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Digital Dark Room: Camera RAW with Photoshop

we'll do that same process real quick to something like this. Still, life will do. Auto will take that clarity up the wazoo were take our vibrance to give our, uh, color. And, um, that may be all were due for that one right there. That is, uh, let's actually take our exposure down or middle tones, exaggerate the shadows and take our highlights up. So that's going to brighten the highlights. I'm able to take those middle tones, which is where the shadows air lying If the shadows getting too dark over here in the very left hand side. I can take those quarter tones up. See that I confined tune each one of these quarters exposure mid tones highlights shadows for the quarter tones whites and blacks for pegging the extended areas of my hissed a gram The fact that I can manipulate those in opposite directions without banding at the transition, whereas if you were to do this with curves, you would never do this with curves. You can't take the quarter tone in the mid tone in opposite directions...

without there being a flattening or banding of that area. Dramatic one. Even if you use the spine based on curves that are built into. And here the the Parametric curves in here, which is awesome. What Adobe has done in this six sliders inside the basic panel of a CR in light room is absolutely amazing. You can get away with murder by being able to move these different quadrants in different directions and not get the banding artifacts that you've gotten in the past. You can. Even if you come up here, you'll notice they've even added it in a CR, which has been in light room for a while. You can come up here and actually drag now inside of the hissed a gram to move these quadrants, and it's showing you what it's doing. Here is my middle tone values my shadows by blacks, area whites and some highlights. So I can come up here and say, If I want those, you know, middle tone values, I'm literally dragging inside my hissed a gram to change the quadrants like it's play doh pitch in. Okay, same thing here would just take this one. We'll straighten up our line here. Go Auto's probably gonna lighten it up too much. So, like I said, if auto is too much. You're welcome to undo it. Clarity. I've got a landscape, so I'm going to come up here and exaggerate that tonality in here. Maybe even take my vibrance up. As I said before, I can use a creative use of that white balance to really exaggerate this, you know, sunset aspect of it. So that literally I've done no tonal value here. All I've done is clarity and vibrance and get a little creative with my white balance. Okay? And that clarity, you'll notice what it's doing to the transition right there at that light and dark, because its edge contrast it's popping those planes. So in a landscape again, you can get away with murder. Um, you may notice. Also, over here, I've got some death spots. As you guys probably know, your healing brush now has visualized spots Automatically show where your dust spots are in the file. You didn't because you're now and you didn't in TV land didn't know that, because that's worth the price of admission right there. So I'm gonna come up here and just, you know, click on a few of these and I can even do this without even looking. I can be in this mode and I can do Oh, my, um tweaking, just making sure that it doesn't hit some other line. You can see how dirty this is. Not quite sure this was probably my older D so we'll say that's good enough for government work. You can find tune this to see what it shows in here, but that is visualized spots that came in in the last version of Adobe camera Raw and light room. It's awesome, but I wanted to I can come up here and use just like I did a brush for the eyes with Teegan. I could go up here to my graduated filter, come down here and say, Drop down If that I want that little darker up here and add a little bit of graduated nd graduated neutral density effect again, make the I come down to my subject matter, which is down here in terms of my, um, lifeguard tower. But go back to my crop. I kind of like that crop is actually right there that dark in the third, so we'll leave that where it is, and right now we'll say that's enough, though. There's a 1,000,000 things we can do with that. What I want to do is add do one of these, um, motion blur ones here and will use this one and this one. Okay, so because these were the same exposure, even though there are different shutter speeds and hear what I want to do is, I can actually select both at one time and just tweak one, and it will automatically synchronized them at the same time. Or I can do it after the fact there's a little synchronized button. If you go ahead and select them at the same time, it will automatically synchronize whatever I do from one to the other in light room. There's a little button that has auto synchronized when you have more than one, selected them in your filmstrip. But I'll come over here. We'll do auto. It looks fine. Maybe the highlights are a little high. The middle tone values look pretty good. Let's go ahead to that shadow again. In other classes, you can see how I can separate that shadow out. What's that term? That's just Bhichit. Dude, that is just the fact that I can go in there and fine tune that range is great. We'll add a little clarity because we got no people here with wrinkles in there. So I'm gonna kind of exaggerate that in there will add vibrance. Why not knowing that? It's gonna be a little cautious with my colors A little bit garish, but again, I don't have a problem with that. You'll notice I've got the same despot says these with the same camera. I can actually despot one image synchronized, just the dust spot to all the images for this shoot as long as they didn't change the lens. That dust pot is on my sensor. They all have the same despot. I can fix all of them at one time. I will want to go back shirt and make sure that when I do a touch on this despot, it's now not on Grandma's. I and I retouch something, so I'm responsible to make sure that as I go to image from image to image, but I can come up here and come up to this image here, click, click, synchronize and Onley do spot removal and when I come over here, there's my despot has already been fixed. I just have to make sure that another ones where I don't need it, Okay, Like you can see here. I didn't feel like I only needed it on the sky. So whether you it's faster or easier for you to use this automation process or not, I'll leave that up to you. But it did go through in the fixes. You know, our synchronized and I have a bunch of despots. Okay, so let's go in. Here and again, you can synchronize everything, including dust removal. Okay, so I like that. The one thing let's do one other thing that's part of that. Um, Crop will leave that crop for now. I'm gonna come over here and we'll go to my effects where we find that post crop and yet will do. Actually, let's not do that. We're in the new Photoshopped CC's version of Adobe Camera Raw, which has our new radio filter, which is awesome. There's actually already there were five different ways of doing vignettes in Adobe camera in light room. This now is the sixth. It's even cooler because it's basically everything we had in a brush and a Grady in. Now, in a radio, and that means we can come over here, said our exposure down Say, I want you to go on the outside of whatever oval I draw with a variable feather and do exactly what I want. And in this case, if you know the shortcut, you just come into the window. Double click. It automatically makes it the shape of your document that follows the contours of your document, and you can continue to expand it or whatever, because this is a local adjustment it doesn't automatically sync. You'll notice that it says, What's the likelihood of you wanting to synchronize something that's your locally drawing on two different images? So it doesn't auto sync in this case right here. So this would be a case where I'll do it to one image, maybe have less of a feather here. Okay, you can see how I can pull that in. This is doing a beautiful been yet to the file in the sense that I actually am changing my exposure. I'm actually burning in that background there. I can even blur it if I wanted to. I could change that sharpness and do a little almost tilt shift in here where I'm softening the edges. If I worked on that won't do that here. But I will come over, synchronize those two and say, Would you take those local adjustments? And now they both are going to be sharing. He says, Synchronize local adjustments, Please didn't do it. Why not? That's a very good question, huh? It seems like it's doing it, but it's not. It's actually it looks to me like it's a preview issue. It's related to the previewing of the file. It's actually showing it, but you'll notice that it's not doing it. So this is a little bug in terms of that. Interesting. Okay, well, we found a little a little bug, A little preview bug. Uh, you think it's a Mac issue? Okay, Local adjustments. Well, that doesn't help with that. Awkward. Yeah, it's Ah, it's ST and it's previewing it. Okay, Well, um, it's synchronized everything but that So let's come out. And actually, you can see it now that it actually did it. So let's open these backup. We're about ready to close up here. It actually did. It just was a preview. As I said, it was a preview issue. I'm gonna take both of these files here. I'm going to say open objects. You'll notice that down in the lower right hand corner. It says open objects and yours when you get home is going to say open images Mine's cooler than yours. And it says open objects because you could neither hold down the shift key to switch it over from open images, Open objects. Or you can come in here to your workflow options and say open and smart objects. What that means is it's gonna open up the actual raw images themselves embedded inside of a layer in Photoshopped as a smart object, the benefit there is I can go back into photo shop and tweak the actual raw settings, the slider locations, air still there. Same thing in light room. If you're done in the filmstrip, right click And don't say edit in photo shop se edited Photoshopped, a smart object that will embed the raw data into Photoshopped. Do your manipulation. If you want to get back to those sliders, double click on it and it will actually open up those layers inside of adobe camera raw. So you confined. Tune those settings. Okay, we're gonna come up here. We're gonna take our two layers. We're gonna bring them together into one document. We now have both of our images here. Their handheld. They're not in alignment, so that is problematic. So we're going to go up here and edit. And this is one area where I'm gonna take advantage of something that can't be done, too. Smart objects. One of the only things that can't be done to a smart object. And that is because it needs to work at a pixel level. Auto align found under the edit auto align layers can't be done too smart objects. And so I'm gonna go ahead and I'm gonna rast arise that layer, make them dumb. Laters. And I'm going to select both layers again, even though they're not in alignment. And I'm gonna say edit auto line layers, auto, I don't need to vignette removal. I don't need geometric distortion correction. They're all basically done these air for doing a panorama stitching, But we'll just say auto and it's gonna come up here, and it's gonna rotate and scale and twist and distort the images so they're in perfect alignment and scale and rotation. You see that in the lower bottom. This is where normally you would throw money upon stage if it was earlier in the day. Because that's really, really cool that it automatically did that. But now, obviously, all we need to do is come up here and either paint in our motion blur, which is what we're going to do here by punching a hole basically in this top layer, which is the sharp layer allowing the blur to show through. So I'm gonna just do that right here and with this we're gonna end. We're gonna add layer mask. Ah, gonna add layer masking notice that I can't because of the small screen work I'm going from. We're going to go to, um add layer mask this way. Get back to my walking tablet, go back to my brush filled with black nice, big, soft brush here, Then choose a nice, big soft brush. We'll do it at 100%. So right here black is gonna hide. The mask is active. I've got the blur below. So by punching a hole in the mask, I'm going to get my blurred exposure and how detailed I get in terms of working with the sharp portions of the image. It could be that I don't mind even these little support bars. I definitely want to stay away from the little house in the lower right hand corner, But here, I'm able to get tax sharp. In terms of my foreground, I get my nice motion blur. I could make sure that I'm checking my mask, so I'm not, you know, beginning a little portion of it. But here is our image in terms of the sharp in the lower left hand corner and turning on and off the mask. There's a keyboard shortcut of shift. Clicking on the mass turns off the mask so you can see what we're doing here. Okay, That's just a We're gonna be doing a lot over this. Siri's with our photo shop optimizing enhancing tweaking of the files we'll use. That is just a little teaser for all that we've got going on. I love that little teaser Little teaser, actually, and we'll do one more little teaser because they have to. You shouldn't. If you select both of these, I can turn these into a smart object. And as I mentioned earlier, filter Adobe camera. Raw right camera, raw filter. So now I've got my combined image. And now I can continue to find tune things like that exposure or clarity. And now I have all those tools at my disposal on my combined retouch file. Okay, um, taking advantage of the fact that I was able to retouch inside of photo shop, combined multiple images, but now work on them as a raw file. Thank using this smart filter technology, which is what we've got over here. So it's still maintains the layers. I could even get back to those layered files if I wanted to. Even getting back to my, um, um, source smiles that I started off with.