Adobe® Photoshop® CC® Bootcamp

Lesson 51/118 - Adobe Camera Raw

 

Adobe® Photoshop® CC® Bootcamp

 

Lesson Info

Adobe Camera Raw

So here, in Adobe Camera Raw, I haven't done any edits to this image, this is a DNG file, digital negative, I haven't done any work to this at all. And by looking at it, at first glance, you might not think that I even have any problems with it, right? Now, there's a little white thing here that I might want to replace, that would be something I'd do with the Clone Stamp tool, but really what I'm doing in Adobe Camera Raw, is I'm not trying to do any really robust cloning, okay, that's something that I'll stay with Photoshop, because I can do those things on layers. What I'm doing in Adobe Camera Raw will be minor things, minor blemishes, pimples, zits, anything that's minor, and also dust spots, this is actually one of the best tools to use for dust spots. So even if you're in Photoshop, and you see that you have a dust spot after you've done some editing, one of the best things you could do is use Adobe Camera Raw as a filter, hop into Adobe Camera Raw as a filter, and use that to re...

move the dust spots, and that's exactly what I'm going to show you here. Now you won't see these things very easily just by looking at the image. Typically, dust spots tend to creep in on you when you're using long exposures. So I do a lot of long exposure work on the beach, and if you're at something like, let's just say F16 for 25 seconds, all those dust spots will show up like crazy and the reason why, is that, more light is being allowed in for a longer period of time, and anything that might exist on that sensor to block that light that's coming in, will show up as a spot. These things, we can't really see them, one of the ways that we can see them is if we go over to the effects here and we go to Dehaze, and we drop, we bring this all the way up, we can start to see those dust spots. You start to see 'em up there? There's a lot of 'em. I have a really dirty sensor in this case. This is where, when you're editing an image, you'll be able to see them come in, especially with something like Dehaze. 'Cause the Dehaze slider is doing a lot of things when you push it up, it's not just dehazing the image, what it's doing is it's adding some blue, it's increasing the contrast, making it a much more high-contrast based image, it's adjusting exposure, it's doing a lot of things when we jump that up. Typically, I won't bump my Dehaze up to 100%, but the reason why I'm showing you that is you can see those dust spots pretty well. In Adobe Camera Raw there's a little button right here called Spot Removal. So, if we click this tool, we're gonna get a bunch of different options here. By default, this will be set to Heal, and we'll talk about the difference between healing and cloning in a second, and then, if we look down here, there's this thing called Visualize Spots, and then we have the size of our brush that we're using, we have the feather of the brush that we're using, and we have the opacity of that brush. Just like all the brush presets, the left bracket key it gets smaller, the right bracket key it gets bigger, and we'll go ahead and adjust the feather here so we can see the size and the feather of this brush. With the feather set to zero, it's gonna be just like the hardness of a brush, if we set it to zero, there will be no feathering on the edge of this brush. You can see that the inner circle is the hardness of that brush, and the spread to the feather of it is going to be the blue outline that's around it. So, if I bring this feather up, I tend to work with a highly feathered brush in this case, 'cause it blends and it smooths in a lot better. Left bracket key to make it a little bit smaller. Typically, when we're using the Spot Removal tool, we're gonna want to use a brush that's relatively the same size of the spot that we're trying to heal. So, I'm gonna go ahead and press Visualize Spots here. And, now when I press Visualize Spots, we can see a very low-contrast version of our image. What it's doing is, it's taking all of the detail in our photograph and it's outlining the edges, so by bringing the Visualize Spots all the way down we can't see many of those spots, but as we bring this up, it's increasing the sensitivity of Adobe Camera Raw to the possibility of detail in the image. So what happens is, those spots end up showing up as little spots of detail, you see that? Look at that, that's a lot of dirt on my sensor. Now, cleaning a sensor is not a very hard task. It's a very simple task, and I do it a lot now, much more than I did when I was shooting these types of images, especially when I'm doing things with long exposure. But it makes it a perfect image for us to experiment with cleaning up spots. So, with this set to Visualize Spots, I can see those spots, and I have this overlay checked. What this is going to do, if I zoom in, if I press Ctrl + Spacebar in Camera Raw and do some clicks, I can zoom in, the spacebar key while I click and drag around will allow me to move the canvas around temporarily. So, if I go ahead and look at this spot, you can see that my brush is a lot larger than that spot, I'm gonna go ahead a want to make that a little bit smaller to be just about the size of that spot, and then have that feather around so it blends in nice and neatly. When I click it, Camera Raw's automatically gonna find a spot that it wants to choose that looks like that area. Right now, it's relatively close 'cause you can see there's a lot of details that look very similar. But there's sometimes where you'll click on an area and it'll shoot all the way across to the other side of the photograph to find a spot that looks like that spot to fill it in. Now, with this set to Heal, what that's doing is, healing, in any of the tools that we have here, healing is going to look at the content, it's going to assess the content, and it's going to change the colors, and also the look of the diffusion of that look around that to make it blend in perfectly, or it's gonna try to do it as perfectly as possible. I'm set right now to Visualize Spots, if I turn Visualize Spots off, you can't see that low-contrast image, but I can work with this low-contrast image to remove my spots, and this is exactly how I do it. 'Cause if I turn that Visualize Spots off, we can barely even see any of the other spots. They won't rear their ugly head until we start to really push the contrast in our image. And that typically happens when we go into Photoshop and we're doing things like luminosity masking and our shadows, and then, boom, there's a dust spot, and it's like ahh, crap, I should have fixed that in Adobe Camera Raw. So I'll turn that Visualize Spots on, make this a little bit smaller, click on this area, and if you ever need to move it, so right now, the red one is the area that it's fixing, the green one is the area that it's selecting from. If I just put my cursor inside there, I can click and drag that anywhere around the image, so that I become the one that picks where the selection is gonna come from. So if I click right around there, it's gonna make a selection from there, click there, there, click there, click there, and it's pretty good, it does a pretty good job. See how that one shot all the way over here to get something that was relatively close to that? We turn that Visualize Spots off, we can see exactly what it's pulling from and why this color is more close to this color than any of the other colors around it. It's pretty smart, pretty intuitive. For the most part, you just have to kinda click around like this and it'll do a pretty good job of filling in all the areas that you need to be filled in on your dust spots. When you look at a sensor like this, it's actually pretty embarrassing, it's like when someone comes over to your house and they see your clothes all over the place, like, oh, let me clean this up real quick for ya. (laughing) And this one, see when we clicked on this one, it needs to go right around here, to grab an area that's a little bit more closely related to that, and that's a little bit better. So, Adobe Camera Raw did a great job of trying to find something for me, but I just needed something a little bit closer to that area. If I move around, that is going to be using the actual Healing Brush portion of this. Let me turn Visualize Spots off and I'll come down here. I did talk before about things that are white, that stick out to you, that just pop right out in front of your face. This would be one of those areas that I would say could probably be fixed in Adobe Camera Raw. So, if I go ahead and move around on here like this, see how it's coming up here and it's grabbing up here from the sky? and then it's filling it in and trying to heal it and, yeah, the color looks good, but it just looks like a blurry mess. So, if I bring this down, something like over here, the heal is working a little bit better, but I want it to be a literal copy of that area. And if I want a literal copy of that area, I can change this from Heal to Clone, and now it's gonna take exactly what it sees in that other area, and based on the settings that I have here from my feather, I can help it blend it in a little bit better and be more hard-edged, or more soft-edged to make that just kinda blend in a lot better. And, again, I'm trying to find an area that does not have a repeating pattern. So if I were to come right here below this rock, and do something like this, you see if we turn the overlay off, it doesn't look good. It's not connected, that line should be connected, and if someone were to look hard enough at this they would see that I took an exact copy of the portion right below that image. So let me turn the Show Overlay on, and then move this over to another portion of the photo that I had before, like something like that, that doesn't look too bad, or something that might be relatively close to that, like maybe that portion of the rock. And if I increase or decrease that feather, again, that helps with the blend. If I bring the feather all the way down and turn Show Overlay off, you can see that it's a literal copy, an exact copy, an exact clone of that area. Where if I had turned that Show Overlay back on, and then maybe boost up that feather, we'll turn this off so you can see how this looks, boost up that feather a little bit, you can see how it blends in a little bit better without showing those overlay areas around it. Turn that overlay on. So, Visualize Spots, just does a really good job of showing all the areas around it. The overlay is actually showing you what spots it's selecting, so that by the time I'm done, you can see all the nastiness that's happening in this photograph. But, now, if we go back and go to our effects and pull our Dehaze up, you can see I did a pretty good job of getting rid of all of our spots except for this one little one right here, not that big of a deal, I could pop right back over here, Visualize Spots, zoom in to the back of this image, that's even a difficult one to find. Let me turn this Visualize Spots off, there it is, we can just, boom. Now we have it all cleaned up. Again, that Dehaze all the way up, not something I suggest doing, other than just checking to see where your spots are. If you turn that Dehaze up, and you also go into something like your exposure and put your exposure down, that can also be a way to find these, and even boosting up that contrast, 'cause that's really gonna hyperextend those detail areas, especially in those spots.

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

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.

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!!!!

Sonya Messier
 

I'm been using Bridge, Adobe Raw and Photoshop for 12 years. I thought I knew those programs until I started to follow Blake and do this Photoshop CC Bootcamp. This course is AMAZING. I love the way Blake teach, brakes down concepts and tools... excellent teaching qualities! I'm half way in this course and I change all my workflow already. Much better results and better use of what Adobe offer me. This course is an investment! When I will be done, I will listen it again. Great job and congratulations on your success Blake!