Lessons

Lesson Info

Adobe Camera RAW

So we talked about what makes a dramatic image. We talked a little bit about thinking through the posters. Press production were actually done in the yet on, but still not gonna do any now. But what we are going to do is start thinking about what I've called optimizing your role farm. So if we're gonna shoot images on the basis of the post production, then maybe that would mean that we're not worrying too much about how they look right from the outset on one of the key things is we need to talk about exposure, how you're exposing your images right on. I'll just jump straight to this one. So some of this you obviously know there's two things we need to be thinking about here. One is avoid overexposing on the other is that we need to expose it to the right. So you're all familiar with history rooms on how to read them? Do you routinely check your history is when you shoot him most of the time, right? Good, right. What? We're gonna be paying very close attention to Instagram's today. Now ...

why do we want to avoid under exposing what's what's the issues anybody? No losing detail? Yep. You Sorry to get it back if you can. Yes. What? What happens if you want to expose and try and get detailed back? What do you end up with? Milan annoys you end up with a lot of noise, Right? Okay. This is why the way in which your sensor records data. So if you imagine that you can imagine the instagram on the back of the camera, and typically they're split into five bands. So you got the on the right. So, for you on the right over here, you've got the highlights into the bottom. You got the shadows now, because of the way your sensory cause data half of the day to you can record is in that top stop. So if you under exposed by a stop and you shoot bit raw file, mostly probably shooting 14 bit now. But when I prepared these lines of 12 it half the data is in the top stop. So if you under exposed by one stop, you lose 50% of your data. If you under exposed by two stops, if you look at this table here, you're losing 3000 on 72 levels of a possible 4000. However, minute is so you're throwing away 75% your data by under exposed by two stops. Now, if you've nailed the shop when you take it on, it required you to under exposed by two stocks. It's a night scene with maybe just twinkling lights and stuff like that. Fine, no problem at all. But if you then want to go on on, do anything complicated or anything beyond completely trivial during post production, you gotta weigh less data to work with. Kind of if you think about it. If you overexpose slightly and you want the image darker, your compressing lots of data, that's fine. You're not losing it in there if you're under exposing you pulling apart limited amounts of data. So if you two stops under exposed, you don't about roundabout things and levels of data which you pulling apart again. So that's why you end up with a lot of noise if you under exposed because what you're trying to do is pull apart data that's far too limited from the outset. It's that kind of makes sense. Yeah, okay, so typically what you're aiming for is something that looks like the history in the middle. Right? Why do we want to avoid overexposing? What happens if we do that? What we're throwing away if we have exposed well with runaway data as well, I mean, you're overexposing so all that all that content goes away. Yeah. Yeah. Obviously, if you're exposed by too much, you lose, you highlight detail. So for kind of landscapes and things like that, you can end up with white bits in the sky. Another thing we'll do when we set up. When the shooting, How many of you shoot with the RGB hissed a gram or the luminosity? Instagram. So do you have one graph on the back of the camera? You have three in different colors. Three, then just the one Mr One. I never look at the history and on my camera. We'll be having stern words over lunch. I can tell you, you never look at Instagram, right? But you're gonna have to I'm gonna make you gonna look at this script today, okay? It's imperative we look at history, right? Of those of you who look at one. Have you ever shot a poor trades where you kind of get pink bloom on people's cheeks. Kind of the color goes a bit wrong on people's cheeks. Normally sunlight, Hopefully one of these guns? Yes, given nice that the problem. What's happened in that situation is the Red Channel is over exposed. So you're looking luminosity Instagram. It looks fine, but you've actually clips in the data in the Red Channel because it kind of red is very bright across the cheeks. You get kind of pink bloom just across the top of the cheekbones. So I'm gonna suggest today it's not much of an issue today because we're shooting in kind of a flat, grey environment. Anyway, I'm generally speaking, looking at looking at three channels. Azizi is looking at one, and sometimes there's benefit in doing that because you've been losing data on one channel without realizing it. So you're gonna look at yesterday and it's gonna be an RGB instagram possible switch you guys over as well. The other side today is not that crucial. But generally speaking, the more feedback you can get about the quality of the image that is shooting the better. I'm sunk after about why. Do not look at yesterday. I don't know. I just kind of when I look at the back of the camera, I I I know with my camera that if I overexposed a little bit and I just kind of used my eye, right. Um I just make it look how I wanted to look in the history. Ram has never really told me anything that I I need to know raka, right? Okay, cause I just make them look how I want them to look on the camera. Do they look like that when you take him out? Camera, They look, yeah, they look the same when they come out. Right? Okay. One of one of the things way I've got time to do it. A useful exercise would be to all shoot the same picture, the same exposure and the law right in back of the camera. And when you pull them out, the law would be different because there's two grams of a different exposure, but different. Um, it is working for you. Then it's probably useful, but we will We will go through history arms, because if we don't is gonna is gonna go a bit wrong in that room. Okay, so I'm and so avoid overexposing so we don't want to be losing detail the high end. But we do want to be exposing to the right because we do want to make sure we catch lots of data. This is kind of important as well, particularly landscape shots and trying to bring out a lot of detail in the sky. You want as much information as you can possibly gather to work with. So if you under exposed by a stop, you've lost 4000 levels and days or 12 bit on if you work in the 14 bit raw file, I think you've got 4016 things and gets to work with CB thrown away eight things and bits. And if I've got that wrong, I'm sure someone Lionel correctly. Just to be clear, you're saying that the data that's in the shadow detail is more important than the data coming from the highlight detail? No, no. I'm saying that the sensor records more data in the brightest areas, so that top stop captures 2000 levels of data. The next one down 2000 and 500 so so kind of The more you under exposed, the less data capture. So if you under exposed by a stop, you lose that top 2048 levels. So you only got half the data you could have had. Now that is a knock on effect down into the shadows. So if you're trying to bring up if you've drastically under exposed to try to bring up the shadows, you might be trying drag 128 levels of data up. If you're ever exposed by one stop, you might have those 122 156 to play with. It's basically you're trying to make sure you got enough data to work with on, but if you under expose, you lose some of that data again, if you're nailing the shot in camera, then it's irrelevant really isn't making difference. But if you wanted to make some kind of even moderates adjustments to the image, the more data you have, the more scope you've got. Kind of the reason is you can squash data down if you pull it apart. When you look at Instagram photo shop, you know when you get the spikes instead of the continuous curve. You get the spike because you pulling levels apart and you and you end up with gaps. That's why you end up with things like bending in the sky are too much noise in the shadows and things like that. We'll go through all lighter. If you're unclear about it. Would shoot few few test shots and make sure you're going to get okay, So working with camera roll, I'm we're gonna take a look at a raw filing. Um, the reason I'm doing this is it is kind of starting the post production when I will just go through this bit first. Then we'll go. We'll go shoot later on. So let's find a raw file to work with me on. Let's have a look at What did I give you guys to work on? Pick one of your own role. Fast risks. It doesn't make a huge, huge amount difference. I didn't give you a raw file in the down like Fox. It really doesn't matter at this stage. I want to make sure we go through, and we understand some of the basic sliders. Some of them are a little bit confusing, most quite simple, but we'll just go through. I will have a quick look. So I'm gonna pick this from you have to bear with me. Because running at this resolution on I kind of show the buttons at the bottom. Or I can lose the bottoms and bottom and show things that top. So I'm gonna be kind of jumping between two separate views here on similar because different things I want to shave on. Okay, right. All of your views. Camera before. Yeah. No, he's library, rocket light room and camera, Roy. It uses the same engine s kind of much the same controls. I'm not gonna playing through absolutely everything. It doesn't make a great deal of sense, but I do want to explain some of things that might not be entirely intuitive. We got a range tools across the top. I'm gonna come back to those who hide those for a minute, right? One thing I do want to say is what does your computer side down the bottom here? You'll notice Mind says adobe RGB 1998 bits, then the dimensions, then the PP I fix this bridge. What is your sign? S rgb? What is it? Signed next doesn't say. I bet it does. Okay, everybody else do you say I bet. All now you're in, like room. Okay. What about people online? Can you ask? I'd like to know when people have filed. Does it say about 16 bit? Some people are saying 14 bit pro photo, 14 bits. Okay, Profile of 16 bit. Yeah. Eight bit. Yeah. Eight bits, lots of eight bits. Monitors 16. But you also 60 minutes Good. You know, Pope doesn't signs it. What about you? To the back? I mean, like, room your alarms. Well, okay, fine. We have some 16 bits charming and a 32 bit such a two bit right. Right thing. This is really important. When we talked about working with the roar found your eyes have got are 14 bit more. Typically not be 14 bit role farm. Which means you've got lots of data. I'm 12 bit role fires. 4000 level of days for 40 mitt. Profile is run about 16,000. An eight bit image is 256 levels of data. So J peg is night the image. So it's extremely important that you change this setting if it says eight bits for some reason, When you install food shop on most of the products, it will give you a default value of eight bit for imports. So what you're doing is you're going to all the trouble of shooting role file. You're shooting 12 or 14 bits of data on, say, say, 40 minutes. You got 16,000 levels of data to work with your exported and you throw away 15, something of them because you leave the set to wait a bit. I have no idea why it defaults to write it. But if you're editing images, in fact, a shop change this setting now or you need to do is click here. It will bring up workflow options on you need to change depth to 16 bits per channel. Now what? That means, Kenna. Oh, I just wanted Teoh to say that photo. Andy says, Yep, eight bits for me. This is why I take these courses. Yeah, yeah, it's really strange. I do not know. Why don't we do this Because you've got the most powerful image editing software in the world on. Then you just you just throw why 90% of your data before you start a default option. It's just insane. So, working at 16 bits, you've got 65,500 something levels of data to play around with or eight bits is 256. So you're throwing away the potential of 65 things and levels of data. So one of the things you'll notice if you've been working on a bit and you've got a nice blue sky on you, try increase the contrast even by a little bit. You'll get banding in the sky. Um, you know, to start interview. The reason for that in eight bit mode is you've only gods discrete levels. So 253 250 to 251 you increase the contrast. You end up pulling those apart. So instead of its stepping from something like I don't know to 42 to 3 92 38 it will step from something like to 42 to 372234 You get gaps in your data and you get this banding going across the sky. That doesn't happen if you and 16 bit mode, so if the only thing you took away from this weekend is UPS. I've been working on a bit motive for a shop now doing in 16 bit mode. That's been worth watching because yeah, sorry. So in late room, doesn't America go 16 bit or is it stays in light room. I think that setting will be when you export. So when you exported for your shop, you need to know whether it's exporting. An eight bit image are 16 image on you want to be exporting 16 bit? The only downside of 16 bit it was 22 The first is the files, and bigger. There's more data on this kind of less of an issue than it used to be. Hard drives getting bigger and storage space is getting cheaper on. The other thing is that some of the filters and some of the menus don't work in a bit mode. I'm less less than they used to. When I first started working in food shop I was using on version seven on Inversion seven. You couldn't use adjustment less with 16 bit images, so what I would do is I work through the engine eight bits I write down the workflow. Everything I was doing and tweet the adjustment list. I got it right. Then I would start again in 16 bit mode and work through the steps on the flattened image. Because the difference in quality is huge, particularly if you turn the handle. For instance, lot contrasts the sky. There's only so far you can push in a bit Image before it looks wrong with a 16 bit means you got a lot more scope to kind of make sure you've changed that to 16 bit. That's absolutely crucial. Okay, on. I think we've got about half an hour for lunch. Less time. I spend half a now working through kind of some of the key things that we need to talk about in camera raw. Um right. Why? Bones? This is fairly self evident. How many different ways of their setting white bones. I asked a different question First, how many of you routinely change the white balance in your camera when you shoot him wrong? Okay, rest of you know sometimes. Okay. Only when I'm using flash. Yeah, Yeah, yeah, yeah, right. The benefit off. Nobody needs convincing to shoot the order that we don't need to do the whole Raj a big argument thing. No, Absolutely good. Um, one of the benefits of shooting rollover J. Peg is that you're not hard coding the file. When you said when you say a white banks on your camera, you're not changing anything, really, that gets captured. There is a slight shift in exposure sometimes if you make radical differences to white balance. But generally all you're doing is tagging the file. So kind of the benefit is you can see what you're shooting so sometimes at dusk, for example, it's nicer suits tongues, and you get that kind of blew wash across things. But generally you're not changing the file. What you can do when you get to this stage is you can either change the white balance using these settings here, so things like auto, you end up a little bit warmer. In this case, daylight's a bit cooler as shot looks pretty similar to that I could mess around with these sliders. You know, these work? Yeah, I want to make sure we're not skipping anything, So if I just go through things, if you're kind of happy with it, if there's a lot of people in line is stuck with something. Then final will stop and go a little bit slower. Um, I know, maybe I know I'm still trying to figure out the difference between temperature and tent. Right? Temperature is kind of related to, you know, So, you know, if you drag it to the left is gonna go blue and colder. If you drag it to the white, the right's gonna go warm up. Tints you dragging it towards green, or you're dragging it towards magenta. No, As I understand it, the reason for that is that most if you had most light sources don't have a tent. So the sun, for example, you don't need to. You don't need to mess room with greedy magenta. Some hasn't effects. If you're shooting the old fluorescent style lighting, you will get a green cast of the image. Now there, you need to have some magenta to balance the tin to the light sauce so it would vary. So it really depends on the light source. Typically under daylight tint is something you could play around with creatively but wouldn't necessarily need. So if we look at this image from jump back so I could get the eyedropper. You'll see 10 value, just change a little bit. We go around. The image was kind of shifting a bit, but only only by small amounts. I went a lot. They're kept in the dark a bit. So, typically is to correct for different light sources that makes sense for you. Okay, right. The temperature in 10 on Dwight balance. There's different ways of using white balance. You can either use it to correct the white bones, so you get the shot looking right or you can use it creatively. If using, the eyedropper and its new click will become neutral. If I click the sky, it goes gray, which warms up before grand is taking blue down to rain. Quick before ground, it makes a sky blue. I'm going in the opposite direction. One thing I sometimes do is kind of got it looking right, and then just add increase the temperature by about 200 kelvin. So go to 5350 which adds just a little bit of warmth. So sometimes if you sat very neutral white balance, it could look quite cold. You can add in a couple of 100 degrees kelvin. It will warm out just a little bit, right? Let's go through a few more sliders. Exposure is kind of fairly self evident. You can darken or brighten and image. So if we're exposing to the right and then this is a bit bright, this is one way we can correct that We have just notched explosion. Damn. Um, again, No issues. That recovery, your recovery slide. It works. What is? What's the recovery slider for? Is visit to bring back detail in your highlights? Yeah, if you've lost. If you If you clips in detail in the highlights of this image, there's no problem. One way of check ins. We in turn, weaken. Click this at the top here, and that's kind of the highlight clipping warnings. There's no clicked highlights. Let's turn exposure up to wait until we get some right. Okay, so say I'd overexpose this and I've lost the highlight detail in the middle of image. There I can use a recovery slide is to bring that back. Now how does it work? And right now, it kind of does a good job, but I was actually doing What's it What's it doing? Well, we won't wait for food. But also the way the recovery slide it works is what it tries to do is use existing data to recreate missing data. So what we've done now is we've got some over exposure. So we've we've lost the detail. So if we were looking at this, what we can see is if you look at the numbers here looking, seeing on screen got values for red, green and blue. If I track across here, you'll see that the date we've lost is just in the Blue Channel all the way across here, the blue values to 55 So we kind of lost that detail. The Green Channel on the Red Channel of fine. You know, they're below 255 What the recovery slider does is uses existing data to recreate the missing data. So in this occasion is going to use the red and Green Channel to recreate the Blue Channel to find nudged out of it on. We get rid of it there, we track across the same area. It's lowered the blue value down on its kind of quite flat. In fact, very between 251252 but it brought him back down. So it's kind of not not pure white in those areas. If you clip two channels, it will use the other channels. In the data data back, you clip all three. It resorts to guessing, which isn't good. Overexposing by too much isn't a good idea. Over over exposing one channel by a small amount, you can kind of get away with two channels, sometimes just what kind of avoid overexposing but exposed the right kind of juggling act between the two case. That's recovery slider. Feel like you all know about that one. That's fairly straightforward. It's kind of like using to feel like with camera just filling in the shadows. Blacks is quite interesting. One. You'll find this defaults to five a lot. These sliders default of either a mid value are zero, but blacks always goes to five for drug. It damn why I am still image. There is a five. Let's just reset. The exposure could be difficult. Seen it if I tell the blacks down. What happens to the darker detail Kind of goes a little bit. What, you guys a little bit flat Normally with this image, at least it's shot on a dull day. If we're looking at the history Graeme, there's kind of no clipping in the shadows, so we don't really to worry about the black slider. But sometimes it's worth noting that back down to zero, just doing a little bit more detail. So you've got more to work with during the post. Production is going a bit flat when it comes out camera raw. It's gonna give you a bit more scope because it got a bit more light down at the bottom into the image. So the reason it's set to five his perceptual it looks better. You expect some very dense, dark detail in an image when you're when you're looking at it. When you're processing it, sometimes it's worth noting it. Damn, I'm not necessarily this image right. This couple down here that worth explain what's clarity do? Paris is reasonably new edition. It wasn't there in all the versions of camera roll, but what is the clarity? Slide to do sharpens up edges and makes things look more clear? Yeah, yeah, it's kind of it's kind of local contrast. So if you're thinking about tone mapping, for example, we're going to talk about HDR. A lot of actually, honestly is about local contrast. So if you look at the difference here, if I turn clarity, damn, you kind of see it softened off the detailed rust here. If I turn it up, you kind of see that detail coming back to go to extremes. We go very flat one way and lots of detail this way, so kind of this. There's a default value, and that's how we can bring out a lot more detail. My only piece of advice for clarity is that is kind of adding contrast. So if you later gonna go on and add more contrast, don't have too much parent at the outset are you end up with an image that looks very, very crunchy. Sometimes that works, but a lot of the time. If you overdo clarity at this stage, it kind of looks wrong. Electoral Can I just ask is Well, Canada. If people got specific questions online about camera, I don't want to go through every single slide because that's gonna be a little bit boring. We did have some questions about the eight bit, bit Let's go back to the last crucial so great questions that a question from Kallithea does eight versus bit make a difference when it comes time to print. If not, then would importing to a raw file as a smart object into an eight bit PSD negate the problem of losing data during post work? In between loading the file and printing the image? Can you explain what you meant? I think that he is. I think the basic question is, Does eight versus 16 bet make a difference when it's when going to print? It will do if you, for example, let's go back to the example of bending in the sky. If you have an eight, the output from camera raw, you want to increase the contrast in this kind. Introduce banding, then the chances are like banding with shopping print. Um, so yes, if it looks wrong on the screen, is going to look wrong when it's printed, if it looks okay on the screen. So again, if you've nailed the shot than you find in a bit, there's no benefit in having 65,000 levels of data that you don't change a supposed to 256 that you don't change. It's the same effect. But if you're gonna change them, if you degrade the image during post production, then the chances are you've degraded the quality of the print as well. Um, you could kind of the question about smart objects. We'll come back for a while, but I think once you've committed yourself to working tonight, bit then you smart object is eight bits as well. But I don't know. We must test that lighter. Okay, great. And David, can you also show again how you changed your default to 16 bit? Yep, it's simply click in the bottom down here. It kind of looks like a hyperlink. For some reason, there's two sets of preferences in camera raw. There's the set up here that will take a quick look at I'm basically not to do anything with any of the default settings. There. Kind of the key one is this one. Down the bottom, it looks like a hyperlink. All you need to do is click on it and change the depth from 8 to 16. When I say you don't, it's need to change habits, one that's easy to ever look as well because it defaults, said earlier defaults to write bit. And one potential warning to people that have that have been working in a bit for all this time, like I do is that it will increase your file size by quite a bit. No, no, I Suja man, but by some, yeah, kind of the other things as well. If you've been working on eight images on been working using adjustment layers and things like that, what you can do is re export raw file and slaughter in Amethi Adjustment, Liza 16 image. So if you've got adjustment layer and images in a bit, you can kind of import 16 bit version into that kind of fix. The problem. I'm There's no benefit working tonight bit unless you've now. The shot, if you're editing 16 bit, is definitely right to go. Okay, so that was a character sliders. And don't overdo the carriage slide because you can yeah, so question the workflow between contrast and clarity. Would you prime it? Would you go first to clarity, or would you first go to contrast and then work with the other one? You can do it either. The night. The nice thing about camera or light room is he knows that you know you're not committing to anything at this stage, so it really doesn't matter. Typically, I wouldn't make much of a change The contrast in camera raw because some at this stage I'm thinking about selective adjustment. So if the images the whole image is very flat, I might have some contrast. But otherwise I believing that I get to photo shop and working mass and Kurds. Okay, right next to vibrance and saturation. You know the difference between the two? What do they do most lesson? Let's let's have a look at this. Initiate find Turn up saturation. The colors kind of no color. Stupid minutes of color. Normal. That's a color vibrance. Much less color, More color. Um, not so much color. Do you know the difference between the two? That virus is quite clever. The vibrance slider will not increase saturation equally across your image will increase it more to the left saturated area. Absolutely. It also takes into account skin tones to not or at least Caucasian skin tones, I should say, not turn them into a caricature. Yeah, that's absolutely right. that. That's the two ways in which is clever. It pick it, singles out under saturated colors and brings them up. Eso you got an image? We lost muted tones and one very bright when it won't over saturate the bright turns on It does make an attempt to protect skin tones. So you don't end up like bright orange people, Aziz. Safer Caucasians. You don't end up with bright orange people. It will do a good job of protecting skin turns and bringing up other colors disproportionately. Yeah. Okay, Right. So that's kind of the first time I skipped over. Skipped over brightness and contrast. Typically, I would prefer to work with curves and food shopping. I might make some changes there. Um, some minor change with exposure. Used recovery lights appropriate. Move the black slider on set the white bones kind of. But I was just gonna ask that several people have been asking about the difference between brightness and exposure and telling those two if you look at the I never used the brightness lives, I'm just gonna work out with differences name, and then I'll hopefully be able to tell you I know a great deal by the looks of it. If anyone online knows a precise answer, then please share I am because I'm not entirely sure that don't seem to be doing. What I'm doing now is I'm watching the instagram to see I expect in the tonal range because this is what we're talking about. We're talking about adjusting the tonal balance of the image kind of when we drop the brightness were shrinking it down and then we compress it at the bottom. So with exposure, what we're doing is what kind of doing we're kind of doing much the same. What would actually what we're doing with exposures were protecting the very dark details. If you look at when we under expose, you kind of get tail at the bottom end here on when we do the same with brightness, you'll find that gets a bit darker. It's a kind off. Yeah, kind of shrinks it down a little bit more. No huge difference. To be honest, I'm one of the things I will tell you later on is the Bernie. We're only doing one of two things. In fact, shop in one of them is changing brightness on one of the things that confuses people we photo shop is there's normally nine million different ways of doing exactly the same stuff. So I'm sure there is a technical difference between explosion brightness. Um, but off the top of my head, I'm not entirely sure about what it is. A lot of people are putting in their opinion online. Did you? I thought brightness affected the highlighted areas, particularly I'm kind of kind of China merger. We have people saying exposure sets the white clipping point. Um, yes, it certainly can push it. Yeah, it can push it across, but it could set the black as well. I'm Where's brightness? But I can change the white clipping point with brightness as well in the extreme. So I kind of think exposures probably gonna protect the ends a little bit better. So it's gonna protect the shadows in the highlight. What is brightness is going to shift the range more globally, so exposes Probably a safer adjustment tonight the brightness. But if you're watching the instagram, you've got your warnings turned onto you. But you're highlighting shallow clippers turned on it, then becomes a creative decision about which one works. I'm Yeah, I wish I knew attack lines that broad Don's I'm sure there is one plant. Emmanuel. So this SF photo said, I think, what is kind of an easy way to think about it? Exposure exposes the entire image. Brightness. Britain's only the bright areas. If that's right, then that's a simple way. Brightness. Only Brian's the broad areas. Um, cut your kind when Maybe it's disproportionately bright in the bright areas, but it is also bright in the dark areas as well. But yeah, okay. Yeah. Anyhow, yes, we will move on. I've been uncovered is not entirely sure about that one, right? Okay. We won't worry about that anymore. I think part this is well, is what I'm doing at this stage is I'm trying to prepare something to take into photo shop on the basis of what I want to do next. I'm so very rarely I will finish an image in camera raw on because those things I want this other things I want to do. I'm so typically I'm kind of getting nudging in the right direction, but not going too far at this stage. I'm so things like brightness I might brightness and exposure I wouldn't be changing a great deal unless I got it wrong when I shot. Because typically, I'll be leaving that for cares. Adjustment on masks. An adjustment lives lighter. Okay, I'm one of the things that we need to do. This one is straighten it rise, and it really matters. I'm going to use the straighten tool, Um, just to drag along the top of the image there and striking that up. Okay, so I don't understand. I want to go through everything here. I'm not gonna look at using graduated filters. Onda adjustment rushes in camera. I'm going to leave that shop. But let's just take a quick look at some of the other times that we've got. You got the tone curve on, which works roughly similar to the curb vote shop again. I'm not gonna do anything with this at this stage. There's two ways and mending that. We're going to look at curves tomorrow. I'm sure Don't talk about that new. I'm Let's take a quick look at the detail tab. Do any of you all to shopping at this stage? Do you know why we need to sharpen raw files? Okay. How many of you have a shot roaring J Peg and thought the J peg look better, right? Okay. When you convert raw file one of the things that happens during a J Pet conversions, the far get sharpened. Now the reason it needs to be sharp, it being filtered before it hits the sensor to prevent things on Maury patterns on distortion. So typically, the data that comes off sensor is a little bit soft, so one thing you need to do is add default. Amount of sharpening we might talk about shining light were not particular talking about creating prince or output over the weekend with two stages at which isn't about Scharping, was this wishing Colin put sharpening on this output sharpening, which would do for print or a Web graphic or something else? So, typically, at this stage again, I don't make a great deal of change here. The default values tend to work reasonably well. It's the same in light room, but if your image is a little bit soft, you might want to dodge this up a little bit. If you want kind of a soft tree munition the outset, you might not get down. It's kind of just have to bear in mind. But typically, you wouldn't be making a great change here. Um, same for noise reduction. This kind of depends on what you shoot. Typically, when I'm shooting landscapes, stuff like this, I'm shooting it. I so 100. So noise reduction isn't an issue. If I need a longer exposure on the tripod, you know things like this don't move around. Just kind of sit there. Sit there on the beach. If you do have an image is quite noisy from the outside can be worth playing around with the slides to try and take it down a little bit. All you need to wear off is as you know, the more noise reduction you apply, the more detail you lose as well. Um, most nights reduction plug ins and Photoshopped do a reason a good job off identifying what's noise and what's actually content. But the more you add, the more you risk compromising detail. The other thing is, well, we'll come back to smart objects just before we finish. The other thing to bear in mind is that as you process an image, you may bring out more noise. So you know as you want contrast, you may not notice the noise then so don't Don't pre empt it. Don't think right, I'm when I contrast. So I need to get rid of the noise. You come back and do that later. So again, normally, for me at least, the default values work quite well. We're gonna come back to this tab tomorrow in terms off convert into black and white. But this is a nice way of doing it for the time being. If you want to make some kind of minor tweaks to color, you've got three options here. You change the hue. So if I look at the Reds, you know, I can kind of shift. If you look kind of down the bottom here, that's the most noticeably red. But the image so I can shift that towards Magenta Aiken shifted towards orange so I could make very specific adjustments to particular colors. In terms of the hue, I do the same with saturation de sense right in that area. Or Aiken, increase the saturation for the Reds on. I could do the same Fluminense. So you know I can going to do this one. Nice trick with this one is if you got a shot with a blue sky and you want to increase. The contrast has no clouds in this picture. But if I change the luminous of the blues, I can kind of make a big difference. The sky, the stage, if you would do it's gonna look wrong thing. This kind of a harsh divide now, Long Horizon, which doesn't know right sometimes disguise. It's worth just taken a little bit of time to play with the luminous of the different components, so kind of by the same token, I want to brighten the beach. I could bring up the yellows on. I could bring up the orange is a little bit. I kind of change the balance there. It's kind of overdone at this stage so that the blues back a little bit, so it's a way of playing playing with different color ranges. It's a bit more sophisticated than when we talk about black and white. You got eight Rangers rather than six that will have a photo shop, but it kind of just a way of do some kind of general global tweets when based upon specific color ranges, I'm will come back to gray scale tomorrow. Split toning. You ever tried this? In fact shop? No split telling is an old kind of an old film based technique, which involves applying to tones on one to the highlight someone to the shadows. So, for example, if I wanted to add kind of a yellowy yellowy warms the highlights, I could do that. And if I wanted to add a cold that kind of blew to the shadows, I could do that. And that's kind of a tone. I use quite a lot to think. The only thing is to bear in mind here is that when the saturation is turned right down, nothing happens. You could be kind of dragging the slider backers and force and wondering my nothing's changing. You need to turn the saturation up to on the balance kind of dress opportunities. You can shift it more towards the shadows are more towards the highlights, just kind of where where do you cut these two colors About the yellow and you got the blue cut them in again. I wouldn't use particularly. I wouldn't split tone of the stage because for me, we were talking about how digital finds quite mutual. Kind of adding the character is something I would tend to do later. So I want an aged antique look. To this day I want rich warm. Initially, I might not entirely sure find it in at the stage of Split, telling the raw file kind of commit himself. So it's something that you can play around with. But it's not something unnecessarily recommend you do certain all that often just turned those down again. Um, lens correction. It depends on which version first shot you got how sophisticated this is. This is a really useful addition. So if I click on here, you can see when you see what's happened to the image. So what's it? Wasit correcting? Does it mean to correct a lens? What the lenses do wrong? Um, like, if you're shooting like with the white England's, you might have some curvature on the edges. Yeah, yeah, Most. Most lenses, in one way or another will distort. Experienced in years pulled out the profile, so this was shot with my 24 70 on what it's doing is correcting. It looks like it's sticking out from the screen, and it kind of pulls it back again is correcting that distortion. That one thing that this does that I don't much like on this goes back to the point of making about vignettes is correct. Vignettes, too. So you're seeing on the edges of quite dark there and then they become bright. I'm gonna do that. It's kind of like a peripheral illumination correction. You've got new camera, So if I do use lens profile correction Typically, I had the vineyard back in again. But again, that's a question of personal taste. Kind of lends profile corrections. We've got facts. One nice thing is the post crop vignette ing in older versions of photo shot. When you cropped an image, you could apply vignettes, but it would apply it to the image that was there before you did the crop. If I cropped the top left hand corner, for example, it would vignette around the top in the left border, but not the bottom with post crop vignette in You can crop it Now live in yet film Grey Now and I really have never got to the stage where I found anything that produces convincing film grain for digital. Maybe I'm in a minority that I don't know would be interesting to see what people online have to say about film grain. What kind of almost given up trying to end grain? Two pitchers because in very it depends on the resolution. If you placement on the blog's, then maybe you had more grain because the grain will be visible and it just seems wrong. Grain with something great and film grain is not there with digital. Maybe people can come in on that slightly mixed feelings about film. Great the next couple of times. Typically, I don't mess around with a camera calibration. This is probably likely to be more important if you're in a studio setting and you want a specific calibration for your camera because color fidelity is really important. So if you're kind of shooting cameras, products on the rappers and public red rather than the campers purple, you know you're not gonna get another job. For me, color is Obama. The creative interpretation of scenes where the sea ends up grey, blue or green is kind of my decision, so I dont calibrate any of my systems through through here, you set up your own presets on. You could do snapshots, right? The reason speeding up, we're heading up towards lunch. But I do want to explain the difference between images and smart objects. For those of you here, do you said shop? Do Do you work with smart objects until, yeah, don't explain the difference between images and small objects. That's mirages. Yeah. I mean, smart objects primarily more deal with a lot of the adjustments being able to to actually control them. Whereas if they're just truly, purely applied to it, a smart object gives you the ability to be able to manipulate it after after you've applied it. Yeah. At this stage, if I click open, image shall do excellent. Come back to this. What we get is the file will open up in fact shop. Why now have is a 16 bit file. So I could say this is a tiff file inside. It's something else if I want to re edit it. So if I decide that I don't like one of the changes I made to the raw file, all I can do is close it down on start again. So open up again. That warning and there we go so I start again. If, on the other hand I am is a smart object. Now, in the preferences, you can set open photo shop, smart objects as a default, or alternatively, you can hold down the shift key and click, and it gives you open object. Now, what I then get is kind of it looks exactly the same. But what you see over here now is it's kind of got little icon in the bottom. If I double click Vance, it takes me back into camera roll. So again, things benefits on this dame. Signs of doing this. The benefit is that you're not committing yourself to a particular set of changes in camera. So if you want, Teoh said about noise reduction earlier, if you find the noise is becoming a problem because you have really increase the contrast in the sky, you can jump back into camera. Rolande tweet the amount of noise reduction that you applied. The downside is it creates bigger files because it is embedding the raw file into the final file says it's kind of a trade off again. There are other problems that will come to AMR editing. You can't directly yet it a background layer, so I can't groups. When I opened it up, I can't then clone on less divisive clone told you. See, I'm going a little no entry warning there. I would need to credit separately. So typically, that's a very quick summary of camera raw. I want to make sure there was nothing we didn't understand on explain some of things where there might be a little bit of ambiguity.