Camera RAW Filter

 

Adobe® Photoshop® Deep Dive: Creative Cloud®

 

Lesson Info

Camera RAW Filter

Now what we're going to do is take a look at another brand new filter in photo shops sisi and this one arguably for a lot of people might be worth the price of the cloud upgrading if you want to think about it that way so here's the original image pretty blown out washed out flat no contrast all that and here's the image that I fixed and if you look over here in the layers panel camera raw filter that's right the camera all plugin is available as a filter inside a photo shop and it is oh so handy because camera is a slider based interface and it's incredibly easy to use but it's a little bit of a challenge to open files that weren't shot in its native format which is raw in order to use all those wonderful slider based controls well now that cameras available is a filter you can use those wonderfully easy to use controls on any kind of layer to do all kinds of special things so we're going to spend the next few minutes showing off some of the things that you might need to do with the c...

amera raw filter no green it had I opened this image as a raw shot in camera and then told it tio send it over to photo shop as a smart object then I could just double click that smart object and that would pop open the camera around window this is a matter of course, but again what if you are not dealing with the raw shot? What if you're dealing with the j peg or any other kind of layer? So this makes it really handy and really accessible. So just for those who are curious with that three hundred millimeter lens from linz protego dot com I was able to get this shot this is the very tippy tippy tippy tippy tippy tippy tippy top inside of st peter's basilica in vatican city so when you go in there or actually when you're standing outside you got the big dome right? This image is at the very, very, very top and it is microscopic when you're looking at it with your eyes but with the three hundred millimeters zoom I could figure out oh there's did up there often so here again with exercise files, try not to delete these layers that I've created for you go back to the original and do your playing around or experimentation there so here's our shot so let's say we don't want to mess with levels we don't want to miss with courage we want to use camera rock is it awesome? So let's turn this single layer or multiple layers into a smart object, so activate the layers come out to the filter menu choose convert for smart filters back it to the filter menu camera raw filter even on keyboard shortcut man shift a control, shift a on a pc, go and give it a click and up pops nearly the whole camera things that are missing are things like the crop tool because you wouldn't need to crop in camera as a filter because you're already and photoshopped, whereas if you were just in camera raw without already being a photo shop, you might not get to photo shop you may not need added in photo shop, so cropping there makes sense so that's why we don't have ah crop tool and there's a couple other things that are missing but minor things so here we can just use all of the wonderful tools we could click the auto button to see what camera raw thinks the shot should look like, which often time is a great starting point and then you can fine tune the image to get what you want so very quickly. I love adding clarity because it just gives so much nice contrast very quickly you could use kamerad to adjust your image. We could darken the highlights a little bit, lighten up our shadows a little bit and it's just amazing to be able to use this right here inside of photo shop, so already we're just tweaking a couple of sliders we have greatly improved that image and brought out a lot of detail and balanced out the shadows and highlights pump up the vibrance just a little bit, click ok, and you're right back and photo shop and if it's some point you decide you want to go back in and fine team those settings, all you have to do is double click the camera. Ralph, filter in your right back and camera. So while the while quick access to the camera ralph filter or the camera raw plug in is not necessarily new in photo shop, he could only do that if you were dealing with raw images and you open that raw image as a smart object and photo saw. That was the only way you had quick access back and forth to the plug in like this. But now that is a filter. He could use it on j pegs. You could use it on anything video. You can correct your video with camera, raw that's, my blowing. So this is very, very, very, very handy. So I got a couple of other examples. The things that you can do that you know, why would you use camera raul anyway? Well, aside from the exposure, in contrast in color, corrections, tenting rather that you can get, you can also use it for vignes. So for this particular image, we've got a nice white soft vignette going on around the outside of the image well that was created in camera because in camera it's a slider vinje is a slider you drink to the right to make a white quiet vigna you dragged to the left to make a black vignette that's it so let's take a look at how we created this one I'll go ahead and toggle off the layers that I made for you so here's our original so what's our first step we're gonna try it to the filter menu and choose convert for smart filters and when we get done with this technique will take a couple of questions on just liquefying camera ralph filter then we're gonna jump into new features of camera rocks we've not yet touched on those so if you've got any questions on the blur gallery liquefy or camera as a filter thing go ahead gather those up now let's go back to the filter menu and we can choose camera now we'll tell you the filters manu the last filter you we've ran will always be appear at the top so you could just press command f for control if that would bring out the last filter that iran so here we are in camera raul again we could make all kinds of exposure corrections if we want but on this one let's say I just want to pump up the contrast a little bit maybe give it some clarity maybe drop the exposure just a little bit and darken our highlights a little bit and we'll call that good now for the vignette you can come over here to the effects icon so here in camera all of these little tabs give you a whole nother set of control, so going click a fix and he won't believe how easy this is so under the post crop vignette ing area you're in a drag the amount slider to the right for ah light edge of in yet are you going to drag it to the left for a dark aegean yet and that's it that's it it's so easy so camera is a filter while you may not think you want to use it for exposure in total corrections it's great for that but it's also great for this other stuff t like this vignette ing is so, so super easy click ok, now we've got it on there if we want tio adjust the midpoint of that vignette or whatever all we have duis, doubleclick the camera filter and we've popped that right back open so that in my macworld review I said that that might very well be worth the price of upgrading or subscribing to photographers who do this or even just if you're a production artist and you have to correct a lot of photos thehe building duties raw this easily on j pegs uh, it will save you so much time so much time. Another great thing about using smart filters is that if they come with a layer mass, we'll talk a lot more about that tomorrow. But if I, whatever I did in camera off, I wanted to hide it from part of the image. My mask is right here. All I have to do is paint with black to conceal, hide the change from that particular area and for designers, you know, why would you? Why would you not do all of this in camera raw to begin with, you know you wouldn't have to go into photo shop, but if you're a designer and you want to add some text or another special effect, tio then further stops the place where you can do that. So having the ability to access camera also easily for more than photo shop, and then at all your extra embellishments like this little scaled back block of color and bernini. So this is st peter square, and bernini designs the kahlan odd, so he designed all these columns, and so it actually it's like a giant oval, but part of the you can see right here it in, so it's got a little opening in the middle of it, but these columns go all the way around in a giant overall kind of thing. And there is one spot that you can stand in st peter square because there's like three rows of these columns there's one spot in the middle of the square that you can stand in any direction you look, you only see one column that's an optical illusion. It's very interesting, cody asche, who asked, can you add multiple layers to create multiple camera roth filters, but basically that's what we're going toe touch on tomorrow, correct. Going to use those masks? Yeah, you can. You only get one mask per smart filter, so if I wanted tio do different effects with camera and mask those effects in different ways, then I would need tio create another smart object. So let's say, for example, that I wanted to mask some of those exposure changes that I made here in this first level over the re touches that we did. And then I wanted to do something else, like do the vignette ing separately a mask that separately, then you'd have to create another smart object out of this one to get access to another mask. Otherwise, everything that you do in camera filters kind of stacks up over here, and you can only mask them the same way, so you could either just create an unlinked copy of the smart object by choosing layer smart object new smart object via coffee smart objects by their nature when you duplicate them it's kind of like a it's like a linked instance so if you just duplicate smart objects and if you change one of them than all those smart objects they're going to change in the same way because they're linked so to keep that behavior from happening then you can create an unlinked copy and it just lets you do different things to those smart objects without changing all of the other one's automatically so you could create a new smart object be a copy or you could just go back up to the filter menu and choose well it's great out but we could do it over here control or right click convert to smart object that would make another smart object out of that now we could go back to the filter menu camera filter and we could make other changes and then we'd have a whole nother mask toe work with so that's the only caveat about smart filters you get one mask per filter really in the fix to that is just to create another smart object out of the first one but the filter menu it graves that out because it says hey I've already done that you're already smart object I can't convert e for smart filters so you have to control our right click on the smart object itself and she's convert to smart object from that menu and then at any point, if you want to expand a smart object to get back to your original layers this double click it close shot gives you this dialog box says hey, after you edit this file I'm about to open please just choose file saved don't use file save us because if you move this file or you give it another name that I'm going to get confused and I won't be able to update your changes in the original document that's all this the same, so click ok now we've got a new and temporary document oops community that new in temporary document that's named whatever that layer name was not psb stands for father shot big and that's a temporary document so we could make changes here save it, close it and those changes will be updated back in the original file. We're going to a lot of that tomorrow actually that answer that question along in a long way and then another quick question from the chat rooms do you select convert to smart filter before you use a filter every time? That's a great question I usually do I usually dio on lee when I'm doing some sharpening with like, say, the high pass filter I'm tempted to descend, duplicate the image layer and run that filter on the duplicate, but most often times I use smart filters because I like how this whole smart object thing makes them run on destructively because we get at blending options and opacity for the filter self not the layer but for the filter yourself so it really lets you have a lot more control over how your filters are applied to your images and it's so easy to get back into that filters dialogue to tweak your settings because you can't do that if you just duplicate your layer there's no way to double click the filter than to open up the settings that you previously used they're gone see it's a starting over standpoint so yeah more often than not idea thank you cool d b ps would you do feathering when using the minimum and maximum filters would you do feathering when using the minimum max in the filters I see what they're saying I want feather the selection well we could do it two ways if you remember to feather this election you could do it then if you don't remember the fed in this election and let's say you use the minimum or maximum filters to find in your layer mask and if the edges look a little too hard running all sambora filter on the mask that's the same thing is feathering ghazi ambler filter content decimals as well so you could just blur the mask ever so slightly which would be the equivalent of feathering and then I would remain editable correct no native ok, because when you run filters on a mask, they don't work as smart filters. They just run. Yeah, all right, so maybe one more, and then we can continue with content, doctor guy says. Can the vignette have been yet color in camera, robbie change to anything other than black and white? I don't think so. Great question, though.

Class Description


Whether you’re an Adobe® Photoshop® beginner or an old pro, a strong mastery of key image editing skills and an understanding the newest version of the software (Creative Cloud®) will take your images to a new level of creativity, quality, and impact.

In this one-day CreativeLive course, taught by author and Adobe® Photoshop® expert Lesa Snider, you'll learn what the Creative Cloud® is, how to use it, and how it affects your future. We'll break down the pricing schedule so you can learn exactly which package to purchase in order to get the most bang for your buck. Next, Lesa will dive deep into all the new features in Adobe® Photoshop® Creative Cloud®, including how to use the new Shake Reduction & Camera Raw filters, how to use the new Image Size dialog box to make higher quality enlargements, edit the corners of a rounded rectangle after you've drawn it, create 3D text, and much more.

By the end of this course, you’ll have the skills and the confidence you need to use Adobe® Photoshop® to bring out the best in your digital images.


Software Used: Adobe Photoshop CC 14.0

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