Adjusting in Adobe® Camera Raw in Adobe® Photoshop®
I want to show you some other features here that are for more robust and I've actually opened up bridge here and you wouldn't think bridge has anything to do with this but bridge has a lot to do with this component because one I can actually see all my images in the window here which has nothing to do with the exposure but I want to be able to go in and I want to you actually start to use camera raw in order to be able to go in and justice now most of the most people out there that are just casual, you know photo takers they don't shoot in camera raw and camera raw is basically the format that high end cameras use and they're not actually shooting pixels of information it's just numbers and camera raw when you bring those files and it takes those numbers and actually puts them into pixels and opens them out if you have an iphone or basic point and shoot, you're going to be shooting in jpeg format, which is all pixel based. So my almost of my images here are j pegs and these are ones I ...
took with my cell phone here couple stock photo images and I'm going to open him up in camera raw because or I'm going to open him up in bridge here or view them in bridge because I would like to open these up in camera raw if I were to just double click on these images, they're always going to open up in photo shop so double click here opens it up and photo shop there it isthe I can't really get to camera wrong when I have my image open and photo shop I have to open it in camera raw before it comes into photo shop it's kind of a pre step before so when I've been bridge right here I can right click on any of these images and I can open with but here I actually want to open in camera raw this is a plug in in photo shop that basically allows me to open camera brought filters or camera raw images but this isn't a raw image it's always best to shoot in raw because you're going to get the most information but that doesn't mean stop shooting with your iphone and stuff like that if that's the level of what you use we can make it work so I got this j peg and I would like to open this in camera raw this is one way we can open this and camera raw right click on it say open in camera raw so when it comes up here we are in camera raw and we have a whole bunch of settings that weaken d'oh wonderful thing about camera raw here is that it is non destructive all of these settings that we do to this are basically in the file, but they aren't actually baked into the file. These are things that we can go back and edit, so if any of youse light room, you would understand this completely because light room does the same thing, it puts layers and filters and settings on there, but doesn't actually change the image. So in camera raw here, I opened this up and I see it's kind of a dark room back there and see all these were little splotches here, and I see my entire hissed a gram right here and those splotches that I see right there are my actual highlight areas that are being blown out so that clipping that I showed you when we did the levels and you held down the option key and slid your highlights and shadows that was basically clipping those are the areas like in this case, I go to my instagram and I click on my white point there those are the areas that are completely blown out there's no information in those areas and if I click on my shadow one here there's nothing that's completely saturated because if I had taken this in a really dark condition, there was a light back here, so it kind of let it if this was completely black and I clicked on my shadow, I would also get a dark blue area back there, just showing me what's completely saturated or completely blown out, just a preview type thing, but when I opened this up, I can go in, and I can use all of these settings over here. I have the basic exposure, which allows me to overexpose or under expose the image, and of course it does it overall with no bearing on just specifically the highlights of the shadows or my white point, anything it just does that overall? Well, clearly, I can do that in other ways, so adjusting the exposure here isn't that big of a deal, what I'd like to deal with, as I'd like to deal with my highlights and my shadows here, so this will actually break it down into the highlight areas in the shadow. So with the highlights here, aiken scale this back so I could fill in the highlight areas, or I could blow the highlight areas out, so I'm gonna kind of knock back the highlight areas if you have something with too much contrast, really bright brights and really dark darks, when I go in and adjust it, everything just gets even more exaggerated, but if they can knock down the highlights and bring up the shadows, kind of bringing everything together so that I have a much broader range to adjust within. So I'm gonna go and I'm going to adjust my shadows on it can bring those back, and you can see now I have a much better balanced image and I just want to go in here and I want to see what's going on before so new features that we have in camera raw, you've never used camera raul, you'd never know these were there, but the new features here, I can go back and aiken cycle back and forth between the views right here on I can just split those right there so I can actually see the before and after whichever format I want horizontal vertical so I can see my before and I can see my after if you've gone through and you've adjusted a lot of these things and you want to get back to your original image and you can't figure out how to get back to your original image. If you hold down your option key, you'll notice the cancel button will turn into reset, okay, if I reset that it goes right back to normal we have a question to up new and creative cloud or was it this's a recent addition here? And I think this is camera ross seven yeah, thank you so with that and what's cool is that I can actually have the split right here. So if I've gone in and I've messed with a lot of these items and I can't figure out how to get it back, hold down the option key council turns into the reset that they don't have to get out of camera raw to do that, so I'm going to set this up so I can do my split here it's just kind of cool to see that I'm gonna just it, so I'm going to bring down the highlights a bit to kind of fill those highlights in and it's not actually just filling it in with information. What it's doing is it's taking the highlight areas down, and if there is any information in there it's just helping to expose it, I'm going to set my shadows here if I'm going to recover my shadows high up and now I have a slightly better range with my image, once I do this, what I'm doing is I'm trying to get this into a much more adjustable range with that then taken to photo shop and I could do my curves and levels on because now I've gotten a much better range to go ahead and just with I can also work here and what I love about this is my whites in my blacks. So I could actually go in and I could actually take my white areas and begin to kind of fill those in and they can take my black areas and I'm kind of doing contrast on this but it's not just taking the contrast slider inciting it one way or another I'm able to adjust my lights and darks separately and it's my whites and blacks which not to be confused with my highlights in my shadows I'm actually adjusting the lighter areas in here and then the darker areas here another thing tio I've got clarity, vibrance and saturation and clarity I can go in and it seems like it kind of puts everything more and focus and I don't want to overdo it but I can just that and then vibrance is going to go in and I can never understand what vibrant does from a technological term because it's kind of saturating it but there is a particular scientific word to vibrance and how it actually just it just makes it more vibrant which is a totally lame way to describe vibrance by using the name in the description but what I use saturation here you can see a saturate everything vibrant literally makes it more vibrant okay for lack of a better term it's vibrant so now I have a much better looking image here that I can then take it and adjust my curves or levels in photo shop so I can either open the image here I'm gonna open the image here and there it is and now I have this now he's talking about doing things, not destructively. So I've opened this image in photo shop now, and some people may be asking, well, I thought this was nondestructive isn't this just like going into the image menu and adjustments here on adjusting right on the image? Actually not because when I open this up in camera, raw camera raw actually applies the settings to the image, and this is why I used bridge to jump back over to bridge here and now my image right here has these little sliders in this. When I previewed this enbridge, you're only going to see this here, you're not going to see it just on your hard drive, and what that means is that means that this has had some settings applied to the image settings that can be edited at any time. Okay, so well, when we open this up in photoshopped those settings air there, it hasn't really baked it into the image. I can always go back to this image, and I can adjust this, so if I right, click on this and say, open it up in camera raw again, you'll see that all my settings are still here and that can be adjusted later on so while we've opened this up in photo shopped there, I can always go back to camera raw and adjust it further if I've gone too far or haven't gone far enough, so that's a feature that I really like now once we're in photo shop, I have my image going to go into full screen mode here and now if I want to go in and do some adjustment, I certainly can, so I'm going to throw in curves here I like curves better than I like levels because with levels I can on ly make the darks darker and the brights brighter, I can't go the opposite direction with levels very easily curves are more complicated because you have this curve here and you've got all these other things and people like you, I like levels, okay, we're going to use curves, so I like doing contrast in curves because I have more control over the entire adjustment when I'm dealing with levels of highlights, midtown's and shadows with curves, I have any point of the range of the image anywhere that I want to sew with curves here I still have my shadow slider and if I hold down my option t I can still do my clipping and curves like I would, so those are the areas that we're going to start to get too saturated hold on my option t and I can do by highlights there that was the areas that begin to get blown out and I can see here's my highest a gram and my information begins to build so my highlights in my shadows basically go in touch right there at the ends of my information now I'd like to go in and adjust contrast overall I've just set my darkest in my lightest points but I want more contrast I don't want to make the darkest areas any darker or the blown out areas any lighter, but I wanted a just everything else in between there so with this the curves are fantastic and the curves come from being able to click anywhere on this ramp and be able to pull up her down to adjust overall now what I'd like to dio is the shadows aren't going to get any darker the highlights are going to get any darker but I still want more contrast which by definition is making the darks darker and the lights lighter so I'm going to do the s curve which is going in and going into the darker areas not the darkest but the darker areas making dough slightly darker I'm going to go into the lighter areas and make those a little bit lighter the steeper the ramp, the more the contrast will show you, so if I make my ramp really steep we're going to get lots of contrast okay flatter the ramp flatter the image steeper the ramp or contrast obviously this is severely contrast it here so I just want to knock this out a little bit I just want to add a little bit more contrast to this ever so slight contrast so I'm gonna do the s curve right there I can still adjust brightness overall with doing that right there and then when I'm done I have a much mohr substantially contrast the image right there and I think I've gone just a little bit too much on this awesome I've used an adjustment layer so now if I were to go back in and double click on my adjustment here where can I go ahead and move all these so that it's fifteen percent less not very easily at least I don't know how to me but what a whiteout so I'm gonna go to my adjustment layer here I'm just going to cut the opacity back on that adjustment layer so that I can see just how much I get dialed in and I can run it back and forth and say hey this is exactly what it is but I want this is just what I need so that's looking pretty good I see a lot more tone in the background there it's got a nice reddish thing of course I could color corrected there but now I have a much better looking image that I started with just opening it up originally without having anything applied to it and that image you know it was kind of dark just snapped it with my iphone great story about this car this is a car that was parked in west seattle for forty three years and I just bought this car as many of you probably now if you watched photoshopped all of me and my car's I got this car had been sitting there untouched for forty three years and so that's the picture of the car being on earth that day in november of last year pretty awesome, huh? Yeah, a lot of fun that actually runs beautifully yeah great story always like to go ahead and show that but great way to go in and use camera brought to your adjuster image a lot of other ways to use kamerad to adjust your image we're going to jump back over the bridge here and we're going to pull up another image here and I've got this image and I'm going to open this one in camera raw right click on it in bridge opening up so this is a student of mine have seattle central and they were doing a quick little video and I saw this image and I said ok, can we use this so the photographer is sophie and if you want to look up her website it's sophie in seattle dot tumbler dot com s o f sophie in seattle so she just snapped this picture here, and I said, ok, this is awesome, this is absolutely hysterical, and this was totally unscripted, but I looked at this and I said, you know, we got a little bit of shadow, phil, over here, I'd love to be able to go in here and use this because great image, everything absolutely perfect, fuzzy slippers, old washing machine, you know? And this is totally unscripted, so I don't take images like this, so that's, why we have to use it, so I'm going to go in here, and what I'd like to do is to actually go in and not adjust everything overall have been adjusted a little bit here, but I'd like to go in and just kind of focus on this area where we can do that in photoshopped very easily by putting a selection or a mask in that area, but I'm going to jump over to my brush, and my brush is my exposure brush, and this allows me to go in and basically target areas fairly loose, way off so I can go in, and I can actually adjust those areas with a little click. Now you see the brush right here that solid black is the size of my brush, that dotted line is basically the softness of the brush so of course right bracket left bracket makes that brush larger and smaller shift right bracket and shift left bracket is going to make that brush harder or softer, so I want a soft brush because I don't want any clear defined areas where I'm just clicking and having the expos or just show up in a very hard edge going to go in and I'm going tio park a couple points through here and I just click in those areas and with those areas clicked, I can now go in and I can adjust using my camera raw, just those specific areas so I can do exposure over all I can do my highlights in those areas kind of bring them out a little bit, not many highlights there, but with the shadows, I definitely want to bring those up, so I now have the ability to target those areas and camera raw before even getting to photo shop, so if you don't know masking in selections very well it's kind of a fun little thing to dio and now I've gone and they've kind of clean that up a little bit, so I'm going to open that image up and photo shop there it isthe so overall that's looking pretty good I could run my levels I could run my shadows highlights in there and looking pretty decent not that so use the adjustment brush in there we got a lot of images to go through so we're going to jump back over the bridge here on I want to show you a couple other ones so I've got this bike rider right here and I see that there are some adjustments on it here and I'd like to open this up in camera raw now say you don't know that you have bridge and you want to begin opening all of your files up jay pegs tips all of them in camera raw right before we get into photo shop why can do that then jump back to photo shop here and I'm going to go under my preferences and photoshopped if you're on a pc you're going to find the preferences under the edit menu when you go into preferences and you'll see there is a camera raw preference all by itself and that camera raw preference to click on that and this allows me to go in and choose which files and what types of files I can have open and camera rock now if you're a purist and a photographer on your shooting camera raw this is total sacrilege we're going to show you anyway okay because built this in here you know we're going to show you how this works so what I'd like to dio is I would like to go in and automatically open any supported jay peg or any supported tiff it's gonna open automatically in camera raw when I click on them so they're not going to go right into photo shop I'm actually going to get the camera raw filter to come in beforehand I'm gonna do that and I'm gonna jump back over to my bridge right here and I'm gonna double click on my image right there and now it comes up with camera rock and this has nothing to do with bridge. By the way, if I just go to my hard drive double click on that when they open it up and photoshopped, it will now come in to camera rock. So now I have my image in camera raw. This is a professionally shot image, so you can clearly see we've got a lot that are contrast, color town, everything else, but, you know, the client just wants to see a little bit more of a person in there. Well, ok there's no guarantee that we're going to get all the data bank and here depending on how it was shot in the quality that you get clearly the better quality that you have, the more you're going to have in your shadow on your highlight areas, so each one is going to change and yes, I've picked the exact right images to make them all look really good thing because if I made them look really bad well, it wouldn't be very good what it so I'm loving how this looks great contrast great town fantastic mood the whole thing really vibrant we're saturated which were anyway so I'd like to go in and I definitely want to dio I don't need to recover any of the highlights there I think they look great I want to go into my shadows here and I want to recover some of my shadows and I begin to recover a lot of those shadows and it's like, wow, you know I can see a lot more detail through there this is actually looking really good and I can go in and they can take a lot more of my blacks out and all the sudden it's like this is pretty incredible I didn't know the grass was green and I can see all the detail on his helmet on his bike but this also introduces another issue when you're shooting and low light at low speeds you're going to get a lot of grain or a lot of noise because it just there's not much there's there's not much for the camera to pick up so this is all fantastic, you know that I was able to do this in the client's thrilled out of their mind they're like oh my gosh this is great this is exactly what we want are going to open the image and it all looks good and it's amazingly different from what we started to even know that that information is there now when you're going in and you're doing like levels and curves it's really difficult to get those items back because if I do levels and here you can see that I can only make my dark starker here I can go back in and I can kind of lighten up everything overall but I'm going to do this really severe here to show you what happens in those really dark areas ok, so I'm going to overdo this right now so we can see what's going on and when I look in here I see do no wonder why they made it really dark but there was very little information in here and we have pushed it well beyond what information was there so this is the actual information that's here the sky looks great because we have the tonal range in there that was captured when it was originally shot but yes, the details here and yes, we see this but clearly we've got a lot of issue in here now I could go through and put a selection around everything and kind of work and kind of clean up the noise and kind of blur things out in here and spend a fair amount of time getting some of this back but this kind of thing isn't going to go away there are limitations to what it is that we do so well looks good from a distance maybe this is good on a billboard or something where people can't really see it, but clearly I can't use this or can't use this in this particular way I'm gonna undo my drastic levels there, but you can still see a lot of that noise and that contrast there and that just isn't acceptable maybe if we're using its small for using it on the web something maybe two, three inches, nothing that's going to be used, its big so that information is there it's just severely compromised, so I could run through a lot of different ways to fix this here and photoshopped, but I don't want to go through and select all the blades of grounds and kind of blur it and make it look good year now, I was going to tell the photo photographer to reshoot it course, but captured exactly the same way, right? Yes, so can you reshoot that and just make sure you got the same sunset and everything, and this isn't an uncommon problem. A lot of stock photo that people shoot, they shoot in varying conditions there, and you look at this and there's a lot of grain in there, and these things were really flat we deal with this all the time, I don't want to end mention any clients names, but we've come across this quite often, so over the years photo shop has developed a lot of great things to solve this problem, so a lot of great information here, but I'm gonna go back to camera raw and I'm going to do a little bit more with this, so go back, jump back over to bridge and I'm going to double click on this. I've set my preference is to open them up in camera, ron it's like, oh my gosh, it kept all my preferences absolutely, whenever I just anything in camera raw, those will stay there until I decide that I don't want those settings anymore, so I know I've gone through and I've way over exposed that with my shadows there and bumped up blacks, I'm going to kind of bring that back a bit, so I can still see some of that there. I mean, it's a whole lot better than, you know, over blowing the whole thing there it is, but what I want to do now is I actually blow it up here so we can actually see it. I don't want to do is I want to go in, and I want to begin going in and reducing some of the noise in here, so I click on the inverted ice cream cones here. Right there and this allows me to go in and target those specific areas where I've got problems and it tells you for a more active previews in the preview to one hundred percent so that you actually see exactly what it is that we're trying to work with here grab a hand tool there it is so sharpening isn't going to do anything for me it's just going to really magnify the noise that's going on but I do want to go in here and I do want to use the noise reduction here and you can have her over any one of these to get your scientific meanings of what luminous and luminous detail is but you know that's how everything is completely great out funny thing is is that everything comes to life once you slide the luminous slider up and when you do that then I can go in here and that allows me to begin to adjust that noise level and you can see what's happening here slide this back and forth for you you can see it starting to kind of blend together and make much less pronounced the noise area so I can set it so that there's more detail or less detail and this gets really weird and crunchy I'm obviously doing this to extremes here so you can see that and also adjusting this so I can have mohr or less contrast in here to help clean up those areas of noise right here, there's a clear differentiation between kind of where it was overexposed, underexposed and then really under exposed. So you're going to have to slide these now it doesn't get rid of it completely. It just helps to lessen this quite a lot. And I could go in here and I can begin to adjust the color, and it acts very much like a blur, and so I can slide this up a little bit more and we can see they can go in, but my smoothness on my detail and I begin to knock that back. Now, this is a severe case of noise because everything was so underexposed. But when you have a moderate case of this, this can work really well to kind of lessen that detail without taking into photoshopped, putting a mask around, blurring everything, trying to get it just right. Because with blur, you just go in and blur everything. Here. We can adjust the luminous and the color specifically to target those areas and get very different results from each and every one of those options, all in camera raw, all non destructively. So when I do that and they open this up now I see that's a whole lot better, I'm not that much better. But definitely certainly lessened that whole point right there and it's a perfect place to put a nice little box over and put some type right over the back wheel. There's always a way is it's all of the problem, but there's a lot more detail than I ever would have seen in there. And had I gone in here and just try to do levels and curves and stuff like that, I never would have been able to recover that just would have been able to do it. Uh, question here in the audience it is he still looks like he has ebola in the face, though what you're focusing on the tire, whether they're due to his face, looked like he had measles little cory bowlers, you know, he's, a little orange there he's been was writing into the son the holy that's actually, easy. You can just go win and just knock back the saturation or the red and his face just put a selection around there and do an adjustment layer and works really good. But again, I mean, you see that we still have some detail in there, it's just that we're not going to get, you know, total recovery, we can at least bring it back.