25
20

Cropping for Print

07:34
21

Perspective Cropping in Photoshop

07:11
22

Introduction to Layers

08:42
23

Vector & Raster Layers Basics

05:05
24

Adjustment Layers in Photoshop

27:35
25

Organizing and Managing Layers

15:35
26

Introduction to Layer Tools and Blend Modes

21:34
27

Screen and Multiply and Overlay

09:15
28

Soft Light Blend Mode

07:34
29

Color and Luminosity Blend Modes

12:47
30

Color Burn and Color Dodge Blend Modes

07:43
31

Introduction to Layer Styles

11:43
32

Practical Application: Layer Tools

13:06
33

Introduction to Masks and Brushes

04:43
34

Brush Basics

09:22
35

Custom Brushes

04:01
36

Brush Mask: Vignettes

06:58
37

Brush Mask: Curves Dodge & Burn

06:53
38

Brush Mask: Hue & Saturation

07:52
39

Mask Groups

05:52
40

Clipping Masks

04:11
41

Masking in Adobe Camera Raw

07:06
42

Practical Applications: Masks

14:03
43

Introduction to Selections

05:42
44

Basic Selection Tools

17:41
45

The Pen Tool

11:56
46

Masks from Selections

04:22
47

Selecting Subjects and Masking

07:11
48

Color Range Mask

17:35
49

Luminosity Masks Basics

12:00
50

Introduction to Cleanup Tools

07:02
51

Adobe Camera Raw

10:16
52

Healing and Spot Healing Brush

14:56
53

The Clone Stamp Tool

10:20
54

The Patch Tool

06:38
55

Content Aware Move Tool

04:56
56

Content Aware Fill

06:46
57

Custom Cleanup Selections

15:42
58

Introduction to Shapes and Text

13:46
59

Text Basics

15:57
60

Shape Basics

07:00
61

Adding Text to Pictures

09:46
62

Custom Water Marks

14:05
63

Introduction to Smart Objects

04:37
64

Smart Object Basics

09:13
65

Smart Objects and Filters

09:05
66

Smart Objects and Image Transformation

10:57
67

Smart Objects and Album Layouts

11:40
68

Smart Objects and Composites

10:47
69

Introduction to Image Transforming

04:34
70

ACR and Lens Correction

09:45
71

Photoshop and Lens Correction

14:26
72

The Warp Tool

11:16
73

Perspective Transformations

20:33
74

Introduction to Actions in Photoshop

09:27
75

Introduction to the Actions Panel Interface

05:06
76

Making Your First Action

03:49
77

Modifying Actions After You Record Them

11:38
78

Adding Stops to Actions

04:01
79

Conditional Actions

07:36
80

Actions that Communicate

25:26
81

Introduction to Filters

04:38
82

ACR as a Filter

09:20
83

Helpful Artistic Filters

17:08
84

Helpful Practical Filters

07:08
85

Sharpening with Filters

07:32
86

Rendering Trees

08:20
87

The Oil Paint and Add Noise Filters

15:08
88

Introduction to Editing Video

06:20
89

Timeline for Video

08:15
90

Cropping Video

03:34
91

Adjustment Layers and Video

05:25
92

Building Lookup Tables

07:00
93

Layers, Masking Video & Working with Type

15:11
94

ACR to Edit Video

06:10
95

Animated Gifs

11:39
96

Introduction to Creative Effects

06:08
97

Black, White, and Monochrome

18:05
98

Matte and Cinematic Effects

08:23
99

Gradient Maps and Solid Color Grades

12:20
100

Gradients

04:21
101

Glow and Haze

10:23
102

Introduction to Natural Retouching

05:33
103

Brightening Teeth

10:25
104

Clean Up with the Clone Stamp Tool

08:07
105

Cleaning and Brightening Eyes

16:58
106

Advanced Clean Up Techniques

24:47
107

Introduction to Portrait Workflow & Bridge Organization

14:47
108

ACR for Portraits Pre-Edits

21:27
109

Portrait Workflow Techniques

18:46
110

Introduction to Landscape Workflow & Bridge Organization

12:17
111

Landscape Workflow Techniques

37:36
112

Introduction to Compositing & Bridge

06:59
113

Composite Workflow Techniques

34:01
114

Landscape Composite Projects

24:14
115

Bonus: Rothko and Workspace

05:15
116

Bonus: Adding Textures to Photos

07:05
117

Bonus: The Mask (Extras)

05:18
118

Bonus: The Color Range Mask in ACR

04:54

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 Materials

Bonus Materials with Purchase

Photoshop Bootcamp Plug-In
Textures
Clouds
Painted Backgrounds
1 – Intro to Photoshop Bootcamp
6 – Intro to Raw Editing.zip
11 – Interface and Setup
16 – Intro to Cropping and Composition.zip
22 – Intro to Layers.zip
26 – Intro to Layer Tools.zip
43 – Intro to Selections.zip
50 – Intro to Cleanup Tools.zip
58 – Intro to Shapes and Text.zip
63 – Intro to Smart Objects.zip
69 – Intro to Image Transforming.zip
74 – Intro to Actions.zip
81 – Filters.zip
88 – Intro to Editing Video.zip
96 – Custom Effects.zip
102 – Natural Retouching.zip
107 – Intro to Portrait Workflow.pdf
110 – Intro to Landscape Workflow.zip
112 – Intro to Compositing.zip
115 – Rothko and Interfaces (Bonus Video).zip
33 – Intro to Masks and Brushes.zip
106 - Frequency Separation.zip

Ratings and Reviews

a Creativelive Student
 

Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.

Robert Andrews
 

Blake Rudis is the absolute best in teaching photoshop. His knowledge and how he presents the instruction is clear and concise - there is NO ONE BETTER. Yes, his classes require some basic skills, and maybe I'd organize the order of (or group) the classes in a different order, but, let me be clear - if anyone is to be successful or famous in the Photoshop world, it should be Blake Rudis. I strongly recommend his teaching. I started photography and post processing in 2018, and because of this class, I'm know what Im doing. The energy you get when you create something beautiful is profound, it makes you bounce out of bed (at 4AM) like a 5 year old, to go create. It's a great ride! Thanks Blake, & Thanks Creative live.

Esther Gambrell
 

WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!

Student Work