Adobe Bridge CC and Adobe Camera Raw for Beginners Part 4 - Bonus Tips | Sandy Dee | Skillshare

Adobe Bridge CC and Adobe Camera Raw for Beginners Part 4 - Bonus Tips

Sandy Dee, Sandyseyecatcher

Adobe Bridge CC and Adobe Camera Raw for Beginners Part 4 - Bonus Tips

Sandy Dee, Sandyseyecatcher

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5 Lessons (23m)
    • 1. Adjusting Many Images at Once

      6:00
    • 2. Fine Tuning

      1:51
    • 3. Panorama Workflow

      11:11
    • 4. Panorama Before and After

      0:19
    • 5. How to Create an HDR

      3:38
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About This Class

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

*** This is 4th and final part of our 4 part series, covering additional techniques such as creating HDR ***

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!

Meet Your Teacher

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Sandy Dee

Sandyseyecatcher

Teacher

Sandy is originally from Germany and studied Photography in London, where she earned a Diploma in Professional Photography. Following her passion for creative conceptual portrait photography, she moved to San Jose, California where she runs stylized portrait workshops, and wrote the book 'Posing Like A Pro' which covers all aspects of posing for the contemporary photographer.

Sandy loves teaching and helping other artists to reach new levels in their technique and creativity! New In 2021: Sandy now also teaches paper crafting. No matter if you want to learn photography, portraiture, photoshop, creating backdrops on a budget, paper crafting, card making, mixed media....Sandy has a class for you. Happy Shooting and Happy Crafting!

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Transcripts

1. Adjusting Many Images at Once: in this tutorial, I want to show you those possibilities. How you can change your image is now even faster. First of all, over collectibles, three knows they're from the same area at the same time in a shot. The first casting. We're not shooting but photographing and with a double click, I opens those three. And now I have all off those images in Adobe Camera. And the quitting is that I cannot think them in different ways, and it's so fast, it's awesome. First of all, ever just click onto them by easa going onto each off those images with command or control , and I can select them like this. Or I could also go on to my filmstrip menu and I could just say Select oil. And now I have some selected. As we said, we have now our presets, and if we click onto this area with our drop down menu once more, what's not really a drop down menu? It's just all those presets where can scroll down and I go into a wired life. And if I just stick on here now, immediately, I have this preset and isn't the school, it's literally just one mouse click, and we didn't have to go into all off those area and you adjust them individually for each image. So that's super cool. I want to show you one as a way how you can do a similar thing. So let me just cancel this phone now. And this time I want to collect all off those images so I can just drag over those. And if I want to also individually include more with command or control, I just click onto this image and was a double click. I'm back in adobe camera raw and yeah, if we don't want to do now the presets, then we can easily just go over sync settings. First off, we have to go into our film strip strip box and have to say select oil so that it even knows what it should do here. Otherwise it can sing anything. If I only have one image ticked. But now I have all of those images and then I can say sync settings. And this is amazing because here I can say once more, all of those colors, everything that we did hear individually, I can apply on to all of those images, including even the crops, a spot removal and the local adjustment. So if you wonder, why isn't the sticked already? I think this makes a lot off. Send that photo shop leaves us out by default. Adobe camera raw because every image could be a little bit different. So you might not want to crop it in the same way as you crop this image the same Mrs Spot removing If you don't have your image on the tripod, then obviously, sometimes this. But yeah, I was a student area could be in the background. Then you moved your camera ever so slightly than it might have been in the chicken on this Gosling and then it doesn't really work anymore, because in those areas that you said that would be a nice clean area would have no the wrong color information or the wrong healing information for a C out to properly work and the same this a local adjustment. So in this area, for example, we had the radio filter on this side. If I would apply no the same setting on this area, it wouldn't make any sense because now I would have here white spot and not on the Gosling and therefore this is left out by default. So I think this makes sense. However, yeah, we can try here to includes the crop because, as he said, it's not written in stone. We can still just move this box ever so slightly so we could probably have a look house image would be with the same crops that we apply it here. And if you happy was all of those selected areas and you can just press OK And isn't it so cool? Because now everything is adjusted and we have even the crop, which means in the preset we still heads those transparent picks. Its here there are gone. And if you think yeah, Mochis, that's nice. I don't have those transparent areas, but the crop isn't the best in the world. Then you can just click on him and then you just adjust Aziza, where you want you can makes a smaller we can turns us or anything you want and want to help you versus you just press enter. Let's go to the next much otherwise things the crop years quite cute. I press on, enter then the next one years, maybe a little bit weird. So would crop into even close on and maybe just go a little bit up. I'm not sure if this rotation make sense. Easa. Maybe something like this. Then one down the same thing once more. We could even crop and even closer to give us a bit off a variety here, so it's not all the same. I always play here with so skywriting lines, all those rule off sums to adjust the emerge. Can I just go on to return? Yeah, it's obviously not quite right, because the little Gosling is jumping out off my image. So maybe something close up Lexus. It's a shame that I don't have more negative space here, but yeah, that sometimes happens with the wildlife. They don't always do what you want them to do. But Assad It's kind of cute house just jumping away. Then ones here. We could also change this. Now he has no the negative space on the sides because I said it's always nice to have some space was a chick cause this kind of costing walks tools, I would just keep it like this. Maybe even extends is a little bit, so it's not too close like this, and then one more. I would also just a justice. But see how fast is this? You don't even have to go in here and change anything press shift or anything. What you have to do in photo shop. You can just drag this box around, and that's probably a lot faster than always clicking onto this image and cropping all off them individually and that's it and want to happy with those. You can open them all together now and open object so it goes back into Adobe Photo Shop or we can also save some altogether. So if we go in here once more, if you happy here with your safe options than you press save and that's it. 2. Fine Tuning: So here you can see now those adjusted a CR images or those raw images and then also the ones that we just edited as Jay Pek. And as I said, if you're not quite satisfied now with the J Peg and you want to do more things and raw, that's once more no problem at all, you can also just select them all together. You can go on to your real onto the right mouse click, and now they opened up. If you want to change anything else so you could bring in now you are Grady in theatre if you want to, to do the same thing that we did with the other image, something like this, maybe not quite too extreme. And then we could just upped in here and just change this ever so slightly. Or you could bring in this radio theater if you wanted to bring. And he has a viewers that he looks or that she looks more onto the Sprite area than I could just bring the exposure up and have my radio filters this way. Or as we said, if you wanted to change anything with the adjustment brush, if you wanted to pains certain areas, and we could also do this. We can brighten ups a little Gosling, obviously opposite off the exposure. If we go down here and maybe just changing this brush once more into a little bit off a bigger brush than I could also individually say where I want. Just vignette. So that's the viewer only looks onto this Gosling and not onto this grass onto this other areas. It's a little bit more boring or once more. If you wanted to change here, this kind off dirt and the image all those broke a flask, you just go on to spot remover, bring in your brush into a bigger size and paint over those areas. And this is how you can find June's those images, even if they are J pecs, and then you just go into your once more that you don't save those images, or you could also just press done, and then you're back in Adobe Bridge 3. Panorama Workflow: there are two as a quick functions in adobe camera raw that I want to show you a swell. The one is about how you can stitch a panel ram. And as I said, you can group them already, but let me on group them first. We're just go onto the stack and into our stack menu and you just want to say on group from Stack so that you can actually see them. And I don't think I even needs this first image. Are Yockey? Let's includes this first images Well, but I just drag it down. Yes, so there are next to each other. And yeah, this was just a quick panel on my image that I took out off the Otay room window. And let's try to, yeah, brings them now into a panorama. So I have, like, one longest image and that we just collect all off them. But just clicking onto shift another. I collected and then I go over my wheel once more and now they're all opened in adobe camera raw. And if a press command or control and a they're all selected, and if I click once more into this food strip box. Then you see, before I was on to sing settings that obviously wouldn't make any sense because I don't have an image developed from where I can think all those other images. I want to go here not into merge to HDR, but into merch. To Pano Hama. And this would take now a few seconds because yeah, you become a raw has now a lot of things to do in calculating those picks is so I will see you again once it's finished. All right. And we had done so That's the merged object or this kindof merchant in adobe camera raw. And you could be even more precise here with your projection. If you want this Vereker cylindrical A or perspective. But I think that's very could box. You're pretty well, you could also have now this option off the auto crop. If I lift this and you see where they were actually areas where I didn't hold the camera quite right, because as a set of justices out off the hotel room window, just to show you how we can watch those images together into a pan Mahama and it wasn't on a tripod or anything like that so I can moved ever so slightly. Therefore, things the auto crop makes a lot off sense. And then you could also imply here more boundary with warp. But from this preview as things, this image looks pretty good. So I just click on 2 March and then it asked me, Yeah. Do you want to save so somewhere? Do you want to save this as this fire name and part? No. And then it would save this in the same food over all those other images came from and nothing's That's fine. And I just press on to save, so the original image will be now saved in the same folder as I just said. However, the cool thing is that you can do know the exact same development as we did with the other image, and we could already do this while this is working in the background. You hear again, my friend goes a little bit crazy because once more just take so much processing power. But that's no problem. I can already do hear some adjustments. So here we could maybe just do this a bit more extreme and lowering all those highlights to bring an out this for you to bring out the scholar That wasn't this guy. Then we could also lift those shadows a little bit once more. Want to check my white point? My black point? Because he s saying it looks better if I have more contrast. Maybe I even introduced more contrast over this later. Maybe more clarity, definitely more vibrance. Because when I looked out off the window, it was disputed foods guy and here's a little bit lackluster, so it probably even go into the saturation. And I were You have bumps is up a little bit us. Well, I can also change your my white balance because it looks a little bit too cool and maybe even a bit more red, something like this. As you found out. Now, you don't have to go to crazy into your general adjustments because with those two, it's appear you can always go in and increase certain areas off the image. So I don't want too much yellow here in this motorway. I would change more here, maybe in this guy, because I think that would look a bit more interesting from here. I can go into the shop. Ning, if you want to apply this happening with the 100 we could say maybe we want you 65 then down here maybe more because I shot this with eyes over 800 so they would be quite a lot off noise. So I bring in here 35 then I have kindof total and 100 if you want to, you don't have toe and you can also mask out this guy because I don't think that makes any sense to have sharpening in the sky as the picture. Still kind of rendering in the background at the moment, I can press down onto the order option because I don't actually see this guy. So we just wait a few seconds until this is finished. Okay, so this image is finished. And now if a press on to auto option, you see this mask and then I really want that this guy is black because I don't think it makes sense to have any sharpening in the sky and the only one to apply the sharpening onto those. You are structured all those buildings here from here. I go on through my ages l If I want to maybe bring out this detail and this guy even more. You can also obviously change here. So you if that makes sense. But I think the overall tool, nothing's That's okay. A rather would docking this area down. And they were just bring my blues down And maybe also my purpose just to have this a little bit down. I think this is ok. From here we go into the split toning. I could also change your now my you maybe just a little bit. And then maybe the shadows might be interesting here for change this into this blue Tom, maybe something like Okay. From there on, I want to do a once a lens correction. I'm not even sure if that makes sense that we just removed my vignette. I think that's okay. I don't actually need Thea neighbor profile correction. However, I will take onto the box to remove the chromatic aberration, just in case I can set here now a little bit off of in yet just something like this ever so slightly here again with the camera profile. If I wanted to increase or decrease or something, I could go in. But I think it looks good as it is. I don't want to apply a preset. And for now, I also don't want the snapshot. I just want this basic development. However, in my tool box up here, I say definitely have to crab crab out my window because that's what you see here is this black stripe was the edge off my window. Then I can also maybe bring in this area here a little bit. Yeah, then I just press anti things. This looks now a little bit better from here. Do I think it's straight? That's the question, because I normally never should. Proper horizontal. It's always a little bit. It'd so let me see if that's better. Now. Now I think it goes up there. But then this. Look straight. Ah, it's always the same business We can change now Try it if we want to do this transformation and see what Adobe camera Rossing. So we should take this image. Yeah, I think that works pretty well now. Was this automatic adjustment? And if you're not happy with this, you can also play in all the souls here. If they do anything, you can change the whole layout. I'm not sure about that. I think this layout was actually quite nice. How it waas, But maybe just tilting this a little bit Lexus. And as I said, you can change even more different perspectives if you're not happy with a vertical area or if you think that would make sense now to change your aspect into anything, then you can certainly play with all off those lighters anything for now. This looks pretty OK from here. We can change now or we could hear Now, if there's any, like dust in the image, let me see if I can predict anything. But I think it looks okay. Although if you increases, there should be actually some spots from the window because my window wasn't perfectly clean in the so tell. So let me just reduce my fired size. Here was this brush size I will just click onto those little spots. Okay, Takes a little time because it's the working hard in the background. But I think now this dust bodies, at least gone from here, obviously have nothing to do with red eye because they're just buildings and I could bring . And now my local adjustments, nothing that would be probably helpful. If I just paint in a little bit more color in this area. Let me just reduce my brush ones more so it fits into this area. You can even bring in a color here if you think this would be nice, but maybe just less saturation, something like this. And then we could dark in this area a little bit with this color and see what that looks like. Whoops. Probably tiny, but to extreme. But that's no problem. We can just reduce this down and saturation and then also maybe not quite so much in the exposure. But overall, I think this looks quite nice. If you don't want to paint those adjustments in like this, we could also use here this Grady infinitum. Maybe a tries is also in a second. But first off all, I also want to maybe just bring in a little bit more light onto the street. It's not the best image in the world. It's just as I said to show you. But if I wanted to make it super pretties, and that's how I would do this, because once more you want to guide the viewer, and I think any leading lines. That's always very interesting. I would probably also like this area a little bit. Voted number one customer service. Come on, I will also just light you up a little bit and maybe even this area appear with the bridge just so that I can guides of you a little bit more into the image. And if anything, that should be extreme out. And I could always just bring in more off those points. But I think this looks already pretty nice. I can do this. Even Marvis is gray alien or this graduated filter. As we said, Do I want less? Yes. And I want less exposure and maybe a little bit warm un. And then with shift, I just go into this image and a really darkens the sky down. Maybe I also want a little bit less light down here, but this time, not with any color. And then I just go a little bit up year just so that's assist a bit dark tinge and the things that looks pretty nice. I can also see if I want some. Yeah, some radio future here in the middle, but this time. I want to lighten this because once more want to guide my viewer a bit into the middle, off the image, maybe something just like that. I can always change the shape years well, but I think this is pretty good and that's it. I think this looks well, as good as it can be for an image that I took out off the window. But let me just say FSIS and then I can show you the before and after. 4. Panorama Before and After: and adobe camera raw finished with the saving so I can click now onto this image. So that policy before that's just a merged image off. All off those other images right out of my hotel room. And this is the after and nothing for yeah, such kind off boring image. Adobe Camera Raw did an amazing job. 5. How to Create an HDR : and the last function that I want to show you today is how you can blend those images into an HDR image and let's collect them first with your can just drag over them. And then I click onto this wheel toe, open them all together into adobe camera raw, and it's a little bit up to you now on your preferences. As I said, if you have only one image that's kind of in the mid range, Maybe like this one here, you don't necessarily always needs those three images to create this HDR. Look, as we said the moment you direct on all the highlights and you open those shadows, maybe even if you increase those clarity, sliders and maybe even more vibrant, you can create already this HDR look. Or if you want to blend images together, sometimes it might be even the faster way Rather's. And going into this function that I want to show you now because this is once more just really process demanding, and we'll just take a bit. So play with those lighters first in case that they might already give you the resides that you like. However, if you don't want to do this and let me just bring this back into the middle. Okay? Then you could also play with this function in HDR and yeah, just resets Issa's Well, something nexus. And if I just go in here once more was command or control and a to select all off those or I can also just click onto this button up here, select oil. Then I can go into this drop down menu and into merge to HDR. And yeah, it's not always a perfect result. First of all, it just takes a little while toe opens those all up, but then you still have to find June's is and they will show you this in the moment when this is done. Okay? And how's it HDR Much preview is ready and you can check now if you like those boxes ticked or not, I think the line images probably make sense because you want that those images are aligned . But if the auto tone makes sense or not, that's a bit up to you. I think he it looks pretty good. And then you also have to check if you want to have thirsty ghost, which just means that if you hand with the image like one small what I did here, then it might be slightly that you get this ghost effect. When you have souls, the lines or even if they are lined, it might be that it's just a little bit, Yeah, I kind off blurry and then you can tell a C I if you want to have the STI ghost function maybe in off low or medium I would just stay here with Low. Otherwise, my processing fan goes just crazy. And then I just press on to merge and you can type in your name here now What? It should be called this normal HDR Yeah, by not a richest cleanses together and then see what that looks like and not just press save. Okay. And this is the result that a c I gives me here, So it's not bad a mean, as I said, you could probably even achieves the same if you want to toe play with those images individually, if you want to increase his a clarity, you can actually see what it has done here already that it's also just brought down. Those highlights opened up, sir, shadows. However, if you're not quite sure. There what you really want to do here in a CR, then? Yeah, Why not then a c I can do the job for you. Just collect all off those images, go onto your filmstrip, go into much, much to HDR, and then the job is done for you.