Yielding Perfect Exposures from Adobe® Camera Raw and Adobe® Photoshop® Creative Cloud®

 

Yielding Perfect Exposures from Adobe® Camera Raw and Adobe® Photoshop® Creative Cloud®

 

Lesson Info

Yielding Perfect Exposures from Adobe® Camera Raw and Adobe® Photoshop® Creative Cloud®

At this point we can get right back into our great content and we have brian hughes right here with us all right all right thank you so I'm really excited to talk to you guys about yielding perfect exposures I think this is really important as faras getting a perfect picture that's up to you on the capture side but I'm going to show you what to do using camera and photo shop we're going to go on camera but everything that I do in camera would of course work with light room there is complete feature parity between the two and I'll be talking a lot about using that you don't need to use raw files to work through camera robert I'll talk a little bit about some of the advantages there we're going to cover a lot of ground we're goingto go through rob we're going talk about some of the automatic functionality and photoshopped adjustment layers kamerad filter which is really need we'll talk a little bit about hdr localized adjustments which are really photo shops you know core power a little ...

bit around you know some of the automated things like panorama sharpening really important thing to think about on well even talk a little bit about the video and if you've been watching this week you've seen that photo shop can actually do some incredible things with video so really trying to think not just about yielding a perfect exposure for a still or one image, but working with multiple images and even video. So we're gonna we're gonna go for quite a bit here. I really encourage questions. Something that I can do uniquely here as a product manager is I can take your questions and your feedback back to the team. So that's super valuable, by all means do ask questions. So without further ado, we'll jump right in here and I'm gonna start enbridge you could drive this through the open dialogue for this first part, you could drive it through light room if you wanted. And before we even open any of our raw files, I'll just stress, as I did in my my prior, of course, that if you have a dslr, or if you have a point and shoot that's capable of capturing raw files, you should be doing that that's the utmost quality, the highest bit depth there isn't any compression you're able to edit it the most. If you shoot j peg or even a tiff, the color of the totality is baked into the pixels we can edit it. We can do all sorts of great things with it, but if it's a raw file those channels of information or still separate, and we could do things with that that you can't do with any other file having said that, we'll also talk about passing non raw files through raw passing, even iphone files through raw and all of the really cool stuff that you can do there so let's talk first about some raw true raw dmg on dh that's just a conversion of a file that came off of the cannon five d mark two and I figured I would just take you top to bottom through camera raw here again everything we do here it might look different in light room, but it will work just the same there's feature parity between the two as some of you might have heard before a big fan of auto your experience is going to vary depending upon your image but it's not just a fixed black white and gray point we actually will look at your image to make an adjustment um and all some of this will be familiar to those of you who watched the black and white course but fear not. We will certainly deviate from that script here's an image I'm shooting into the sun s o I'm gonna back my exposure down a little bit and even if it starts to look really dark, I'll be able to recover that information using the shadow slider now if I were to take that really far in the other direction let's just zoom in here and look inside here you'll notice that there's tremendous latitude with these files, there's an amazing amount of information, we can light up the walls inside there. There does come a point where you'll start to generate noise, but it's just it's just amazing how much information there is sitting with every raw file. So, again, I'll back down the exposure. I'm not going to play around the contrast right now, I can adjust the highlights that's really just the brightest information there, and you can see my history, graham shifting at the top of the screen, I could open up the shadows a little bit and let's just normalized the white and black areas so that you can see what that's doing. This is the ability to take the widest area and make it darker or lighter. So in this case, I'm really just controlling the sun and with the black, that would be the shadows inside the building. If I was getting too much clipping from those, I could pull that slider over and just compressed that so you don't need to use those every time, but it is handy zoom in a little bit more, so we could talk about clarity. I think this is probably one of the most used and great features, but it's often overused as well, the guidance I'll give you here is that it's fantastic to introduce a little more drama I think I mentioned before that we call this punch originally but if you have a picture of a person o r ready skin or you're going looking and doing a lot of retouching, consider adding a little bit of negative clarity and that'll soften the image out just a little bit for an image like this we're going to go for something sort of dramatic in the end so I go over to the right with that another thing that you'll often hear me talk about is the difference between vibrance and saturation and this is a great example of an image that is not going toe like normal saturation very much because if I take this and I crank it way over things just look fake they just look over oversaturated and granted I knocked that up too one hundred vibrance you'll see eyes just a much smarter way of doing saturation and so what I like to do here is positive vibrance a little bit of negative saturation with curves I'm not going to spend a kind of time talking about curves in camera raw I'll just stress that you don't need to know how to use curves here we'll talk a little bit more about using them as an adjustment layer in photo shop but think of this as a way of carving up those controls that we just looked at in quarters just having that much more control so I could take an individual part of our image here and effect that just like light room if I want to reset any of my sliders, I'm just double clicking on these and that's one of those things that I like that so much when I go to the photo shop, I missed that behavior that's one of my things that I'm constantly nudging the team you know we should we should really try to put that in there it's a great effect so quick note on sharpening and we'll talk a lot more about this minimal sharpening here is perfectly okay um blanket sharpening is ok for selective sharpening or any serious sharpening we're going to go over to photo shop I should mention that just like light room, which sort of cascades your controls down in camera raw we're working across, but these air mohr less tab in the order that you'd want to use them so earlier I showed a black and white image that we're doing sharpening too. If I hold the option or all key when I click on this, we'll get a temporary black and white preview and if you want to adjust this, you can do some minimal sharpening here the one thing I'll tell you which I think is really cool is that you can hold that option are all key and build a sharpening mask if there's one thing I'd love to do it's used this mask elsewhere I think that would be a really cool feature request um I'm just generating a mask on the fly, the black areas, they're not sharpened and the white areas are in a minute. We'll talk about noise reduction and I'll actually show you that on screen for black and white. I can certainly do that here if I'm just going into photo shop like we are, I'd prefer the work flow there and I talk quite a bit earlier about some of the things we can do with black and white, but like everything in camera raw, this could be undone very, very quickly and easily same with toning once I have applied that toning is this easy is holding the option or all key and choosing the tone that I want and then gradually building up the saturation. But I'm not going to do that for this. Yes, yeah, I just wanna ask you a quick question. I remember on your earlier seminar or lecture that you did this morning. Um, you said you always sharpened every photo that's I had a question on why I don't always do that, and I just wondered what that reason is well, you might without knowing it, so if if your images passed through light from our camera, rog by default, they're sharpened, their sharpened a little bit, and the truth is, every image needs a little bit of sharpening, no matter how good your lenses is, a piece of glass between the sensor and the subject in there, you need a little bit of sharpening toe tow, wake it up. There are ways to do that in camera, which tend to be very destructive, but we just apply minimal sharpening it's not something you need tio think ahead about or apply um, my only riel thing that I'd guide you on is when you're calling your images, when you're looking at them as they come in, look at them one hundred percent and make sure that you're choosing the ones that are in focus, a little little myth about sharpening, sharpening can't really be used to restore focus all that sharpening really does even in the most extreme, incredible sharpening routines, is it increases contrast, right? So you've got a couple of pixels, and you're increasing the contrast between them to give the illusion of sharpening. You're not actually sharpening it just it's just very localized contrast. You've probably already noticed that if you asked me a simple question tend to get a really long answer, okay, so we'll also talk about lens correction in a second, and we'll talk about upright as well. The one thing I really want to mention here, as far as your exposures go to things here one I think camera is a great place to do an additive in yet um, this is a very fashionable technique right now. I bring this into the middle, I feather it out what people want are used to want to remove that. Um, now everybody wants to add it back, and you could also go the other direction and brighten that. Um, so that's, this is a great place to go because it's not destructive, you can turn it off and on, but the other one and again, I'll just double click these to restore them to zero is added of grain and even more important than this, of course, than in the black and white course. We want to think about what we're using this image for if we're putting in a portfolio next to other shots and they're going to have different ideas sos we might want to think about adding a touch of grain to just normalize them, and if we're going to be compositing with this image, I'm gonna drop this background behind a person or something. I definitely want to make sure that they're similar grain structures, so if I zoom in on this it's no surprise that there isn't really any grain I shot into the sun, so it's probably I asked one hundred if not lower, but if I were dropping in a really noisy foreground image, if I were compositing that I might want to pull some grain up just to normalize them and it makes a huge difference, even get away with a so so selection if you have some some harmony with the grain, ok, so that's, where I'll leave this, I will just say, um, making presets in the light room and in kameron I don't think I stress this enough before take all of your time you're spending on your image and save it as a preset it might not be perfect the next time you come in, but you're going to jump ahead it's probably going to be that you're pulling a bunch of settings down and tweaking a bunch of things, but you're not going to be starting from scratch, so not only do I think people should work from presets, but if you're using a light room, use those presets on import, especially if you're shooting in the studio that's a huge time saver if I were on location somewhere if I were shooting inside here and we've got all sorts of really unusual lighting. Working on one image saving that is a pre set and then applying that pre set all the other images that I shot while I was in that location it's going to save me hours and hours and hours yeah, ok, somebody cancel out of here and I will just talk really quickly. Um let's look it I wantto show what can be done here and I definitely didn't show this one earlier. This next image is off of the iphone four and as of today the iphone five is the most used camera in the world most his camera on the web and I think it's followed by the five s close behind we all have them, we use them a lot pretty amazing um and you can actually just really cool things with them using camera raw using light room and all you need to do in order to use them is go to your camera preferences and bridge and say automatically open all supported jay pecs were there two ways to do that would be in photo shop, go to your preferences and file handling and camera raw preferences and say automatically open all supported jay pegs and the third way to do it would be to just hit command are and it will prompt that so this is exactly as it came off the camera will just confirm that camera raw defaults I don't think they're any settings to clear that's exactly what it looked like when I shot this um and I learned a couple things and shooting this one when I looked at the ice so I think it was fifty or eighty I was amazed that the that the issue of the iphone went that low er and the other thing I was really amazed by was the dynamic range so watch when I opened this up you actually see there's a tremendous amount of detail in the shadows tons so aiken bump that up a little I can pull the highlights back down and I can open up the shadows and you see that here's a really challenging shot for any camera but this is from the iphone shooting it directly into the sun and there's an incredible amount of detail there, so with an image like this I could come in here and put some more clarity on there I could even open up the shadows further and just those couple of things if I toggle that image, you see that there's just there's so much they're so this isn't just about really high end raw files it's really about any of your images and I know it's kind of counterintuitive to take mobile phone images and bring them through camera into photo shop but you can do things there that you could never do in a mobile environment and I think a problem that a lot of people have is well that's the shot that I took maybe it's not my ideal camera it's the camera had with me time and I need to use that image there's you could uh president here in ways you can't do it elsewhere on you can get to a lot of the totality and the image that you couldn't get to otherwise so a big fan of that particular workflow okay, so let's look at one that I didn't show you it's like get a couple of uh graduated edits so we'll just do a really quick at it on this one um pulling the highlights maybe even pulled down the exposure a little you often see that there's a lot of information that you don't notice until you come in here one of the new things in photo shops sisi and in later on five is that I can have radio area and if I don't hold a modifier this will be any size that I want if I do hold the shift key then I'm going to get a fixed area and I can place there and just like my graduated filter or my brush I can do whatever I want to these parameters so zero these all out and if I wanted that to just be brighter less highlights more clarity, less saturation and then I wanted to do the same thing up front I have all sorts of controls to do those things right there. Uh, I could do a graduated filter on top of that with sky I'm holding the shift key toe fix that bring that down had clarity ad saturation there, I could add another one in the foreground. I wanted to soften that I could hit reverse clarity to throw it out of focus. You can do a lot in camera, raw and light room, and just to show you how much you can do it. I mean, this is just a ridiculous example, there's a lot going on here again, let's start with auto and I'll just hit command z and hit it against you conceive just how much is happening there? It's looking at the entire image as a whole, and what I'd encourage you to do with something like this is just do the best you can with the image overall, um, use what it gives you as a guide and, you know, get us far as you can if I go to dark on exposure and I must start losing it in the foreground. So at this point I'd start using some graduated at its and you can either have settings applied or set them afterwards, what I'm gonna do is I'm gonna zero all of these and I'm gonna pull down the exposure and bump up the saturation justcause I know I'm gonna want that so there's my sky maybe even go a little bit darker and then with the foreground I could have one it's on an angle like so and with this one I'm going to go brighter I could make it warmer or cooler depending on what I want to do with the light and where it's going to get a little trickier he is I can't really do one off to the side right now I'm sort of fighting what I did with this guy, so I'm gonna hit the delete key and with that I would probably do something like the brush here and again you can either set the region or you can set the specifics let's brighten it and warm it since the water so cool down there and let's open up the shadows and add some clarity and so as I come in here, I can do that as I go over the whole image. So using these tools you can get pretty far and I do encourage you to get us far as you can with raw with a couple of notable exceptions like sharpening I think you'd want to go a lot further uh with photo shop, but the whole idea is to take it as far as you can hear, all right so let's talk about some of the other features in here that we haven't really looked at and one of those is lens correction so this I think I shot this with a twenty four to one o five and there's all sorts of problems with it it's off center which we can't do too much about uh it's shot slightly askew and it's you know it looks it looks kind of funny you don't necessarily notice it until you correct it sometimes then you realize just how off it wass so if we pop over here and we apply a lens profile correction will see that we've got profiles for just about everything in fact we have these for the iphone for for us five and five s um we're constantly profiling stuff if you want to see a list of what's available you could come in here and look at these um and if you were in photoshopped there's actually a way to browse profiles on lines if you didn't find the one you wanted, there are a lot of other profiles out there so when I enable this three things are happening I'm obviously fixing the geometric distortion it's getting straightened out I'm fixing the fact that it's a wide angle lens I'm fixing the falloff in the corners well they've been getting you see um is introduced by the lens and if we had like a power line or something in there you'd see some purple or red or blue color fringing it's called chromatic aberration. We're removing that as well. The's profiles aren't just based on the lens there based on the lens with the body, so we spent a lot of time building those now I'm gonna undo that and come back to your initial view here because one of the things we can d'oh is upright. So if I click on a here automatic it's going to apply those things we did before but it's also going to stand the image up and that's pretty cool, this is a new thing we put in there, uh and it's going to straighten it out for me, senator, I can have the best of both worlds there stood up straightened out as really handy if you're shooting architecture it's amazing how often you shoot things just slightly askew, and this is one of those ones where if you're if you've tried this a few times the lens profile corrections, you realize they were great to take that into a preset you don't have to you have to wonder whether you should turn that on or not upright can be a little hit and miss sometimes, but lens profile corrections that's just one of those things you always want to d'oh it's always going to make it better, okay? I'm seeing this in the chat room too, but I could I could use a review this teo setting the preferences for opening the j peg and camera and you just do that again upset that way I'd love to flowy sure so let's take our r j peg file here and we want camerata openness so three options if we're in bridge we're going to hit command are and that's going to just launch camera one off but I would advise that you send everything through camera wrong it's a great place to do there's certain things you can only do in there there's certain things that you can do better there than anywhere else things like noise reduction, temperature photoshopped doesn't know anything about temperature then getting, uh additive grain there a lot of things you can only do in camera rock so command are or come up here to your camera raw preferences and tell it you want to open either tips or jape eggs and you can even say on ly open the ones that have settings or open all of them so in other words, if I give you a j peg that has settings just open those or open every j peg that I ever see and then the other way to do it very similar is over and photo shop preferences file handling camera raw preferences same dialogue yeah no it's once you turn that one on its it's going to save you so much time in the long run okay so let's last one in here let's talk about noise and this is off of the original five d and it looks okay the way it is if I get auto it opens it up a bit. The problem with this one is if I open it way up like if I want to see what's going on on the street which I could do with the raw file now I've got a bunch of noise right um a bunch of noise now I like to use this file to show what we can do here um for a few different reasons I'm really exaggerating it so you can see it on screen their normal noise reduction best noise reduction out there and for a long time photoshopping light room just really couldn't hang with the best of what was out there but the best that was out there could get rid of grainy noise and color noise but if you did that you'd wash away detail as well. So if you would ever use pick your favorite third party noise reduction plug in on in the on light like this you get rid of the noise but you'd get rid of a lot of the neon light as well just couldn't tell the difference between noise and detail so what? I'll show you that we did and here uh accounts for all of that, too, so here's, how it looks, there was actually some noise reduction turned on their here's, how that looks if I open this up and let's first look at color noise, which you can see pretty clearly in the black area there. If I pull that all the way over, which is aggressive, I've just washed away the noise, but I still have the glow of the neon lights, right? That's pretty pretty remarkable the detail here is going to allow me to finesse how much detail there is, and the luminant slider is going to take that really chunky noise that's in the black area there. Now, you'll see, as we start going too far to the right, it'll it'll start to look a little bit like a painting. So what you want to do is partway through and then play around with detail. How much detail do you really need? Now? I'll say, at this point, there is another trick to consider. So say you have an image like this, and I think we've all bumped into images like this, and we really like the image we want the shadows to be brightened, but there's a lot of noise in the worst area of the image in the in the darkest shadows, so this is where you want to be a little smarter about how you read it because it's starting to look a little like a painting, so I definitely want the color noise out. We can all agree that the color noise and it's like that is a huge distraction. We wanna wash that out, but the luminous noise was a little more problematic. What I would do in this case is I'd come back here and I would this is when I would use the black slider and I would just take the darkest areas and pull those down see, we've taken the worst areas of the image and we've darkened them and they were going to ply our noise reduction a little more carefully to the other areas, so a lot of getting the right exposure is thinking about the problem that you want to solve. And again, mind you, if I were to get the option or all key, that turns there's a great shortcut in general, just throughout photo shop option or ault, plus the cancel button, it temporarily turns to cancel button into reset, let people know that one little don't so I can reset this whole dialogue any time I want looks pretty cool when it was captured, but that really wasn't what I wanted, so if you have the cool thing about noise reduction if you have high I esso noise, this happens a lot with mobile photographs that happens a lot with new ideas, solares but it really happens with older images because noise was a huge problem early on with digital photography, go back to those old images and try passing them through camera doesn't matter if they're j pegs doesn't matter if they're raw files. Um, invariably, someone will ask me. What about if I scan a file, can it help? They're not in the same way, but it could make it better. And if you wanted to just to show you how ridiculous you could be with this, if you really wantto get a whole different aesthetic we can we can turn things into a, uh, you know, almost like a painting using noise reduction. So we bumped the noise reduction up. We pulled the details down and you can you can start to smooth stuff out and make it look almost like a pain. Think you can use that in people skin to smooth it too. So noise reduction is most often used for living noise, but you can use it, manipulate the files. Well, all right, so let's move into photo shop that's a lot of time spent in camera wrong or light room and that's you should be spending a lot of time there you can do a lot of great stuff there but we'll get a little further into the nitty gritty and this is a good example of auto and photo shop now there's some myths that we need a correct here um this is kind of like telling people the magic wand is not always bad tool sometimes it's good um brightness contrast used to be bad now it's good dodge burn sharpened spun she's through that now they're good and auto used to be bad and now it's good and let me show you how it works so first let's go um to brightness contrast which the way brightness contrast used to work we'll go with use legacy is if you pushed it too far your data just went off a cliff in fact if you really want to see how it works uh what we'll do is we'll show the history graham on watch what happens the old way I use the legacy and I brighten that we're just shoving data away it's disappearing right and if I use contrast same thing it's gone there is no data just doesn't work so let's use our newfound trick reset not use legacy and even if I brighten this to the extreme or darken it to the extreme or add contrast or subtract contrast. We're still keeping it within the scope of your history. Graham s so it's one thing. The other thing is there's an auto button here now. And the way that that auto works is it compares your history ram to the history gram of thousands of professional photographers. We've got a whole library of history, grams, and we worked with a bunch of pros on this, and it says, here the areas, uh, what did she look like here, the peaks and the valleys. And we're going to just your history ram to theirs. And so if we toggle this, I think you could see that on our screen. Here. You can definitely see it online. It just looks better. And it does a great job and it's a great place to start. And that logic is in brightness. Contrast it's in levels and it's and curves. So let's, take a look at what it looks like in some of those other places and how it differs a little bit. So in here, you can see that actually have some options for auto and they are enhance brightness and contrast, and this is the new default. This one is content aware now, the way that it used to work is it did it per channel. And there's two problems with this for one thing, you see all these gaps in the history ram when we do that bunch of data fell on the floor and the image just kind of falls apart. The problem with doing auto per channel is you're going to introduce a color shift into the image because you're adjusting each one on their own. But the new way to do it, which is again on by default, is analyze image to do content aware, monochromatic enhancement and if that's what you do, your history ram is preserved there no gaps in it and there's no color shift. You guys don't need to remember anything it's just on by default, it just works, but if you used to use levels or auto levels and he didn't like the results that's because all it was doing was taking each channel and saying here's, the darkest area here is the latest area and here's, a neutral area works in theory, but in practice not so well, so again, the exact same results that we saw before now where this works the best is in curves and I have a joke but only half joke that the notion of yielding a perfect exposure by wrangling a diagonal line is not a very intuitive interface this if you're a seasoned photo shop user and you want to add contrast you know that you can pull down your shadows and pull up your highlights that you could invert that by doing so. But it takes you awhile of using photoshopped to understand what's happening and why what's really cool in here is that same auto functionality by default will not only adaptive lee apply and auto adjustment its content aware again? It's comparing your image, but it will plot points on the curve. So you know you notice it's plotted three points it could plot ten it could plot one totally depends on your image. You'll get a different result for every image that you put in there, and I would say between that and this little widget right here, which those of you who are in the last course will remember I was talking about this in light room, you have this little button, and if I click that now I can come over and anywhere in my image, I'm going to see a point on my curve wherever my cursor goes, I'm going to see a point in my curve, so if I want to refine that, I could grab the shadow and I could lift that up and bright in that area, if I want to take the highlights, I could crab that area. And pull it down and adjust that area so we've really made curves a lot easier to use the other thing that you have with curves here is a variety of different presets and of course you can load your own um I've talked a little bit about headlights over the course of the last couple of days and the fact that adobe has the ability if you opt in to see which features you're using, I can't see your image not looking your hard drive or anything like that, but we can see which tools in which menu items you're using and were able to tell hey tons of people use curbs curves needs improvement so starting and see us three in earnest on continuing on for several versions we just continued to make changes to curbs to make it easier and more powerful carves is really the backbone of any sort of great photo shop work flow as far as tonal adjustments go it's just a cz important as selections layering masking its it's really a fundamental so that's ah good way to talk about adjustment layers so everything that we do in camera or light room is natively nondestructive it's just a little text file that describes how all these sliders move, which is why if you've ever taken a raw file and separated it from that little that's, just a text file who needs it you'll see that the image no longer knows it's cropped and no longer knows it's black and white it has no idea what it looks like if it's a tng file that file sits within and it's got a rapper around it um and so in camera light room you can always undo it you can always share those settings you've got a safety net in photo shop you need to sort of know this secret handshake which is all about layers and adjustment layers allow you to do all sorts of really cool stuff so let's just take a really quick walk through those now this is one of those areas where there's a lot of redundancy in the application almost everything that's underneath this menu is replicated over here in your adjustment panel and all of that is replicated uh within your layer panel under here so a lot of different doors that lead into the same room the ones that are under the image adjustment menu are destructive the ones that are under the layer menu and over here in the adjustment panel are non destructive they could be turned off and on they could be blended you can adjust the capacity they could be shared with other files um they're going to create a larger file but the benefits far outweigh uh any sort con so anything I'm doing it's easiest to just drive it from over here so if we do something like brightness contrast. Watteau what is going on? A fun time with that? Anything that we dio, we can turn it off and on. And the other thing weaken dio is we can cut through it. You can play around with the capacity to fill. We can play around with blend modes. Put a very, very powerful. You get some really neat looks by doing that at any point with this panel, you can delete your layer content or your masks levels. We talked about curves we talked about, um exposure that's a really, really simple one and it's very heavy handed. I will talk about vibrance real quick because this is actually the same logic that's in camera or light room. So here's a great example the difference between saturation, all right and vibrance. See how more restricted and normal vibrance is. Once you start using violence, you don't have a lot of use for saturation. I was wondering what what was the difference on the layers panel between opacity and phil? Right? And so what I tried to do tow show it to myself visually aside, you're a shape and I thought, ok, let's, take a red circle, pull down the capacity I can see through it, put on the film and I can see through it set it to fifty and I can kind of see through it said to fifty on the other one and I'm going to see through it I know there's a difference I don't know what it is someone out there definitely does yeah I've also had that same question when you grab your air brush it gives you a pass ity and then another remind me with that other option is flow that's always been the debts that one is a dynamic of the brush and a lot of these things air pressure sensitive and so they will only work a certain way when you're using a tablet but as far as a pastor and phil I wish I had an answer for you that's a great one thank you for stumping yeah let's have a quick when I noticed when you wanted to set the saturation back to zero you had to go in get the zero button sometimes you can double click and we'll go to zero and there are other controls you double click it yeah in the camera ron light room you can double clicking it will and there's a couple places and photoshopped that air newer where they were saying I love what they do in cameron light room um it's worth mentioning that after twenty four years there are definitely some inconsistencies in the there's been a lot of different hands that have touched it were always striving to have more consistency in it, but there are a few things where you're like when I love the way it works over here, why doesn't work that way over here? What I love is occasionally I'll go into some strange little place and photoshopping I'll try something that worked somewhere else, not expecting it to work, and it just works that's like, oh that's so thoughtful that's so thoroughly engineered some brands, people popping in the chat rooms, but I'm just going to read one from peach pit because there is as incredible as anyone. The difference between the two is while layer effects are effected by layer opacity, phil doesn't affect them at all. Okay, so a better name for it then uh would would be tying it to which which affect your applying it sounds like it isn't different for certain things, and it is different for others yeah has and from the chat room it doesn't affect layer up layer of fat gotcha like a like a drop shadow catcher makes sense there's my lesson for the day it's great, I love that. Ok, so just a couple more of these I don't need to show you every single one hugh saturation zehr really cool and because there's a couple things that you can do here that are really, really need in fact, I might show you a little trick from the black and white of course although I think a lot of you have seen that but with you saturation yes I can arbitrarily choose from these different colors and I can apply different presets but what's really fun is to take this little on image widget here and grab a color in the image and pull it left to right and aiken de saturated or saturated and this particular image doesn't have a lot of different tones in it um but let me we pop over and find this other fire world quick it'll be worth it if we come over here to her black and white course that we did and remember where that could put this oh I'm not gonna remember now well let's just take a colorful photo and I will show you on that ok? So let's just take any of our more colorful photos one of the cool things that you can dio um with this in houston that is take that on image control and we noticed that it can make this area bluer or less blue but if I were to hold my command key I can change the hue all right? So if I want to change colors I can do that on image so if I want to change the color of this you know this amount for the binocular here I just command click on that and I can change the color of that. So if you ever want to know like how to change the color of someone's t shirt or something like that, you just selected and then pop in here and it will create a mask for that so here's the workflow let's say we just want to change this yellow tone over here I make a selection and use my quick selectable grab that little area there. Get that area out there that theory I want to change going come into q sat it's automatically created a mask for that and see that my saturation is goingto adjust it there. But if I use my little on image tool which, again I don't need to know which color it is, I click on there to adjust the saturation and I clicked command to change the color, so I get that one a lot. How do I change the color and the image of just apart certain part really, really handy for that? All right, color balance, that ones pretty straightforward. The thing to remember here is it's not just the mid tones of the shadows and highlights as well and when coming from any sort of pre press background or anything like that, this is where you can suddenly refine that if I want to warm this image up, even though I do have some areas for that um, I could do that quickly and easily in here, as long as I have a good grasp on the color. Um, if you're coming for something like a light room, you might find that the photo filters are friendlier if you want to just warm this up to really easy to do that right there of cooling filters, warming filters and all of your classic photo filters. And here is, well, these air just veneers, but you do have a lot of power, and if you consider that you've got the density, which is kind of like this strength, but then you also have our opacity, which cuts through it. You can really refined the results quite a bit. Channel mixer, there's, there's, all sorts of cool things. You could do it black and white there, although, as I said in black and white course earlier, they don't think that you'll do better terror in a lot of ways do this. They're multiple books on a couple that I co authored about black and white, but using the black and white adjustment there gives you a lot more control and there a lot of things that you can do in here, so the workflow for those who might have missed it before. The best work flow is to adjust your image before coming in here get the best color image but this one's a little dark we're going to work with it anyway I'm gonna hit auto which is going to introduce a little bit contrast between those channels and then again, while I could grab these individual sliders I'm gonna grab a little on image widget and say I want this area brighter I want this area appear darker I want this area down here brighter I want this area brighter, her darker and I can adjust those I could even ten thiss here although truthfully for tenting I would recommend that you use camerata light room for that you could do you could doom or and it's easier as you can see we can stack all of these we could turn all of these things often on weaken reorder them um it's really the key to having a lot of flexibility with your files there one other one that I want to show you, um is around grady and map in black and white. We covered this one with black and white earlier. If you're coming from light room if you're coming from camera raw if you just want to quickly and really easily change your image I would come in here and go to grady and map disclosed this come into your little gear and come down here to photographic toning these air not loaded by default you'll need to load them yourself but once you do you'll get this list of things and these were really, really great um there a lot of people don't know those air here in fact, I would say that anyone has never heard me speak does not know that those were there I don't know how you'd find them otherwise they're bigger they're buried for sure uh there is one last one I'll show you that I did not uh haven't talked about and it's intimidating this this name doesn't mean anything to most people color look up okay and it will greet you with a very scary dialogue here talking about three d lutz and people are already looking at me like well why have we entered this place? What are we doing here but in here there's all sorts of really really cool previous with uh presets with crazy names futuristic bleak never named these edgy amber uh chris warm look these were really powerful and they're really fun they're kind of like, you know, mobile presets or instagram presets and a little later I'll talk about video there's all sorts of things that you could do with video with ease that are really really cool as well bring his question about that um color look up is it really just appreciate preset filters that will change the look of your yeah, for the work flow that I'm showing think of it is just really cool presets wired to an adjustment layer that you could change I mean, I could take one of these like that particular one that I chose and I could apply a crazy blend mode and I could pull down the opacity and I could get some looks that I could never get otherwise there are all sorts of uses for them in three d I think a lot is a lookup table, right? It's there's there's a whole other world there. Okay? I mean, there really is there's literally a whole other dimension. Okay, thank you. Sure, sure. So? Well, well, we'll stop there, but adjustment layers if you're not playing around with used correctly with masks with blend modes with opacity, khun give you a level of fidelity in detail that you couldn't get anywhere else if you're looking for just dramatically changing your image, even something as simple is coming in here and let's just say we did the brightness contrast on auto just playing around with our blend modes just playing around with how those layers talk to each other and I showed the example earlier of lightning somebody's eyes and how how amazing that can be um maybe I'll show that one again in a second but these will give you a really great results and they'll they'll help you break out of, you know your little trap like kind of hit the wall in light room, I wanted to look different, come in there and and apply a curves adjustment layer are apply a some sort of color balance adjustment layer and then just cycle through your blend, moz, and you can get some looks that you would never get otherwise that would be great if you could show that again in the last class, people were asking for re watch on that, so sure on the ice let's do that one right now the risk of wandering around through my folders a little bit to go ahead and do that. So the last one we're talking about black and white, we're talking about selective it it's really about eyes? Ok, steve, our program manager is blushing right now. He doesn't even know why faces up in front of everybody, but we want to do is light up steve's eyes, and steve has blue eyes and they're bright and you can see them really well, but in a black and white image, not only are we were moving the color from them, but they're there, you know, sit into his head and their shadows, and they're kind of dark and we want to light them up, and kelly castro was one of the, uh quality testers on the live from team and it is an amazing photographer showed me a really cool trick that I'm going to show you guys we're just going to take our quick select tool we're going to use control option or control ault well, we're holding those down we're going to drag left to right to change our brush size we could drag up and down to change the hardness and I get that where I want it and I just click on his eye and it looks great I click again to refine it if I wander out my option click pull it back in that looks pretty good I'm going to shift click to add that the other eye and I can refine that from there if I want to scare myself, I can come in to refine edge and we can see how those look we wanted to smooth that out a little or feather it we can do that once I'm satisfied with my selection, I'm gonna have command see to copy this election command v to place his eyes there and then all we're going to dio come down here to color dodge and we're just going to turn the headlights on behind his eyes like those up really cool technique and makes a big difference yeah, thank you sure so talked about talked about adjustment layers let's talk about a cr as a filter this is here we're in, kameron we've already talked about how to move our non raw files into there, but what about all the other files that aren't tips that aren't j pegs? Um, what about our p s d s? What about if we want to do all sorts of crazy edits? I can pass just about anything into camera. Now, this is for photographers. This is, I think, the hottest thing and see see right here, it's essentially stuffed late rooms, develop module into photo shop, and you've given it selective edits and blend modes and all the cool stuff we've been talking about and all you need to d'oh to use it is come up here and say filter will to use it to its utmost convert that to a smart filter so that it's non destructive um, I'm gonna come to camera raw and we could do pop right into camera robbed from here so we could do all that stuff that we were talking about earlier. We can have access to tools we don't have in photo shop like temperature. Um, like clarity, we can do things we couldn't do like noise reduction. If there were noise in that we could do toning, which we can't dio weaken doom or around lens correction, we could do additive grain. We wanted to do that we could use vignette ing you do all this cool stuff that we can't do anywhere else and let's just go ahead and save that as a it was a pre said let's call it today is that okay? And saying we're going cancel out now let's say that I had a selected area of the image or to selected areas of the image and I went in there it's not going to preview all of that because it's it's a plug in there's only certain things that khun d'oh but if we apply this result and click ok and we come out of here, you'll see that I've applied that to selected regions of the image so you have camera wired up to selections and masking so if I do that if I wanted you see, I've got a a mask built there and I could do crazy things like play around with blend modes or rapacity I can do all sorts of stuff like that this is really that's a that's a ninety one of course on its own just what this means to photo shop it's it's really a big deal the question is there a way to import um light wind presets into that's a really good question? Yeah that's a really great question the files will travel over with all the instructions in them I don't know I don't know this is you know what? This is a good time to do something that I have not done this weekend um what's we're all gonna think I'm crazy when I do this but that's all right people are so nice when I do this I'm I mean I just hope they keep being nice that's my real email address it's not it doesn't land somewhere else feature requests tricky questions that I didn't answer if I don't know the answers to them I'll find somebody else that will I can't promise that we're going to lifelong pen pals but I will help you find the answer to your question I promise I will so yes, we make that a little feature request question in this little section two could you pop back to that last when you get a chance to that last slide that you were the image in the camera filter everyone's seen that now correct me if I'm wrong um the camera raw filter that we were showing has a single mask yes so what we did was we made this a smart filter which just said would make this nondestructive I had a selection I actually had to and when I came in here whatever I did let's just do something absurd like that we came out it's now applied that to that mask correct any potential future of multiple masks for smart filters uh yeah, that would be really be really great I will tell you it's stuff gets really complicated really fast because these are all references to other things and it's about the math it's pretty wild but smart filters air really smart filters and smart objects are really powerful because they take non destructive to a whole other level there and used with camera raw, which we'll talk about in a minute you could even do things like video with camera there are some limitations there are some limitations with brushes there are some limitations with masks they can't do everything think of smart filters as filter layers you're you're not stuck in the moment so if we were to just revert this image to where it was just a really good primer for people and I think I showed this earlier if I came in here and I use smart sharp in which is a great way to sharpen and we bump this up so much more than we should just make it look terrible we're stuck with this right? This is our image and that used to be the way that that wass however if I had made this a smart filter and I had come in here and on the same thing at any point down the line, not only could I toggle the effect often on but I could come in there and I could change the parameters so these will make your files a little bit larger, but they'll give you the same flexibility that you have with layers with filters. It's just one of those things you want to do every once in a while someone asked me well, if this stuff so great one and just turn it on by default world's not quite ready for that one yet images get large, you lose data when you save in an unsupportive format, but I think there a lot of us that would love to say always promote a layer based workflow and that was sort of the original idea. This is something that I worked really closely on undoing the adjustment panel. As we said, we're going to put our really discoverable nondestructive workflow right there people's fingertips so whatever they dio is just natively uh, not destructive. All right, we'll talk more about cameras, the filter in a minute let's talk about hdr. Um I talked about this j r with black and white and weaken. We can look at that example if we like um but hdr does not have to be this eye bleeding crazy, ridiculously oversaturated stuff it's they are done correctly can just yield a proper exposure. I would I would go so far as to say hdr done really well and hdr stands for high dynamic range or thirty two bit editing done really well you can't tell the difference between a proper exposure and an hdr because your ice season hdr I can hold my hand up in front of a bright light source and my I can resolve the detail in my hand and the detail behind it in the light, the camera sees a pretty narrow dynamic range, so capturing multiple images and combining them together it's actually going to produce an image more like what you're I saw it's only when you below these halos way out and everything's ghosted and crazy but your eye gets a little bit confused you think you're looking at a thomas kinkade painting or something uh doesn't quite look right sorry thomas kinkade ok so let's ah let's load some files here and look it with work flow is like and it's gotten a lot better in push ups you see, which is to say it's gotten a lot easier so I'm going to come in here and I'm going to say automate and there's tons of cool stuff and automate merged two hdr pro and we completely redid this for cs five I'm gonna browse here into my hdr files select these these air from the iphone just to show that you can actually do quite a bit using what I did is I just meters off of highlight shadows and midtown's hdr in the iphone out really the same thing? It's pretty cool, but it's sandwiches it all into one j peg compresses it all on a click open and messy attempt to automatically align source images and so on its way in there it's going to align those okay, so three images it doesn't really hold on to the exposure data there, and they're kind of a mess if I unchecked this, I will see, though that there's a ton of shadow detail and there's a ton of highly detail, and I've got some issues because there's ghosting so one of the things I can do is say, remove ghosts and we can lock on to the content in anyone image and then I can say complete the toning and adobe can rock what you don't want to d'oh is pushed this into sixteen bit because it's all going to get compressed and you're gonna have three times as many sliders as you need, and you definitely don't want to do it into a bit. You've got three or more images, use the data there to really get to it don't worry too much about what you see here, because when you come over to a cr, you're going to have a familiar set of tools and this these are very low res um files were working from here, but what you see is aa lot of dynamic range so I can pull this down pull that down I could light our shadows up here and with an image like this if it is posterized like this I'd probably, uh go black and white pretty quickly just sort of steer into the problems with it and have more fun with it you know, start doing something like that or that um but you can do these things that are sort of photographically impossible with a single image in fact let's take a really quick look at one of the other images I'm gonna keep tracking back to my prior versions but I think the black and white ones really told the story pretty well as well. So okay e I'm assuming that because you took the photo with an iphone you weren't using a tripod so but but you don't have any problem it doesn't have any problem aligning the images you should okay there's like a couple of things to be really sure of with hdr right? You're taking multiple images so there's the content shifting around right which is a big problem like clouds blowing past grass, moving water sales flags there's that stuff and then there's your camera moving around and luckily photo shop is really good at the latter it's really good at aligning content and as of recently it's really good at the former as well which is saying of the moving content how do we remove ghosting so let's let's take a quick look at that and I I'm gonna come in here to hdr again and we're gonna load proper resolution files are files that weren't from the iphone a list and we'll come into the ones I used for black and white earlier and this is an extreme example it's eight images which is crazy you don't need eight images to do an hdr uh merge, but it will show ghosting and it's a good example. If we were to look at those individual files, you'd actually see that I didn't shoot them on a tripod so the cameras wandering but the content is wondering too and it's really obvious up here so just by hitting removed ghosts it's going to look through those and take the ghost? So if you look at this area over here it's going to take that out of there and if you notice really carefully it's mapped the content to this one image down here if I wanted to override it and say I like the barbed wire in this image I could click on other images and haven't mapped the content to those but it does a good job of automatically selecting which one this will give you a better example of what I could do with an hdr image coming into camera raw so it's going to take those eight images which again is kind of ridiculous I can pull the exposure down, I could bump the shadows up where this really gets to be fun is if you take that image which is already pretty impressive, but then let's make it black and white and then let's apply to graduated adjustments let's do one too, the sky and let's do another one too foreground, and you can see that you can do some really, really fun stuff with black and white or color in hdr, so don't think of hdr as this crazy look think that is something that can be really realistic or contrast here just have a really broad, dynamic range rocket with an iphone. How would you back with my iphone has a really, really good create question? Um, the way to bracket with a slr is you want to under expose at least one image shoot one on and she won over exposed you've got a nice little dial for that with the iphone. What you need to dio is, you know wherever you touch it's focusing and its meat oring so you wantto luckily, it focuses on just about everything. If you've ever tried to get shallow depth of field with an iphone it's almost important impossible, so you want to find the brightest area in the image and take a picture find the darkest area in an image meter take a picture and find something in the middle and meter and take a picture, and in order to use hdr, you need at least three images, and it works pretty well with an image like that where I've got the church backlit by the sky it's really easy to say exposed for the church supposed for the sky and then somewhere in between for the middle and if you wanted, you could do like six images right across, and you have that much more to work from. So hdr let's talk briefly about, well, two other things if he wanted to use your hd ours in light room, all you need to do is when you're when you're in there and you have that thirty two but file choose not to go tow a cr, go back in the photo shop and just save a thirty two bit tiff, take that merged file and save a thirty two bit foot tiff and that's what this is right here, and if I wanted to, I could take this tiff and I could hand it to light room, or I could just open it into camera raw and again, this is a thirty two bit file on what that means is there's tons of information in the sky and there's tons of information in the shadows, there's just a lot more dynamic range so that works really, really well. One of the other things we can do is what we call faux hdr. If you only have a single image. But you want to replicate the really over the top esthetic you can call into what's called hdr toning. And you've got all sorts of different presets in here. And you can do all sorts of crazy things. Now, these air these air skewed more towards, um, less realistic, wild, crazy, the aforementioned harry potter stuff. But you can have fun with this it's. Anyone who uses, like topaz adjust or any of those you can replicate that pretty easily in here. So this is a way of saying, hey, I like that look of those over processed hd ours. How do I do that in photo shop? There are a lot of controls within hdr. Tony. This is the one that preceded the one that scott did a bunch of surrealistic one there, tons of them. And you can save your own. I think any time you have more than three sliders, you need a preset mechanism. So we put one of those in there. One other thing to mention before we do that, that is not, uh, an adjustment layer, but is very powerful is shadow highlight. This is one of those things where when this first came out I think it was really overused but this is a great way within photo shop to recover the highlights and the shadows I think that these days I'm using camera raws own highlights and shadows a lot more but you do have that capability with info show a lot of people ask why can't I have shadow highlight has an adjustment layer because you have it on camera raw and you can't have that is a smart filter that's a great way to get around that right? So let's look at some localized adjustments in photos any more questions for I did way always have them but I think in this section we're good yeah, thank you great okay, so I mentioned before that there are a lot of selective editing tools in photoshopped that didn't use to work well and do work well now so let's take a look at some of those and any time you're doing selective edits, you want to double click your zoom tool and get in really close and we can sort of see the area that we're focused here. Um license plates a good example for this first image I talked about sharpening a little bit I'll talk about it a little bit more sharpening you want to be one hundred percent if you are doing a little bit of sharpening which all images need lite rumor cameras great for that if you want to take it a little bit further smart sharpen in photo shop is a better way to do it it's better than on sharp mask it doesn't have a weird name that everybody remembers it hasn't been in there for twenty four years, which in short mass probably has but it is a superior way of doing it uh the on ly downfall of smart charming is there more sliders? Maybe it's not as easy the first time, but as a preset mechanisms you can save things and get right back in there so let's just look at the the two most common one on sharp mask the benefit simplified controls really easy to use it's all right, there you can actually replicate those exact effects in smart sharpened by choosing causing blur and you can get the get the same effect. You can even use the same values there. You don't have the third threshold slider, but you have amount and radios and you have a noise reduction one as well. The most powerful way to use smart sharp in which you'll notice has its own little loop I can click on and they'll give me before and after is to set this two lens blur and then just gradually build up your amount your radius and if you are generating noise, you can reduce that right there what's great about this a couple things you can save presets and you can combat areas in the shadows or in the highlights so you're essentially selectively sharpening now when it comes to selectively sharpening let's say I only wanted the license plate sharpened the traditional work flow is you select the entire image of duplicate the layer you past filter on the whole thing and then you are race all the spots you don't want what you want is a brush based tool and the most advanced way of sharpening within photo shop and I mentioned this in prior of course because we've looked at all the sharpening technology out there I know that this is the best way to do it is actually the sharpened tool and it's amazing how many people have they can't even see this anymore they used it one time and their eyes don't even register the sharpened tone anymore and the reason they don't see it as a long ago they tried it once and they got this and nobody actually wants that all that's that's the artifact tool um but the way that it works by default is protect detail is on and even with it turned way up I can come over this and I can sharpen content you can even I said before that sharpening really is just localized contrast you khun you khun essentially buy back focus using this tool this is the best way to selectively sharpen if you're patient it's the best way to sharpen the entire image now the correct workflow here would be to duplicate our layer so that if we do really overcook this, however we're doing it, you'll notice I've got that turn away up I could talk o it I could fade it you just have a lot more control and it's not destructive especially when it comes to sharpening it all depends on where this is going to end up it's gonna look totally different if I printed out full rez than if I push it to face spoke of the web or something like that but really, really great way to sharpen your image and there are some other great, um selective tools as well the dodge and burn tools to take a quick look at those it's just for the sake of changing it up we'll get a different part of the image the way that these usedto work dodge I'm gonna kick that up a little I used to just bleach the image with protect tones it's on lee going toe lighten the mid tones if I switched it two shadows it's only going to open up the shadow detail I can see under the hood there now these were really, really well this is a classic use case of photo shop this is taking us far as you can and broader light room you come in and have your selective edits in photo shop if you have ah a tablet or something like a walk in tablet this is all pressure sensitive in the work flow is you just build it up gradually just subtle strokes and you pretty much just moved through the different tones that you need exposure of sixty one percent that's a way too high he would have that turn down toe like five percent and you'd just be gradually building that up. Um the other place that you can do that is with burn so burn highlights pretty obvious what that's going to do there even more obvious if I come into the mid tones but it's just grabbing onto those tones and the last one is sponge neil notice that sponge uses vibrance so without it I'm going to get pretty crazy results right? If I was using that on the person's face, they've become sunburned very quickly I'm using vibrance it's just going toe it's just like using the vibrance tool in camera rockets going keep that all looking good and so all of those work by default they're on by default if you were to plug in a walking tablet or something it would just automatically be pressure sensitive but yeah that's that's definitely stuff you want to be doing and photoshopped the blur tool and a smudge tool worked the way they always have those air inherently pretty destructive processes. So there haven't been a lot of changes to either of those but there's, we sort of systematically starting and see us for started going through those and fixing them because there is a really powerful brush engine under the hood. All right, so this is an interesting one, there's. A lot of different ways to solve this problem. But this is myself. And some friends show the correct workflow. Well, duke, that it's a great example of how I can come in here. And I could take the dodge tool shadows, and we could come over each of us and right in their faces a little bit. Now, one of the things I noticed is that the color temperature on our faces entirely different than tom's over here. And one of the things that you can d'oh because you could sample that color, you could take your paintbrush. You could switch that to any of your many modes just for the sake of simplicity. Else which it to color. Pull the capacity way down and no way down. And you could you introduced that same sort of color temperature in there. You want to make sure you use layers you want to make sure you take the time to do that, but you can sample colors you can dodge and burn you, khun saturate or de saturated. Another way to do it is I could come over here to tom and I could take my sponge tool that could set that to de saturate. And I could get his face looking more like ours originally hat to have a lot of selective controls did know a lot about the pixels underneath them. You know, just to show you guys I know this isn't a retouching course. But just to show you guys why I usually use this and I think it's a great years of it, this is a great example of where I personally use content. Where, phil, you can just come in here and delete and removed badges. I don't know if you this is great. I like this picture of me and my friends and co workers to these guys. I don't work with anymore, but we look ridiculous. You were wearing badges. May well, keep kevin looking ridiculous. Um, but, uh, it's cool. I mean, you can come in here and you can just you can fix this stuff up really quickly and you know, we can give thomas jacket back I have a lot of power with your retouching tools in your selective editing tools. Sorry, kevin uh there wasn't there wasn't time to fix you up. Uh, yeah, that's what I originally used that file form ok, let's talk really briefly about pano because a lot of your perfect exposures are not just a single image. They're multiple images and these were this this's thiss crazy day out in the desert where if you look, you'll see that there's snow on the mountains, but where I'm shooting the picture from it was like ninety degrees, so I had just driven through this snowstorm we came around the bend and that's what the sky looked like I haven't done that much to these images, but thankfully I stopped and I took a bunch of different photos of this and pianos they just could not be easier um and the work flow if we were in light room, the work flow is that you just multi select your files and you control, click and go edit in merged panorama for with the photo selected you go photo, get it in merged panorama if we're over in bridge, we select those we go to tools photo shop and I'll show you from within photo shop how to do it as well, and it just works it just infected work so well I've even thrown it two sets of panoramas mixed panorama is that we're not intended to go together and it farm them out two separate sets so let me show it to you in action I really encourage you to shoot panoramas to the point of your question before and stabilizing well, you should absolutely shoot on a tripod I never do that with my sample files because I imagine that's how most of the world is so the panel about to show you was not shot on a tripod and it still does a great job just make sure that you overlap some of your content so again automate good stuff is hiding and automate thought emerge we're gonna browse and we're going to go in here and my pan owes and I'm just going to shift click to grab those and I've got some choices here blend the images together geometric distortion vignette removal I'm just going to leave it on auto don't worry about any of these other things over here those air memories of when it didn't work as well did still do all of it but it's not necessary you just click ok so pure water photoshopped do its magic right? I mean it does and hossam awesome job you'll notice it it creates a mask on each and every one and then you know invariably you have a couple of choices here and they are ok, well, I don't have a picture frame shaped like that so I can crop it. Um and some of you may have seen this one what's really cool, I think is great use of magic montel is aiken just select this let's go ahead and expand it few pixels I can hit the lead and I can let content aware do it for me and it will look through the image and fill it in which just those are my images that I took in the desert of years ago. It's not some crazy canned demo file um, it's really? While content or feels really great for panoramas because the way content where phil works is it looks at neighboring picks sal's, and it learns from what it knows about the image to phil what's missing, and we normally think of it as a subtracted measure where you're removing something, but you can use it to add something as well. If you rotate a crop and have a white corner it's great, you could just fill that in no problem, this is a really extreme case and it does a really nice job it's just picking up where the edges of the pixels left off and you can see it sort of takes creative license, it does its own thing all over the place and where it can't it will. It will repeat content a little bit like you see at the bottom, but up here in the sky, it just thrives on that says I see a pattern and I'm gonna continue that pattern works were really, uh, really well, quick question. And is it going to be the same every time? No that's what I was wondering, you know, it's a it's mainly intended to make presenters like myself, very nervous. There is a random element to it where every once in a blue moon you'll get what's called content where fail, and it will do something totally different. But with this hiring an artist particular image it's it's ah it's, pretty reliable it works really well, it really does it's, I know we're not talking about retouching here, but if you're shooting panels, you pretty much need to know how to do that because you're always going to get this kind of bow tie or wonky looking image, you're going to fill that area and there is another way to do it. Um, let's say this is the image I had, and I want to change the proportions of this image. I wantto I want to fit a frame I don't know if anyone's tried to frame a panorama. It's really difficult they only make a few sizes you pretty much have to do a custom frame so let's say someone said I want this to be a three by ten so I wanted to be shorter er the workflow let's first give ourselves a larger canvas let's just make it really now let's leave it at that. Okay let's do this let's make it really tall huts foreign is all we'll make it fifteen inches tall ok, so we're going to take this and we're going to select it ok? And then we're gonna come over here too content where scale? This was the first of the content aware tools a lot people don't know about this one and I can grab this and I can make it smaller and it's just going to start removing pixels intelligently or I can come back to my original size and I could start making it larger and it's going to start growing it I could pull it in from the side and it's going to start rejiggering it could make it a vertical image. This is one of those features a lot of people don't know about and it is so cool and the men's room sign here if you were to click on that uh that would protect people in the image from becoming wildly distorted or you could select something and say protect that area but content aware scale is it's a really really neat feature now okay a couple more things I want to show you why working we talked a lot about sharp nine so I mentioned before that we could do all this crazy stuff that we can do with photo shop to video and I know a couple of you know this something if you saw julianne's course but when it comes to yielding a great exposure with video we see that when we come in here I can play this and confirmed that that's credible video from from me royalty free video my archives I've got some basic transitions can fade in here I can fade out come back that will apply right there and if I want to change the properties of the video all I have to do just revert this sore starting clean is turn this into a smart filter and when it's a smart filter I could do just about anything I could come in here and I could say er and I should mention in I believe what's a quest from the camera companies toe make video file smaller they've decided that that tiny little text file of exit data that describes what camera used it is thrown out so that that information is discarded so you'll need to tell it which camera you're using this was the cannon five d mark two you'll notice we have a profile for the phantom helicopter here for the apple I phoned if I wanted to do that, but this was taken with a cannon five d mark to anna's ice fifty millimeter lens you can't do this in any sort of video software I'm doing lens profiling ah video it is a great land and I joke that you remember because your probably still paying for it it's not cheap lands you could do that um and you you could do all this other stuff too. You could take the video and you could do something like oil paint you could tio camera raw and this I think, is it's a great note down don? Because I can do crazy stuff, but we've been talking about this whole time I could have all the fun stuff we've been learning in camera raw, I can come in here and I can have some wild vignette and all the rest of this I could feather that I essentially of camera raw or light room running on video and what I'm ready on done. I just come up here and I export that I render the video, I've got a few different formats and I've got a ton of presets and just super super easy so a lot of people are intimidated by video video could not be easier in here it's kind of my movie grade basic editor wired to all of the power of photo shop I just have a quick question back when you were talking about dmg files yeah just saving a danger if while you have the shin to put the original file into the container yeah it's almost like this is your place to question in the room but there's one thing I love to talk about its tng um but there's so few things I could take credit for but I named tng way back when this that's one of my tiny little digital negative so we're thinking there um dandies are super cool ah a lot of people I feel funny about converting their raw files but I'm just going to give you a really long answer to your question yes you khun you can put your original uh raw file in the d n g and that's really tio appease people who were worried about losing that original but essentially here's the story there's five hundred son proprietary raw formats we have no assurance that they're going to be supported down the line for those of you have been doing digital imaging for a while to think back to the kodak photo cd that was that was a standard kodak completely abandoned it they didn't support that anymore and all those photos cities we supported them as long as we could but a couple of operating system shifts and there was no support for the code and they were left behind and so those are all just frisbees now um and that could happen to raw really easily I mean they could canon and nikon or anyone else could decide we're going to draw a line at this particular place and those proprietary formats that came out and you know two thousand are no longer supported so dingy is our way of saying we want we want there to be a standard want there to be a timeless format and we've got a pretty good track record of making great formats like psd and tiff having a strong voice and j peg pdf and so the energy is that for raw files in addition to being backwards compatible I can do things like if I have you know the latest cannon five d mark three and that's supported say in light room five and it's not supported in light from two as long as I converted to a d n g it could be opened in an older version of light room in fact I can get a free dragon drop uh the energy converter which we rev whenever we rev camera and I can convert my new camera to write of the energy that I could open in my old software so it also makes your files smaller unless you stuff your older all file in there it puts the settings inside them they can't be separated and it gives the operating system a preview of what the raw file really looks like so say it's black and white with a sepia tone and it's cropped if you look at a normal raw file in the u s it just sees a raw file but if it looks at a tng it's he's a j peg preview of they're all file and shows it as it really is more and more people are writing to dmg there's every reason to go with it and no reasons not to super super long answered your question worth it what does that stand for digital negative now which is kind of a stretch because there's no biggie a fugitive yeah I met the guy I mean this's very impressed just say so another and love in the same round e one or two before we go out questions just from medio do you ever go back and re process your old photographs as photoshopped gets so far advanced yeah especially with raw and then a couple of times that I've done it as we revved camera and lay terms develop module and if you ever look through there there's there's a few different years that time stamp when we change the process version len's correction was a big one when we introduced that it just fixed a bunch of old white angle stuff noise reduction it was a huge one and shadow on highlight recovery was another huge one as well so yeah I mean that's it's good and bad news you know, you spent all this time editing your files and then way do evolve the technology, and they're certain problems we can solve now that we couldn't solve a year ago or five years ago. So, yeah, I do that all the time. Also, before we head out, could you talk briefly about color space in your workflow as faras, like color management on that goes, yeah, that is a that is a big and deep one. I will just say I'll give you a really lightweight generic answer that light room and camera raw just do the right thing by default, which is wonderful. So let's let's limited toe photography because it could be on much bigger discussion than that. The images that come off of your camera that passed through those are handled as they should be by default. All of these things are brokering a transaction between a device, your monitor, your software and some sort of output, like the screen or the printer, uh, it's like a four or five way handshake and it's a wonder that anything ever looks just as it should. And then there's wild cards like the web or the ipad or the iphone, which aren't color manage at all. Luckily, is more things standardize on particular colors. It gets easier. But I would just say, for those of you who are getting into the digital photography slung is you're using, you know, camera are light room. It takes the worry out for you. And it just does the right thing.

Class Description


Bryan O’Neil Hughes, Principal Product Manager, will show you how to best integrate Adobe® Camera Raw/Adobe® Lightroom® and Adobe® Photoshop® Creative Cloud® into your photographic workflow. Creating powerful imagery is easy when you know how to use these applications together.


Software Used: Adobe Photoshop CC 14.2

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