Setting up ACR Preferences & Interface


Adobe® Photoshop® CC® Bootcamp


Lesson Info

Setting up ACR Preferences & Interface

This is the area that we have that controls what we have installed, as far as Photoshop or Lightroom and Bridge. Now, I did not mention this, but I'm talking a lot about Adobe Camera Raw right now. Adobe Camera Raw and Lightroom essentially have the same engine, just a different look. So if you like Lightroom and you want to use Lightroom, I have no qualms with that. I just want you to know that pretty much everything I'm showing you here in Adobe Camera Raw works simultaneously with Lightroom, because they basically just took the shell, the engine, of Lightroom and shoved it into Photoshop. Just to give you a little bit of history on this. One of the main reasons why I don't really use Lightroom too much is that I've been using Photoshop since 1998. Lightroom came out somewhere around 2004, 2005, somewhere around there. And when it came out, it was the answer to the RAW editing. But if you know anything about Photoshop, any time something comes out for another one of their different p...

roducts, they tend to somehow incorporate that into Photoshop. So they had this Lightroom thing, but you can't let Photoshop just fall, so they kinda take, this is my assumption, they take Lightroom and say, okay, let's put it into Photoshop but make it basically like a plug-in or an extension or something like that. So that's kinda the history behind Camera Raw. Now here, you'll see Camera Raw right here, and it tells me that it's up to date. You definitely want to keep Camera Raw up to date, especially if you buy new cameras. So when the Sony a7R III came out, I rushed, got the a7R III, and then I had to wait for the Camera Raw to update, because when Camera Raw updates, it comes in with the new profiles, so I could see the things that happened in my RAW files. So any time there's new features that come into Lightroom, they simultaneously come into Adobe Camera Raw as well. So every once in a while, just pop in to this Creative Cloud thing here and make sure that your Camera Raw is up to date. Now you'll notice that, unlike Bridge and Photoshop here, we have the open and we also have a little drop-down next to it. There is no open next to Camera Raw, because Camera Raw doesn't open through Creative Cloud. Camera Raw by itself doesn't really stand anyway. It needs something to open it up, in order for you to use it, which is typically prompted by things like RAW files, or if you were to go into Bridge, and click on any image, you could right-click and say, open in Camera Raw. If it's a RAW file, it'll automatically open into Photoshop. If it's a JPG, it won't automatically open into Photoshop unless you right-click, tell it to open into Photoshop, or we go into those preferences. So what I'm gonna do is, I'm just gonna go ahead and grab all three, or all six, of these RAW files and just press enter. And that will open up all of them into Adobe Camera Raw. Adobe Camera Raw knows that they are RAW files, so it opens all of them for me automatically. Before we get in and start dissecting Adobe Camera Raw, we're gonna dissect this thing, we're gonna break it down in a parade of graphs. But before we do that, let's go ahead and go into, right here where it says, open the preferences dialog box. You're gonna see here, it says, save image settings in sidecar XMP sidecar files. XMP sidecar files are basically a little piece of, it's like a little data script that goes next to a RAW file. Now if it's a DNG file, which is that Adobe proprietary RAW file, that will be saved in the DNG. If it's an ARW, like my Sony RAW files, it will be saved as a XMP sidecar file. And that's just off to the side. I like to keep those as those XMP sidecar files. You can set it to Camera Raw database. I don't necessarily trust that. That's just my personal opinion. So I do save them as XMP sidecar files. And XMP sidecar files are kinda cool. You can actually open up those XMP sidecar files in a type of scripting program and see exactly what's happening there. It's basically just a little piece of data that's pointing to Adobe Camera Raw that says, put the brightness up to 20, put the exposure up to this, use this curve. And it lists it out, I'll show you. It's just a piece of gee whiz information, if you like to be like me and get into all the dorkiness about it. You see this here, it says, apply sharpening to all images or preview images only. Again, that's up to you, if you want it to sharpen automatically, I did say that, when we are processing RAW files, sharpening is something that we want to do, because they're not gonna come in quite as sharp as a JPG would. Again, remember, a JPG is coming in from your camera with a little bit of sharpening happening to it, so it looks good, right out of the camera. So I'll just change that to preview images only. Let's change that to all images, because once we do our processing on them, we are gonna want them to come into Photoshop as a little bit sharpened. But then you have some default image settings here, apply auto tone and color adjustments. I'm gonna tell you right now, in years past, auto tone and color was, like, horrible. You'd press it and it was like, it would just slam up your brightness. You know, that really didn't help. But now, it actually assesses the dynamic range that's in that RAW file, and it makes really informed decisions. So much so that I may have checked that box. No shame, okay? Why, because it just sets me up with a good baseline image. And what I'm trying, if you see my workflow, which we'll show at the very end of this whole thing, I'm gonna wrap it all up with workflow in a nice little bow, I like to start from Adobe Camera Raw with it, a baseline image, before I bring that into Photoshop. Then you have, make default specific to camera serial number, don't really choose any of that stuff. You have your Camera Raw cache, again, caching is based on how much space you actually have on your computer, so you can set that based on your needs. And then the one I really want to point out down here is right down here, this JPG and TIF handling. You can make it so that Adobe Camera Raw doesn't just automatically open RAW files, but it also automatically opens either JPGs or TIF files as well. So if I have this set to JPG, it'll automatically open JPGs with settings, or automatically open all supported JPGs. A JPG with settings would be a JPG that was previously opened in Adobe Camera Raw, edited in Adobe Camera Raw, and then has Adobe Camera Raw information in that JPG. That's a JPG with settings, or automatically open all supported JPGs, would be any JPG, period. So if you want all of your JPGs to come in to Adobe Camera Raw, you can check that. I usually just say, if they have settings, for that one. Now my TIF files on the other hand, I generally do say, open all supported TIF files, here. And that's the basics for getting your Camera Raw set up. Down here along the bottom, you're gonna see this thing right here that says Adobe RGB 8-bit. That's my color space, and it's telling me that, when this hands off to Photoshop, it's gonna be 8-bit, which is not what I want. So if I click on that, this gives me another set of options here, these are the workflow options. I tend to work in the Adobe RGB color space. I know that there's better color spaces out there, and everyone has lectured me about it. (laughs) But for me, for my purposes, Adobe works great for me. But the depth, I'm gonna change that depth to 16-bit. So that way, when it does get handed over to Photoshop, it's handing over a 16-bit version of that image, rather than an 8-bit version of that image, because it's gonna be more data for Photoshop to play with.

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


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


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!