Adobe Bridge CC and Adobe Camera Raw for Beginners Part 3 - Focus on ACR | Sandy Dee | Skillshare

Adobe Bridge CC and Adobe Camera Raw for Beginners Part 3 - Focus on ACR

Sandy Dee, Sandyseyecatcher

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27 Lessons (1h 25m) View My Notes
    • 1. How To Open An Image In ACR

      4:58
    • 2. ACR Basic Development - White Balance

      2:49
    • 3. ACR Basic Development - Exposure and Contrast

      4:15
    • 4. ACR Basic Development - Clarity and Vibrance

      2:44
    • 5. Tone Curve

      1:16
    • 6. Sharpening And Noise Reduction

      5:10
    • 7. Grayscale

      5:12
    • 8. Split Toning

      2:25
    • 9. Lens Corrections and Defringe

      4:12
    • 10. Effects: Vignette

      3:28
    • 11. Camera Profiles

      1:39
    • 12. Presets

      2:00
    • 13. Snapshots

      2:33
    • 14. Histogram

      3:13
    • 15. Loupe, Hand, White Balance

      4:14
    • 16. Targeted Adjustments

      1:56
    • 17. Crop and Straightening

      3:29
    • 18. Transforming Images

      3:38
    • 19. Cleaning the Area with the Healing Tool

      6:03
    • 20. Red Eye Fix

      1:25
    • 21. Adjustment Brush

      3:12
    • 22. Gradient Filter

      2:04
    • 23. Radial Filter

      2:04
    • 24. Rotating and Toggling Images

      1:33
    • 25. Opening up a Smart Object

      5:13
    • 26. Saving The Image

      3:03
    • 27. Image Before and After

      1:40

About This Class

Welcome to our course Adobe Bridge CC and Adobe Camera Raw For Beginners!

*** This is part 3 of 4 where we go into much more detailed editing information in ACR - the meat of the course! ***

Most photographers think they have to use Lightroom to organize and enhance their images and didn’t even hear about the fantastic inbuilt catalog system called Bridge, and the even better image developing program called Adobe Camera Raw - or ACR for short. Which is a shame because not only are both programs very easy to use, but they are absolutely FREE and BUILT into Photoshop!

So understanding how to use Adobe Bridge efficiently and enhancing your images with Adobe Camera Raw are vital for developing a great workflow within Photoshop and I will show you how easy it is! 

This course is for photographers who would love to enhance their images whilst also organizing them, so that they are easily accessible. No matter if you are shooting landscapes, cities, wildlife or portraiture - with this tutorial you can develop your photographs to their highest potential.  And with the images that you can find in your course materials you can even work side by side with me. 

So - what will you learn in this course?

In this course you will learn:

  • How to access Adobe Bridge
  • How to organize your images 
  • How to download your images into Bridge
  • How to access ACR and how to create presets to guarantee fantastic results every single time
  • How to sync your settings to save time in your editing workflow
  • How to combine single images into a Panorama
  • And so much more!

I will show you step-by-step the most important functionalities in Adobe Bridge and ACR. 

At the end of the course you will know:

  • How to efficiently catalog and rate your images,
  • How to tag your images with keywords 
  • How to protect your images by appending copyright protection in your metadata
  • How to enhance your images to their fullest potential with ACR 
  • How to use basic developments in Exposure, White Balance and Sharpening and more defined adjustments like the radial filter and my favorite tool - the adjustment brush.

And why smart collections are awesome! 

And even better - you will be absolutely astounded how easily you can use all those techniques and how much fun they are! Watch your pictures come to life without even opening Photoshop!

Transcripts

1. How To Open An Image In ACR: All right, So now the fun begins how we can develop those images with adobe camera raw. But before we will go into the panel, I want to show you all those different possibilities that you have, how you can access adobe camera raw, and the 1st 1 would be, if you're shooting this camera raw images. And if you're not sure, if your images a camera raw image, then you can easily look here at the ending the CIA to its my indication that this image is the camera raw image. Or if you're not sure what that means, you can always look into your fire properties into your document type until you also see that this image is indeed a camera raw in much. And like I said, if you have one off those images with the double click, you now will access Adobe camera Raw easy a set. Just a double click. However, if you have no images that RJ picks, as you can see here now, if you would double click onto this image that would be now opened up in Adobe Photo Shop. And that kind of makes sense because with camera raw images, you're like a key. I want to do a first basic development, maybe in adobe camera raw. And then I bring it into photo shop. And from here, I save it as a J pick. And if you want to do further development, then you would just open them up into four to shop. So that makes sense as the default option. However, there are some functions in adobe camera raw like if you want to give a vignette to your image, that s so much easier to do in adobe camera raw eggs and they are in photo shop. Therefore, a lot of people were like It would be so awesome if we could bring our images back into adobe camera raw. Although there are no open and photo shop and luckily I think and see as six. Finally, adobe Photoshopped listened to us and said, OK, let's spring and this functionality that you can bring now's these images back into adobe camera raw and they gave us a food town. So if you go into your field had dropped on menu, you will find he and I was a camera raw fitter, or you can also press the shortcut shift command or control and a And then this image will be opened up once more in adobe camera, raw and everything looks pretty much the same. All your panels. I think the only thing that's a little bit different is that you don't find the crop year. Maybe because now adobe things okay is this is a filter. Why would they need to crops is now in adobe camera, Rob and they can crop it in photo shop. Maybe that's why I'm not sure, But everything else is the same. As I said, you can go from here now into Aziz F X effects. And here you will find your post crop, the netting, and that's saying something you can do so easy and photo shop. So if you just wanted to cricket and yet then you can just open up your image now in adobe camera raw and then you just go onto vignette and you press OK. And as you see now, you have to spin yet easy as that. However, if you like Yeah, Okay. This is all very nice. But I don't want to bring my Dre pick into Photoshopped first. I would like to open it immediately from the bridge function here. We just talked to you about this little option bar, and we didn't actually talk about this open and camera roll were. And if you just click onto that now you see it opened up in camera raw. How cool is that? And if you look up here now, you have all those countries, even the cropping and straightening and everything is exactly the same. How you would opens this imagesa camera raw. You can also open this image now as a J pick. So that's pretty cool. And if you don't want to go over this well, there's another possibility as well. You can also just go onto your right mouse click until you also can opens. This image was different moderates here. If you click on this one, then you were just opened into photo shop once more. But you could also just grow down on this one here, open and camera raw and once more it's open and camera raw and the same. You could also do with this image. If you don't want to double click onto it, then just use your right mouse click and this is also how you can access this panel. And if you don't like any off those ways, there's one as a way how you can access your images a swell. You just go over your menu under your file, and here you have another function for open and camera raw. You can just press onto that or you see here once more. There's also a shortcut that is available if you're working from bridge. If you press on to command or control and are, then you will also open this image up and you can do the same thing. If I would click now onto my J pic and if I go on to command or control and are I can even open abscess J pic. 2. ACR Basic Development - White Balance: Let's start novice, our adobe camera, raw development and let's dive into all those amazing functions. I re click now onto this image with the double click, just as we learned. And from here, I want to check out first those pages on the right. And if you don't know all those different logos, you can just hover over them and then you see what I mean. And here we would start with our basic development. The first thing we want to check is if we like the white balance. So here you can see this white Balances as shot. But I think it's a little bit on the cool side, so I would like to increase some warms. And I can do this by just clicking into this feared. And now I have all those modes that you also have on your camera, and they like cloudy and shade. They will warm up my in much, so let's try those. So this would be daylight. Does this cloudy and this would be shade and nothing to be honest, cloudy and shade. It's a little bit too yellow, but they light could work. All right, so let me see the before and after and nothing. That's kind of nice, because it neutralizes the image just a little bit, so it's not quite so green. However, if you're not happy with this result, you can obviously also play here with Tangshan That's bluish than fluorescent. That's not quite as blue, but still a little bit icing weird on this image. Then you can try the flesh, which is also normally a little bit more on the warmer side. Or you can customize your white balance. But just using those sliders. However, I want to go back to daylight because I thought that's probably in nice white balance was this image? However, if you're not happy, well said, you can also just checks the before and after. So if we go on three before now you see the shot was taken with 5150 off a temperature and plus two and nosy after is about 5500 the Caven white balance and the tendons plus 10. And if you're not happy with those you are different numbers. You can maybe find a middle number, so if you don't think 5100 works off 5500 then maybe something in the middle. Maybe something like 5300 would be nice for this image, but I think I like it better if it's even war mom. And if you're happy here with your temperature and now you can play, visit tint and if you brings us to the left and it obviously gets oil too green to the right, if you go too far than its purple or magenta izing, that's also a little bit overdone. But maybe something about yeah, 30 would be probably quite nice, because I things was kind off warmish Springtime look would be appropriate for this image. 3. ACR Basic Development - Exposure and Contrast: the next slider area we want to look at is this down here, and that's all about the right exposure. And you can always test if you like the auto exposure by just clicking on it. But as you can see, this is really extreme. And, to be honest, doesn't do a really good job here. So I go back onto default. And first of all, I want to see if I have enough contrast in the image and have reduces by checking my white in my black point. And how can you do this? So you see, years was slide us with whites and blacks, and if you press onto all toe option, you can open up source areas and you see there's no white and image which indicates it's a little bit under exposed. And also Lex a little bit off contrast. So here, by plus 40 as that to see these red dots. And that means that now I have those areas here as my white point in the image. The same I want to do with the black slider and other drags us into the opposite direction by going left and once more, I will press on to auto option until I see some kind off black area and the yellow areas already indicated this is contrast. But you can brings us even further until you see a true black point, something like this. And now if I look onto the before and after, yeah, I think this is nice and the contrast, whatever something I'm not too happy about is that because I have no my true black point. I think it's actually a little bit too extreme, because the black point is now in the eye off this little Gosling and I want to get some details back here. And I can do this by just opening absolutes. Shadows. So something maybe like this, you're think that's nice. And then I can also see if I want to bring my highlights a little bit down just in case I bleach you anything out, which I don't because I checked here that these are my white points, those little red dots. I don't have to worry too much, but if I want to have this image over oil just a little bit flatter than this is OK, and that's obviously a fine line where you have to play with. If you want to bring in more contrast or less contrast in your image if you go here too far , if you would wreck those highlights down all the way, if you would have them even at minus 100 the shadows all the way up to a plus 100 then you would have this problem here that you nearly create something like an HDR image, and that might be useful in some cases. Maybe if you should like a sunset and you maybe even one toe rescues those highlights and this guy's that nothing has reached out. And then you maybe want toe opens all shadow areas like in the beach. And sometimes that can look quite interesting. However, business wired life image. Now that's just too flat. And we want to get some detail back here, and we want to have a little look into this kind of shadow area, but not to 100%. Because then, yeah, we created a completely flat image and with our white and black readjustments through this trouble off, creating contrast and then we don't want to open this too much into either direction. But I think like it now if you look at the before after, I think this looks pretty nice now and then you can decide if you want to play here with even less contrast or more contrast, I think I want this image overall a little bit softer and therefore I reduce just a little bit off. This contrast, if you're not sure, if you under exposed years and you can always just exposed in much a tiny but more and then if you're now worried that you might have beached out any off those areas. If you press once more onto all toe option than you can see those white points and you would only run into a danger zone if those were like this now. Because if I just let go now you see that you created this completely bleached out image. And if you wanted to princess that we're just reside in ugly artifact, So don't go too much into the right direction. Here was opening up all those white points just to a point where you start to see them and then you just let go and then you have the right exposure and the right contrast 4. ACR Basic Development - Clarity and Vibrance: the next slider down years A regarding your clarity and your vibrance and the clarity sliders often something that, as he misused or abused in portraiture. Because if you bring it to the left and you soft new image and a lot of people think that this is no nice or you can soften skin, however, I think this is not a good idea because the clarity's later it's not really meant for softening the image. It is men for increasing contrast once more, but rather in your white and in your black. Here you will introduce more or less contrast in your mid tones, and therefore I don't recommend to go all the way toe. Yeah, this kind off soft and weird look and minus 100. And I also don't really recommend to go into the opposite direction off plus 100 uses in moderation. If you want. Now a little bit more clarity. I think that's okay upto plus 15 or maybe minus 15. So if you just want this image overall with a softer look, I think a little bit off texture in this, for that's quite okay, maybe even maybe, something like plus age and then I think that's OK. The next lighter it's regarding your saturation. And here it probably isn't too extreme, however, and normally recommend if you're doing any retouching with portrait that you don't use the saturation slider because if you would increase you now the saturation and if you look now onto the face off this little gas ning, you see that this gets really orange. And that would also happen with skin tones because skin nous made off like yellow and reddish tones and especially also orange. And if I go here too crazy with my saturation slider, I end up with really orange people. So normally I'm using this year, like in really low moderation, like maybe plus three or something like that. However, the vibrance lighter that's a lot more forgiving, and that's also good if you're working on Portrait's with people in that, because here you can go all the way to 100. And it's not too bad on the skin tone that normally change of skin tone into this kindof Gordon look. And still, I wouldn't really recommend it toe go here all the way up into such a high number. But if you want to bring in a little bit more colors. And normally the vibrance later slider works quite well by your kind of leaving it under sororities. I would recommend you if you want more color in your image, maybe try plus 25. And if we look now onto the before and after, Yeah, I think that's no really nice basic development off this image. 5. Tone Curve: So these were all your basic development options, and the next appear would be our tone cough. Personally, I don't use it very often that you have here Parametric, Ah, cough and also appoint cough, which means he and the point you just put in your points and then you can kind of bring this image into a curve or in the paramedic off, you can just bring in thes lighters Down here is away. Or you can change the highlights, lights, stacks and shadows, However, because I'm already taking care off. My contrast was my yeah, my white points and my black points and this contrast slider. It's kind off if you want to find June to see even more than you can not only play with highlights, you also have your lights, and not only you have shadows, but you also have so stack areas. So if you want to look into those even more, if you want to bring, hear anything more down than you can go here. Or you can also just lift those dark areas up and then you see, that's why it's called the Curfew. See, that's this line kind of becomes a curve so if you're free to play with those areas, as I said, I'm taking care of my contrast already in the basic development mode. However, here you can just find tunes those areas. 6. Sharpening And Noise Reduction: the next section is all about your detail and how you can shop in your image. And I really like this happening. Functioning in adobe camera raw. It depends a little bit on your own preference, because some photographers are like, Oh, I can trap my image to begin with. I do this at the end of my workflow and, as a photographer said, like, Why not already bringing out some details? So that depends a little bit to you if you want to go through any sharpening already at the start off your image, or if you want to come back into this module once you've finished your image, you know now that once you're in photo shop, you can always go with this filter back into your A C are developing toe. So that's no problem at all is a way you're deciding on when you want to use your shop. Ning. I normally increases here quite a bit, so I normally go here all the way anywhere between like 40 and 70 because the nice thing is that you don't have to shop mere image overall so you can put in your mount here. Like I said, I mean, probably 75 is quite nice in this image. You can also changes the radios if you want more smaller details and you can brings us down . Oh, if you want to have the image shop overall, you can also brings us radios up for me. Normally at one, it's kind of OK, but you go ahead and play verses, then here. You can also find you in the details. If you want more or less than you can just drag this up and see if you want to increase this detail and then nothing. That's pretty nice as well. But the best thing ever in this happening tool is that you can mask areas, and that's super important, especially if you want to work with poor traits. But you don't really want toe sharp, many skin detail, but maybe, just like eyes and lips and stuff like that. Then you can increase, uses, masking and once more. If you press down auto option now you will see when it's that to mask your image and anything that's black now that will be not sharpened and everything. That's why it is that will be sharpened and if you just say OK, is this compressed background I don't really want to shop or have any sharper. Then I just go here up to maybe a 30. And now the sharpening will only affect the Gosling and not my background. The next lightest down here are also super awesome because they're for your noise reduction , Which means if you have to shoot outside and you can introduce a flesh or increase or decrease your shatter or your apertura and the only available tours that you can actually take, the picture is the higher Aiso. Then you don't have to worry so much anymore about your noise because in adobe camera raw, you have this really cool sliders on here that has the ruminants written on it. And here you can actually decrease any noise in your image. So if you would go here all the way to 100 let me actually zoom in Now you see, it nearly gets his painterly look and it's like, really soft now. And that's because, or is this noise is gone? I mean, here, I think a shot with so you can see it up here a shot to see if his eyes or 500. So they're some kind off noise in the image. But I don't think I have to go here up all the way. I normally have the noise reduction between 15 and 25. And even when I should images in the studio, I think sometimes this noise reduction also works really nice on skin. So obviously again, not too extreme, not to a 100 up here, but because normally skin is a little bit more. Yeah, rough looking. If you just introduce a little bit off this ruminants anywhere between 10 and 30 that can look really nice on the skin. And then you can you can also play. Here was your luminant detail. If you want to have this a little bit less or more than you can also just play with those numbers. And I apologize that you hear my laptop. It just gets really loud because, as you can imagine, all those tools super powerful, and they demand a lot of power from my process. And that's why you can hear my fans allowed. So I apologize for any noise. But yeah, let's just go through this. I hope you still hear me, okay? And I normally keep this luminous. He also about 20 or something like that. So here you can always go into your fit in view, or if you want to room and closer. If that helps regarding any noise, then let's have a look at the before and after and the things that took care off some off the noise quite well, Not too extreme, but I think that's okay. Here. You can also change the luminous contrast. I think that's probably not necessary in this image. Let me zoom in to fit again. So you see the image over oil. But you can also certainly play with this contrast year, maybe about 15 would be okay. You can play with a noise kala, because it also can sometimes be helpful, especially if you have to stoop picker. Color noise was like reds and blue point. Somewhere in your emergencies can also take care off that you also can play here with the color detail and with a callus moose nose 7. Grayscale: There's one little trick regarding your sharpening and your noise reduction. And the lawns is from Search Room Ellie, who's famous for landscape and city photography, and he normally at those amounts together. So he says, it's a good orientation if you are sharpening amount and your ruminants amount adds up to the number 100. Here's has just happened now by accident, because that's kind off the area where I shopped. My image is in so normal it's between 50 and 100. And then, like a said, I increased my noise reduction normally between 15 and 25. But if you think maybe you need some kind off orientation or some kind off number, then maybe that makes sense for your images if you want to follow his advice and if you want to add up those numbers between the amount of sharpening and illuminates noise reduction. But that's just a little side trip. So let's move on to the next area up here, and that is our age as Ellen Gray scale, and this is an amazing tour because you have so three different buttons here. So you have you saturation and luminant, and in the U you can shift those tones so you see that you can shift images between purpose for this kind of magenta to a more orange color. You have those oranges, and you can change them into more yellow and so on. So here, for example, I'm not a big half hand off those deep green tones, so let's see if we can shift them into another color. And I would prefer it if it stays overall a little bit warmer so that see if we can shift those greens into more off yellowish color, maybe something like this. And then we can see if we could even shift them from this greenish direction into this orange direction and maybe something like this, and that's have a look at the before and after. So that's there's this greenish tone, and now we have more often orange tone. And if you think that too extreme, we can always go here a little bit back, I'm just not a huge fan off those deep greens. I think it looks now a little bit more summary, if it more in this yellow tint. So that's before, and that's the after. I think that looks pretty nice and you're just play with those areas where you can shift to you the next lighters once more regarding your saturation. So instead of giving your basic developments, is overall saturation, you can go into your ages, area grayscale and such rate Ah, specific callus, which I think is also pretty interesting. So here we could say how How about we just your saturates? The orange is a little bit more and the yellows just so that's a little bit more intense. I think this looks pretty nice, and you are. If you want to toe now de saturate any areas, you could also go in here now and maybe just decrease green a little bit and once more than it's just not so standing out, maybe something like this before and after. Yeah, I think that's pretty nice. And in the luminous, you can change the not the color information, but the light information off the color. And that's especially interesting if you want to have yeah more saturated and Dhaka's guys and you could go in here and then you could shift the blues into this dark aluminum's, or we can also light in here area. So once more. The ruminants is just for the light and dark information in the color. So if you would just shift this year and we would just bring this out, then we can light up those gosling a little bit more was just a lighter orange. Let's see about the Reds if you want to light you anything up, Maybe just something like this. Let's have a look at the yellow year free docking this down. I think this looks a little bit terrible, but we could also just brighten us a little bit. Maybe not too extreme. I think this would be okay. And the last thing that you can do here. If you don't want to work in color, you could just convert your image to a grey scare. That's why it says here ages Ln grayscale and the nice function ISS years At this grace, Gay is not written in stone, which means it's not another adjustment that's just applied for you. But it's really flexible, and you can also change. You know all those colors into a lighter or into a darker gray scale. So year, for example, of this kind off some red information you can change that here. There isn't anything, really. That yeah has changed too much. But you would see this now if you would work here with the portray because then you could really light up skin areas, for example, The same with the orange. But we see here some oranges that we could change. You could go here, Maybe in to this area was a brighter orange, the same with the yellow. Like we said, if we go to the left, then we docked in the overall yellow, which looks with creepy. So I would probably also just lift the stone overall. Maybe something like this and so on. You can go here into the greens. Maybe now in the black and white It's interesting if we just brings the greens down and just Ah, yeah, darkness this area a little bit And the same was a quasi blues The purpose and the magenta So have fun. Playing was all off those sliders 8. Split Toning: But, as I said, I want that this looks more like a summary image. And therefore, I think the gray scale is not so attractive. So ever. Just antics this box and now my images back in color. So let's have a look now onto this next button here, which says bit toning. And that's also really interesting. Slider toe. Half you have here highlights and shadows that you can color into a different tone, and that often makes sense if you have again like a portray and you want to give it this typical movie look. And for that I often changed and my highlights into a more Gordon or your kind off like an orangey color. And then I change my shadows into a bluish tint. And that's kind of how you get this more mystical or dramatic movie look. But here for now, I would probably just change the you also in this orange tone. And if you want to see actually what this color would look at 100% once more, you just have to press on to your auto option button, and now you would see this effect to 100% and you said. It's now is a small, often orangey yeah, highlight own. And then you you can changed into green into blue and so on, and I think it's 100%. I think it's far too extreme, but I just want to bring in those highlights into this warmer tone, and then you can play here with the saturation, and I would probably stop here at 15. And as I said, the same would apply to your shadows. If you press your once more onto all the option, you can also bring in those shadow areas. And here you see, this was also option as 100%. And here is that this kind of movie Look where said that normally in the movies, these shadows have sex pollutant just to give the overall yes, kind off like a dramatic look. And that kind off looks interesting for portraiture. But for this wildlife image, obviously not so much, therefore, would just probably don't. Yeah, I wouldn't change anything in my shadows, but you could if you also wanted to bring now into the shadow areas a slightly warm look, Then you could also increase the saturation in the shadow area And if you are not interested in having too much information in your shadows and you want to shift the balance towards the highlights, then you could also do this appear. You could just play with the balance button. And if we just wanted to bring in the slider more to the right now you just increase those highlights. 9. Lens Corrections and Defringe: The next section is all about your lens correction, and that can be often helpful, especially in portraiture, once again, when you just find that your model looks a little bit distorted and it could just be because you need to correct your lens, he I think it doesn't work so well because if I click on to enable profile correction that can, that comes closer towards me and I'm also losing this life. And yet it kind off ones to light upsets area down here. Hoops. Let me just bring this back into view, and I don't think it's necessary necessarily here. But yeah, play was that in case that using or that looks actually super this daughter, then you have to Solans profile. And I have to say it's clever so that it realizes that I'm shooting here with the cannon. That's the model was a Canon f 100 to 400 and that it gives me this pro violence and even those lighters where I could actually bring in the vignettes and bag whiten this area even more so there's some kind of functionality behind that. That a dosing is clever, however, was this image I just don't think it works really well. So I would antics that because I do like houses Image was shot and that this is a slight one. Yet by default, the one box that always click so asi remove chromatic aberration. And if you look in here closely, I don't think there is any chromatic aberration. But that would happen if you shoot against the sun and then your subject would have sores, purplish or bluish lines around. And therefore I always takes this box, but I think he'll be a good I think there is no chromatic aberration because the image was taken pretty much on an overcast day. So I think that's OK, but you're just in case for me personally and never seen it. Homes that I Texas box because just in case, if there are chromatic aberrations in the image, then you can also click here on show grit in case that helps. And you could also move your image. She ever so slightly if you want to place it on to any grit and then especially helps, here was Aslan's profile. If you wanted to have some kind off layout personally, I don't ever use that. But just for you. So you know that you also can places or that you can place this great onto your image. And if you look onto this manual baton than you see here once more what I mean with this kind off the fringe, as we said, a quick turn out onto this remove chromatic aberration. And if there was no any have precise area that I wanted to different INGE, then I can tell you exactly the color that I want to remove. So, as I said, normally you have scanned off purple or blue ish line around your subject, especially if you're shooting against the sun, and it also depends a little bit on the quality or the lens that you are using. And here you can just yeah, specialized even more on this amount on the color that you want to difference. So that's pretty cool as well. You have ones mother option to distort your image less or more so by default. That's kind of what we saw, right, because the lens profile correction wanted to bring in this Gosling a little bit closer towards me, and I just saw that doesn't really looks right because it's nearly like it's bloating the little Gosling. But if we wanted to just pull officers idea into the as a direction, then this might be actually even better. I would say we probably want to distort it the other way around, and then we could use this lighter for this area here as well. Now we have obviously a problem because we see those transparent picks its but that's no real problem, because later on we can just crops them out. So I think for now this looks pretty good because also, say we want some more vignette in here. That's another area where we can also specify this a bit more. But I think for now, yeah, that's all we want to do here. You're just test out those areas. If you want to enable your profile corrections by default or in manual, you could also play with those areas, and then you can different and distort your image even more 10. Effects: Vignette: Let's have a look now onto this area where it says f X or effects and you you can do different things so you can de hace you image. You can apply more grain, or you can do as we said this post crop vignette ing. Let's have a look at the D. Hayes first, because that's pretty cool. If you went outside and there was kind of fog or mist and you're likely as it's maybe not really, What ahead in mind for this image? I don't want this, Hayes. I want to introduce more clarity, and then you can just change this amount. So if you go to the left, you would have no more haze. If you want this image overall softer or more romantic or wherever and to the right, you could just eliminate any hates that you had in this image. Obviously, here we have not enough sores. I don't really want to bring it more to the left, because once Mosses would kind off impact my mid tones, and I want to keep some contrast in the image, not also have no real reason to introduce. More contrast because there's no haze in the image. However, it's certainly a powerful tool. If you have an image with any haze and then you can eliminate such Hayes, the next area up here was the grain. That's pretty interesting. If you want toe your apply something that makes the image overall, Margarete. Or, if you want to give you image, this kind off, old fashioned look. If you have some kind off black and white image or superior image, then you could just apply this grain. And then it looks like an old newspaper looked and scanned off, noisy and a bit more gritty. It can also look sometimes interesting if you sing over I after you finished your edit. That image looks now too soft, especially in the skin, and you want such a tiny bit off roughness and you can just increase this amount off grain so sometimes it can actually look very interesting. So play here was so slide us. You can change the amount of size and roughness for your grain. The next area we had already little playbills. That's our post crop in netting, and that's just so easy. Just one slider to the left, and you will have now this really cool vignette. Obviously, don't go too crazy because you don't want that. It looks kind of tacky, completely black at the corner. The same. Please don't go to the right because I knew half says Yeah, kind of kitschy image that looks like a nineties wedding image or something like that. So don't go too crazy. But if you just go here, maybe between minus 10 and minus 25 you can just act, those corn is just a little bit. And that's that's kind of how you can guy. It's if you are into the image because of you, I will always look onto the brightest part off the image. And obviously we want that the viewer looks the longest here onto the little Gosling, and that's how you can guides of you about just darkening those areas. You can also change your midpoint here so you can play around. Here was this area you could just acting the midpoint, Raza's and those cornice. You can changes around us, and it's also may be interesting, depending on your subject, and you can faster this even further also icings the feather that's by default. It's already quite good But if you want to feather it even more than you can also play here with the hardness or the softness off this feather and once more you can also changes the highlights, but personally and never have any use for the roundness of Fez or the highlight so much. I mostly just play here with the amount and the midpoint. 11. Camera Profiles: In the next section, you will find your camera calibration, and personally, I don't have a lot off use cases for that. The only time anything it looks really cool is regarding the skin tones once more because in the red primary you can push anything that's to read into this more orangey part. And then sometimes you get this really nice golden skin tone rather than this reddish skin tone. But you can push you too much because then the skin becomes green. But if you just pushed us a little bit from these red primaries into this orange color that can look really nice. And at the same time you can also de saturate any skin here once more. But you can always just play with those feuds because here you can change, actually a camera profile. And that's, Ah, moment. I'm working here in the adobe stand that however, if you wanted to change this into a landscape, then you would just have a bit more off those increased callus. But once more now it recognizes that there was green in the image and it's the landscape, and it wants to give me those green. Yeah, Kalla tones bag, which was obviously not really useful because I wanted to change all off them. But then you can just switch yourself through here. You can also try once more. If you wanted to see how it looks in a monochrome, you can change it into neutral and again you have a little bit more neutralized. Overall, you can test if it looks nice and portrait or and stand that. However, for me personally, I just go back here into the adobe standard V two because that's how we arranged all those colors and adjusting. That looks overall years. Nicest, but you have a play with swords, different camera profiles. 12. Presets: in the section, you will find a really awesome function called presets. And if we score down, he has also all my presets, and this is really helpful, especially if you're working on similar images or the time you can create those presets. And you don't have to go into those lighters every time again and change things. You can click your ones onto this preset, and then everything is the plight. Andrea, why don't re create such a preset? We just have to click here onto those lines. And here you see now that this is at the moment image settings here, we could switch it back into the camera raw defaults. If we didn't want any off those changes, and we could switch this back, we can also go just back to the previous conversion. And we also can change your those custom settings. However we want to save now, all off those things that we just did. And for that I just click your now onto safe settings. And the cool thing is that Adobe camera asks me now, do you want to really keep all off those settings? So, in case if I didn't want to keep the white ballons or the contrast or any off those boxes. I could just take them off and then these areas wouldn't be saved. But for now, I just want to keep all off those areas because I think all of those adjustments would work on the similar image, like off those goslings or white life or something like that. And for that I say no safe. And now it just wants to ask me and says the key safe setting safe as wide life one. I could change the name now, but over just say for now, Loki, that's yeah, how I can save this image and they're just click onto safe. And if I go now onto these presets all the way down here under W, you will find wildlife. One is now this preset that I could apply on to the next images. And we will have a look later on how we can apply this to another image. But for now, you know, this is where you can find those presets. 13. Snapshots: in this area, you can create snapshots, and it's probably a little bit tricky to understand, because instead, off those three boxes, it should maybe just show you a camera symbol or something. But yeah, anyway, that so you can create snapshots, and that can be really helpful. If you have different ideas for one image and you're not sure what looks best, then you can come in here. And every time when you have a new development, often image, you can click onto this little letter down here and now you can create the snapshot. So here we could causes, for example, now warm just so to give me an idea that this is now a warm look. However, if I think in my developing, maybe the same image would look also interesting if I give it a completely different white balance. And now let's just drags us into the school tone. Then we can go once more into our little snapshot area and click on this button down here. Once more it ask me again, what kind of name do you want to give the snapshot? Now I will just say cooled and the press OK and the interesting thing is that if you never can decide off, it's now the warm betters accord better Rather's and going back into your base, explain with said, or changing more things here and changing them back and back and forth and so on. It's easier if you just create every time when you adjust it something if you just create a snapshot because it's easy as an overview. So if we just looking out onto warm, then that's always image looked. Yeah, how we just said it ups the first time around, and now we change the white balance and now we have two scored image. And personally, I think this is a really cool idea because it will not only yeah, save those snapshots. It will also save all of those adjustments very similar on how you can actually save those images as a snapshot in your photo shop area in the history books. If you ever played with that but similar things, you can also do here inthe e adobe camera raw, and I find this helpful. I mean here, obviously not so much because we can assault. The image would look nice if it's warmer, Rather's and Kula. However, if you have maybe a portrayal official in merger, some kind off landscape where you think I really cannot decide. Is it looking now in this color? Better are you maybe want to change it into a monochrome image and so on. Then here you can create those snapshots and just target between them until you made your decision. 14. Histogram: So those were all those different pages and functionalities that you can find here. And I think the super easy to understand Because, as I said, you can just click onto all of those different pages and then you can do your changes up here. You will always have really cool overview basis history. Graham. If you just hover over here, then it will tell you if you have any blacks here, says Shadow clipping warning. Because it seems that we have here some areas that's clipped and was clipped. I mean, I have this one true black point. We can check this once more if we sing, it's too extreme. But as we sat here, that's totally fine. Then if we hover over this history, Graham once more, it will also tell us the blacks that there minus 26 the shadows at 53 then once more. The exposure at 20 and the highlights at minus 33 you are just was just another area how you can detect if you like those areas personally as things. This is a really good history ground because we have this one area year where we say, OK, that's all true black area and then all off. Those are really good Mitterrand range. And then we see here that there isn't any real what White point any more available? And that's probably because we changed some things where we lifted those areas. But if we go into this white Steiner one more and press down on auto option, we can decide if we want to bring it a little bit more to the right until we have these little red freckles. And now we know that we have these white points once more and we can also click on them. Then you will see them, actually, also in the image here we can do the same. Now you see was this area is clipped in the eye and that might be helpful, A swell if you want to have this in the occasion in your image. Personally, I think it's a bit confusing if I have all of a sudden here Blue point and there the red point. Therefore, I'm not taking on them a rather use my all to option and move so sliders. But that's certainly a possibility if you rather play here with his history. Graham and you want to hover over those areas. The next area would be then also this down here. If we click your once more. As I said, you can change your your develop ings back into the image setting or into the camera default in case you're not, satisfy it with them rather than going through always the slightest, you can just click ones onto this area, and then you can bring everything back how it was before in your camera. Raw defaults. As we said, he you can apply no also snapshot that you just created. Now you have those two ones where it's kind of cold or warm. If you want to decide to me on which one you want to use, or you can create even more, that's completely up to you. You could also now exports will settings, which I personally never do. But that's also an opportunity if you wanted to save those presets somewhere else, and you can also load settings. So if you want to toe change now, this image into any as a preset you could also loads so settings and once more you can go in here and saved these new camera raw do foot, or you can also reset all of those camera defaults 15. Loupe, Hand, White Balance: Okay, so now that we have finished year with the right side and that you know, all off those functions just once more. Here, you see now, when I hover over the image, how you are RGB actually changes and that gives you now the complete color range, which might be also interesting for you to know. But yeah, we covered No, all those items on the right side and they're so much fun to play this or have fun was all off those things. But let's cover now this menu bar on top here. So the first thing you see yes, your zoom to and you can click on this and then you can room into the image. Or as we said, you can also zoom from down year where you just say no fit in view. Or you could say I want to see the image now a 200%. And with your space by, you can just move through the image, which is pretty neat. Or you can also once you're on this room too, if you want to Now zoom out off this in mattresses group. You just turned us around by pressing on that was the end all toe option. Now you have CIS minus symbol and then you can move out off the image. However, sometimes it can be BA tedious. So then it's the easiest way to just click into this box fit into view and then the images back as it waas. That's a little bit up to you if you want to use this box or if you want to use the loop, or if you just press on that or the and then you also have this loop tool very similar. How you but use it in photo shop. The next is also here's a hand. If you don't want to press the space by, you can also move your self around with this hand toe. If we go in here once more and room and then we click onto the hand tool, you can just move the image around. If you don't want to press on the space bar as a wise, that would also be the same effect. The next area up here is where you see your white balance toe. So if we click on to this one, and if you want to sample like a gray color. Then we could also say that this is now our new white balance. That depends a little bit up to you because normally you have to find this perfect gray. And that might be tricky. But just clicking yourselves rules in much. Therefore, to be more precise. If you wanted to shoot a model for example than it might make, send that the model has one image right at the beginning, off the shoot where she's holding one off those great cuts. And then, you know, uh huh, that's my 18% perfect gray. And if this would be this cattle, for example, then you just click onto this image into this cart, and now you would have the perfect white balance. However, here, as I said, this might be a little bit tricky experiencing we Yeah. Did this year quite well. Let me look now it's a before and after. Did we change too much? Yeah, I think it's ok, but let's go back just in case so that we can all fit this white balance once more. Actually, I think we went on to 4330 So Okay, now we just change this back. No problem. But you are. Chester's out If you think there's maybe like, yeah, manual white balance in your image where you want to change the image, which, rather than going over your white balance down here and this is certainly possible as well . The next one You can specify your color even further with the color sample toe. And for this you just press onto this to one's more. And if you wanted to know exactly what this color is up here, then you pick this one color or you drops this point. And now you know how on this area here to be a super super precise. The color off the RGB is one no. 11 or five and 68. And that could be interesting for you if you now want to to balance as our images with exactly the same numbers for me personally, I don't have to use this, But just in case you wanted to really know what is the color off a specific area, then you can use this tool here, the color sampler tour, and if you're not interested in this any more than you can just press you on to clear samples and then everything is gone 16. Targeted Adjustments: the next function you in your toolbar is this little targeted adjustment tool, and if we just click on it, then you see what it actually does. If opens us up, it's actually a drop down menu menu, and you can change. Here's the Parametric off. So you, the saturation ruminants and the grayscale mixed and once more you also have fear. Certain shortcuts available, obviously, is a little tricky because it, like four let us long. But if you want to remember those, and you can certainly do this as well. So if we just stay here on the Parametric curve and what does it actually do? If I just click here into the image, let's say I want to click here into the face off the little Gosling, and if I move now, my slider left or right, and I'm not actually moving this light. I'm actually in the image and I'm just moving my mouse Now. The function understood that in this face off the Gosling, I have light information, and if I moved to the left or right, I can either darkens this information or I can light this information. And then I just moved this kerf. So if you're not quite sure what you really change when you're in this area up here with all of those sliders, then nothing. It's quite practical because then you can just look in this targeted adjustment toward. That's what's called Target because you actually can click India and you can do the same thing also, not only with the Parametric Curve, but let's say we want to have a look at the U. For example. So now we're in the edge age as Ellen Grayscale, and we could click in induce green tones, as I said, because I'm not so a big fan off Queens. And then once more Toby camera Understood, says, I am now in this green area, and I can change this again to the left. So I'm just dragging my mouse on my pen, Truth to the left, and now I can change all those queens into yellow 17. Crop and Straightening: So now that we changed all off those areas easa by addressing those sliders on the right or by targeting those areas with this little targeted adjustment tool And if we happy was all off our adjustments. Now let's have a look onto this area where we have those transparent pictures because you want to crops is a little bit. And for that we have this tool, which is called the Crop Toe, and that's just click on that. And if we dragged down here once more, you have different options. You can stay in the normal mode. You can do this one toe, 12 to 3, and so on whatever area you like to crop here or you could even customize us into any areas that you like. But personally, I will stay here now on through this 2 to 3 ratio. And then I will just drag into this image because and I don't have to press shift or anything. And from here on, I can also say no key. What is my preferred crop? And it's super practical because you get those lines and you might know them from photography. They're called this rule off Certs But you want to stay within your composition onto those lines. Which means that those cross points they should include something that's the most interesting off the image, so I wouldn't actually go ineffable, tightened. There's no something like this. You want to have this negative space at the area was a You are just little Gosling is walking toe. You don't want to have to spoil I or even to the other way around. You don't want negative space behind the subject. You kind off one to include this negative space where the subject works, too. And therefore I would just increases area over oil. It would be up to you how you want to crops us off course, But I would try to keep this cross line. We are pretty close to the face, maybe want to extends its just a little bit more. I kind of like to crop a single bus. Okay, But you can play. This is you can obviously cross our crop and even closer Just make sure that those rule of asserts that they kind off lay somewhere on the subject to make the composition a little bit more interesting. And then if you're satisfied with this, then you can just press on return, and now this crop is applied. The nice thing is that if you are now looking at imagined, you like. Yeah, actually, I'm not so happy with said, As long as you're in the a c R mode, nothing is written in stone. So if you're not quite happy with the crop, you can just go back in here. And the moment you clicked onto this photo shop adobe camera raw. They recognize that that's more detail in this image, and then you can also move this crop. So that's pretty practical Lessing. Because then, as long as you're in here, you can just move it around as long as you like, until you happy with those areas and they're not just press on to return, and then it's back to the position. Where thing it would be nice. Also possible is that if you're not quiet, happy with how you shot this image, that it's not straighten, then you can also click in here and then you could say OK, what's supposed to be straight in my image, and that's obviously a tiny but difficult because it's a white life image, and it's not a horizon's or something, but you could say no. Maybe this lack was supposed to be straight, and then you can just rex this line and then you let go. And if you press on to return one more time now, you also straighten the image in a way that that makes sense to you. 18. Transforming Images: in the next tool you here on this transform tool, and that's what the name says. It can transform your image even further, and you have here some function that already automatically. Here, you can apply a balanced perspective. Correction. You. If you just have over them, you will see what they do here. You can apply only the level correction on this one. Here you can apply level and vertical perspective corrections, and here you can even apply level horizontal and vertical perspective, corrections and with the wildlife image. Lexus. That's a little bit tricky because you have to give Adobe camera raw, some kind off lines or some kind off a perspective where it can orientate itself on and he ever click onto this first function. It will just say boom, no operate correction found, Which makes sense because there are no lines or anything or any pixels are adobe camera rock and Repsol's informations and therefore doesn't work wherever. It's definitely worth while if you have cityscapes or anything like that to play here with those different perspectives, in case you didn't shoot it correctly in the first place, and sometimes that's just how it is because if you don't have specific to shift lenses or anything like that, and often when you shouldn't shooting architectural buildings, it's might happen that there will be some kind off distortion in the image, and then it's really used for that. You can play here with those auto functions, however, if that doesn't work by any chance. If you like act that looks even worse than before, then it's no problem at all. You just click here on, do this and then it says off and then this able upright and then everything is back toe the start, and you're if these didn't help you. Like I said, you can just play with them and try to use those sliders manually. Here, for example, you can change the vertical perspective if you just bring it to the left. Then this images kind off. Put it this way if you bring it to the other side and you can put us this way and sometimes I just brings us a tiny bit to the left if I just want Oh yeah, make a moral a little bit taller or something like that, and that can be quite helpful. Then versus later down there can just leave this at one with the horizontal slider, you do the same thing you can kind of stretch somebody, Obviously a wouldn't do. This was a model because who wants to be so stretched? But once more could maybe work. If you have something that's kind off the started like a building and you just want to stretch this out a little bit, then you can also rotate to images year. In case you were not quite happy with your straightening, then you can try. If rotating would help, you can change your the aspect once more. You can stretch it into one way, or you can just push it together. That can always yeah, sometimes it can look interesting. If you have a portrait as our times, that can just look a little bit out of place. We can just play with those functions. You can also scares those images. So in case we didn't want to use, here's a crop where we said we had those transparent pictures. If we didn't want to crop it this way, we could have just gone in here and then we could have also just scared those areas so that these transparent areas would have disappeared. That's an as our option off course. You. If you want to get rid off any transparent picks, its and then we can also changes offset. So this way it goes out off the image this way. That's why you have this arrow or you can change a downward. So that's also another way how you can play year with your composition. 19. Cleaning the Area with the Healing Tool: the next function is really quick because here you will find your spot remover. And a lot of people think that if they want to heal a section or clone a section that they have to open this image in photo shop. But this is quite intuitive fear I have to say in the adobe camera, because you can hear also certain areas and even better, you can visualize those spots. So if you're like me and you have always so many sends our spots. And if you have, if the here it's obviously but not tricky. But if you had no like a blue sky and you're like I can really see it's and what's in those spots, or then you have to zoom in and then you have to really look, if there any spots, then you can just click here on to visualize spots, and then it's so much easier because now you can just go in here and then you can fix this image obviously here because there's a lot of stuff going on your I think even if there were any sense of spots, it's not so noticeable. But if you wanted to hear this gray area appear, for example, then you just have to bring the size into a way that this would cavers is area would probably go even a bit bigger, and then you just click on it. And the cool thing is that you don't have to do anything else because adobe camera raw were kind off calculates this area and will understand Okey, There was this great spot. I think you want to have a cleaner area, and then it will just calculate the surrounding area and things. Okay, this would be now the cleanest area that it could find. And then it calculates those pixels into this area. Under this, your grayish spot is gone, and I think this is group super cool because then you don't have to paint over it. I have to bring it into photo shop or anything. You just click onto this one's adobe camera, Robert Calculators area, and Vergis cleans us out for you. This would also work with, like, a smaller areas, and I just bring my sighs. Maybe around here, If you don't quite fit to the size, then you can also paint over this area so you don't have to just drop a spot in your you could also just bring in some kind of shaped like line or something, and then the same thing would happen. Adobe camera Raw Recalculates era for you and now this is clean. You can also play here with like those phasers and opacity. However izing, It makes more sense that you use the 100% capacity because if you have a spot you most likely want that it's completely gone and not just half gone. And the feather. I also keep you really high because I don't want to see any harsh edges. However, up Labour said, in case it doesn't work for you are in much. Maybe you want a hard edge, then you just have to reduce the feather. And if you don't know if you don't want to see this that I have no, here's he's walking ends as I call them. Then you could just click here onto the show overlay, and then it's gone. That's kind of up to you. How using? It's easier if you want to see what you just did. What if you just want to paint over this area? So if I want to get rich here with these. Yeah, off. So's okay or book half less than once more. I could just increase my size off my brush. And then I could just click on your once more that you don't become a rod. Do all the work. It calculates us for me once more. Let's just click on two different areas here to see how well it does the job. And now I just want to get rid of those white spots. Maybe a just drag now a bit appear to see if that also works. And this is how I can just clean up my image a little bit. And that's especially useful when you working those images. Like I said that have a lot off sense or dust, and you might have shot them on a tripod. Then you have all of those images with exactly the same position off a sky or something, and then you don't have to go into each and every single image and have to clean it up individually. You could just say ok, dot, dot, dot, dot dot and then the first images completely clean, and then you can even sink all off those as a images that were taken at the same spot. You can just sink this up, and then all of those images are cleaned up and you only had to do this once. And that's for me the power in adobe camera raw. Because if you had to bring now every single image into photo shop and cleans us after that could just take forever. And here in adobe camera raw, you can easily just sink those areas up. And then it's organ. Let's do one more here and then this is Ghana's Well, so here I am on my healing tour. If you think that didn't do a good job, you can also just change this to clone. The same things applies. The same slider you can change is the size of feather and capacity. Once more, you can visualize any spot, and then you can even work here on this mosque. If you want to to clone an area, you could just drag over this area once more and then it would do this calculation. Let's see what a ditty. Oh yeah, I think it did a good job so you can work individualized, but if you don't want to see all of those spot in such next dream way. You can also remove the slider down. But for me, I'm normally and the 100% view because I want to see all of those butts forever. If you just want to see some tiny max and you can also just brings us into the middle. And let's say we want to clone out those little ones and then we just reduce our size here and then we can just paint over those little ones and then we can just get rid off those tiny freckles. And then we clean up our area super easy, and that's see what? That it once more, we just antics this box, and now we have all of those areas. Yeah, I think there are nice and clean. And if you don't like this, if you look at these show overlays once more and you're like act, they just did a horrible job that it's no problem at all. Then you just click onto here clear oil and then all of those adjustments are gone. 20. Red Eye Fix : so I could even go into this image here and clones those little sticks out that were on the beak off the attack and even their that work. Really Well, if you want to find juniors, I think for the rest off the dreaded stick, I would open now photo shop. But I think just for these superfast adjustments Adobe camera Oddity. A fantastic job. But let's talk now about the next section, and that's our red eye A tour. And you are, as the name says, you can rescue here now your images in case it suffers from a red eye. And that happens sometimes if you're working with the point and shoot camera, that's not really yeah idea in preparing the eye off this flesh. So if you're working with the proper flesh system that works in the way that it will boost out those tiny flesh is to prepare the I, however, those cheaper camera. Sometimes they just blast out this flesh, and that resides and in this red eye, and if you have images like those and you just click into this area and you have your different options, how you can fix us, you have Here's a red human eye. You even have the option for pet I because they work a little bit different. I think sometimes I can look greenish or nearly like the Pettus blind or something like that. So you can change those areas years well, And then you can also define the pupil size and how How dark You wants us change. 21. Adjustment Brush: the next three tools are really awesome. And the chills once more the power behind adobe camera raw because you don't have to just change things with those generic sliders that will, yeah, bring in the color log or some adjustment over your whole and much in those three guys. You can change it individually, and let's ever look first at the adjustment brush. And here you see as the name says, we have another brush. And if you scroll down, yeah, you can also change your society. So let's just make maybe a bigger brush your or something like this. And then you have all those functions that you had from the basic development module. Like once more, you have temperature, tend exposure, contrast highlights, shadows and so on. And the really cool thing is now, if you only wanted adjustment in a certain area, you can literally paint them on. That's so cool, Issing. And if you want to to set now like an individual, and yet we can just reset all of those functions. But just pressing onto the exposure once kind off in the area where we want to do our adjustment, which is nice because and we don't have to reset everything individually. So we just click into this. One area is on the miners on the plus. And then this will be said to a 50 like these, a minus 50 or plus 50 and a few things. That's not enough. We can obviously change this and brings us down even further. But I would say 50 is enough and you can even set no different things here. So if you want that you have in yet has some kind off tone to it like a warm atone or cool atone, you can also play the source, slide us. And I think that's just fantastic because then you just creates this really individual look to your image and that works now in this way, how you would imagine how any brushwood book you just stroke over those areas where you want that this adjustment iSuppli it something like this fairly quick. And now you have to spin yet with this minus 50 exposure and the slightly warm temperature and you can say Okey, maybe a one No, the opposite effect for the little gossiping itself. Now just press you onto my plus. Now I have the adjustment in plus 50. Once more I could you have a 1 to 2 toned this into any way I can just say Maybe once is also a little bit warmer now. I also want a smaller sized brush because I think if we only paint on the Gosling, we want to make this a little bit more precise. Once more. You could also say, What's your fester like your flow and identity. Normally, I keep the flow into density a little bit in the middle, so it's not too fast adjustment. But my father is normally at 100 because I don't want to see any harsh edges. And then I could also painting over this little face and then adjust brightens those areas individually, and I think this is pretty nice. I can also have looking into a mask. If I wanted to mask anything out to that. See if a cliquey wants more. You see nowhere painted here and once more. If you don't like any of those things that you just did, then you can just press you on to clear oil and then are the adjustments are gone 22. Gradient Filter: the next tool works very similar. Here we have the graduated filter, and when I click on that, you probably didn't even see that anything changed because thes lighters are exactly the same here. It's even better if you want, as it says if you want to have Grady int in your image. And that's especially nice if you went outside and you shot landscape and you might not have broad your Grady and Senator. And now you can apply this Grady int in adobe camera raw and yeah, here you don't brush into anything, but you could once more maybe set of and yet or something. So I click you onto my minus exposure, somber. This time I don't want to have a color in here, just this little bit dark, our tone and in my grade Ian differ press no shift. Then I can just traxis like straight line down, and this way I can darken this image, and that's especially useful if you want to darken sky. Oh are like here we can also wants more, just draws this viewer into our Gosling by just darkening those areas down. And if you want it even DACA you can just go in here and then you can just change this even further. And if you're not happy with this one on top, then you can just click on this and it's active as well. And then you can also Drax this exposure down even warm, and this way it just looks a bit more natural. You don't have one off these super fake vignettes where you saw this black corners of things, that looks how it could have been. Really? Yeah, how it was maybe a today. It looks natural to me. And I really like that. And in case you want to do anything else here, if you want to drag in war vignettes, you just click onto new. Then you can just with shift once more, you bring in the straight line and then you have also a vignette year. Maybe we brings us even in all the way. But they're not so extremely can also just reduce the opacity here and the exposure. And if you just click out off the image, then we can just see this over effect for that. See before, And that's the After 23. Radial Filter: and the last off those tools asi radio filter and once more you probably haven't even seen that I clicked on it because again, it looks completely the same. However, now we can produce a radio for term. And first off all, you have to have a look if it's inside or outside. So you see, here is the effect and that kind off you are detects. Now, how you want to apply this, Grady in, senator. So if I keep it on inside than everything inside will be, you're affected by this change and that say, I just drag out this Grady in and maybe a once Is overall area now a little bit brighter? Then I can just go into my exposure here and from this dark area can just brighten this up . Maybe something like 25. If I'm not happy with this, I can just move to surround. It's no problem. Or if I want to change your more areas over oil, I just go onto new and then I'll say maybe I just want to really play here with my light, or maybe even want to have so feed a little bit. Bryant Charles. So that the viewer looks also onto those little feet. And then I could even go into once more, maybe around the I that this is also brightened. So that also looks may be interesting because you can play now really was my light. And if you go around here the as a way, if you click now on to the outside, then as it says now, you would affect the outside and you could said once more we are like a vignette, for example. Let's not do it so extreme because we said we don't want to have so super tack edges. But maybe was 25 on the outside. I will just go here once more over this little Gosling and maybe that's darkness a little bit more, and now you see that the outside off the circle is affected. But I said, I don't want to so extreme. I just wanted to show you the effect, maybe something like minus 25. And if I click here onto the before and after, so that's a before, and that's the After 24. Rotating and Toggling Images: the next functions are more generic functions once more. You can open your preference dialogue here in case you want to to change your anything. I'm not sure why is that is in the adobe camera raw, But I guess they thought it might be help for if you want to change anything in your preferences. Maybe, for example, if all of a sudden you decided to not use the graphics processor if it was too loud or if you did need more graphics processor, maybe you clicked on it or something like that. Or once more, you could save those image settings here with your ex MP fired. So that's just how you can also access those camera preferences or camera Roper Francis and the last two things you know already from the bridge function, where you can just click on those. And then you can also rotate your image either clockwise or the other way around. So he its counterclockwise and clockwise, and that's pretty much in. So that's how you can develop your images and you can see them here and different functions . If you didn't want to click onto this button with the before and after then you can also have some here on like a before and after of you, or how you Yeah, you can split those images. Now you see how this image looked before and this is no the after. Or you can see how this might be if you wanted to change this around this before and after , but personally and never split those images into those two buttons here, I always just click onto the right where I can just target in between those images. 25. Opening up a Smart Object: Once you're happy with all your adjustments, you have no two different options. You can open those images into photo shop, or you can save them as Jay Pek before I saves them. I just wanted to fix one area, because now that I look at the image, I think I want to hear the stick out. And if I just go back here into my healing option, I just go over the stick and let's see if I do a good job here was just dragging this nine down. And I wanted to also tell you, if you don't like the drop that do become a Roditi A, you can just move this. Also, it's not written in stone. If you think there's a better way, how you can maybe say, don't take this area but actually taken as a clean area, then that's no problem at all. I also think I want to remove those little flowers that we see if they do a good job. If not just drags this green area somewhere. I think that would be better area and I think this looks fairly good. Maybe one more over this little area was this white stuff that we see. If they do a good job, sometimes it can be a tricky especially if you're working here. Was different compression in the image because obviously the background and the foreground is very compressed due to the lens. Then that could be may be more helpful if you will say to adobe camera raw whereas I should take this area from and I think he is, it's now OK, so I think overall, I'm happy. This is in much And if you wanted to change no more things than you can just open them into photo shop. And you can do this by either clicking here onto open image. Or you can also open this image as a smart object. And if you wanted to change this image into smart object, all you have to do is that you go here and us onto this line where it says us s RGB and you can change your different things as well. You can change your presets here. That's basically all your workflow options and you can also change your color space. Personally, I work mostly in the S a g b callus base with embassy eight bits channel because I'm working already was a 50 megapixel camera and if I would increases Channon to 16 bits and I would have just massive fired sizes. So I keep this year at eight bits and I keep my space and s RGB because I'm doing most off my jobs for, like, online. I also give out visitor galleries to my client and so that they see the same colors that I see. I work in S RGB if you want to to give those images now to a print outs and it might be more sensible if you change your workspace here into C m y que or whatever your printer prefers. But for me personally, I work best with CS RGB color space. You could also change different things in your image. Sizing likes of resize to fit, but I don't touch this. Although you could also change. Here's a resolution. If you don't want to work and 300 pixels per inch, you could change this into a bigger resolution. You could also bring in an output for show happening here and so on. But personally, I'm just interested in showing users photo shop option that you have done here where you can take the box open and photo shop as a smart object and one to ditzes. You can just say OK, and now you see that this change now before it says open image and now it says open object , and if you click on this, it will be opened into photo shop. And now you're in photo shop, and you can do are your further adjustments if you want to, But I just wanted to show you this layer because you might. You might only know that when you open your images into photo shops that it says background layer. However, here you see this little folder in the right corner and that says to you now this image is a smart object. And what's the big your advantage that you have? No smart object is basically that if you think no, now this image looks brown to me and assorted would look more reddish and my imagination, so if you don't like it with a double click, you access back into adobe camera raw, and now you can change it once more. And isn't this so cool? Now you can change your once Morsi temperature. If you wanted more red in the image than you can change this magenta is light or you can just increases overall exposure. Bring in more clarity. Have one more look onto your white and onto your black. So if you just presses down now you see that we nearly in this danger that chest is preaching out toe just brings us why it's now a little bit down the same. Maybe with the blacks, I can increases. Or I could also just bring down those highlights because I don't want to reach out the chest too much. And if you're now happy once more, just press okay, and then you're back and photo shop from here. You can obviously do further adjustments, or you can say, if you image whatever you like, and I just want to show you now how you can also work with your image if you don't want to bring it into photo shop 26. Saving The Image: if you don't want to bring this image into photo shop. If you're happy with all your adjustments, then you can also say if you image from adobe camera raw by clicking on safe image, and here you have all different safe options. Once more, you can change your those presets. If you have, like, a preferred way. How you want to say a few image, you can check you your destination. I just want to save it now in the same location. You can select a different for that if you want one, then you can also give your image name. He already like a document type in the serial number. You can change the extension. I'm just happy to safe this year as a J. Peck and therefore just keeps the format as a J pic. I want to keep on my meta data in here the quality I want to change because I want to bring this to the maximum quality so I have the biggest file size available to me, and then I even want to increase this year as well, so I don't want the maximum off 10. I want a maximum off 12. I could also bring in here Limit filed size in case you want to say a few a lot of images for client and then you don't obviously need all off those massive fights. And maybe you could say you want toe limit all those massive fights to 3000 or 4000 K or something like that, and then you would just take onto this box. But for now, however, just keeps its maximum quality a 12. Then once more, you could change now your color space in case you know that you don't really want to use those images for the weapon. If you wanted to print them, then you can change. Here's a space or the depths. But as I said then my images become just too big and, yeah, it would be just impossible toe a blow them than anywhere. So I keep them in the eight bits and on the RGB color space. You could do here once more. The imagery sizing if you want to have a smaller resolution if you want to have images online or for your website than 300 pixels per inch, might be a little bit too big, and I would just take a really long time to open if you wanted to use them for website or block or something like that. And then you could reduce us down here to maybe 72 which is normal fired size for the Internet. And then you can just change all of those areas. Yes, well, if you don't want to have some and pictures so you could also change this year and two inches or centimeters, you could change your wits or you hide and so on. So all of those things are possible in the image sizing area, and you can even bring in an outputs happening. So for me, I just have to stick gone shopping for screen. If you click on here, you could also sharpen those images for glossy paper or format paper. But as I said most off the times, I'm just using those images for online things like the block or website or something like that. And if you are happy here was all off those areas that you take on. Then you can just press onto safe and then your image will be saved and you can still go now into photo shop if you prefer, or you can press you on to cancel, or in my case, I will just click onto Done. 27. Image Before and After: Now I want to show you the before and after, but it's not quite possible yet because we didn't change anything else in the Dhobi photo shop. We literally just saved the J pick from the A c R development. And then that obviously looks exactly the same because that's the A C R. And that's a J pic. However, if you want to see now the original image, we have to go into our A si ah, once more into this developing tool and reset everything. And for that I want to duplicate the image, and they can do this with the right mouse click. Just go into this drop down menu and they go on to duplicate. And then I have one version that I can keep all those changes. And then I have another version where I can just reset into camera raw default and bade ABBA click just excesses in much once more. And then I go onto this little button down here and the fall into this drop down menu on to camera raw defaults, and that's house image Look before. Not exactly because it will still keeps the script area, but I don't mind that for now. So just press done, and it just takes a few seconds. But now you have it. So this was before, and if it's growing, are backwards with my arrow. This is the after so that C before this kind of greenish image. And that's the after and the things This looks really nice because, especially the I detail looks now so much better in our after in much. So that's just a one way how you can obviously change those areas just slide of a slider. And, however, in the next tutorial, I want to show you how you can change. No, all of those other images with just one mouse click.