Adobe Camera Raw 12+ | Master Editing in ACR | Chris P. | Skillshare

Adobe Camera Raw 12+ | Master Editing in ACR

Chris P., GIMP, Photoshop, Photography + Lightroom

Adobe Camera Raw 12+ | Master Editing in ACR

Chris P., GIMP, Photoshop, Photography + Lightroom

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27 Lessons (2h 38m)
    • 1. Intro To Adobe Camera Raw Class

      1:21
    • 2. What Is ACR

      1:59
    • 3. Photoshop vs ACR

      3:42
    • 4. Setup Preferences For Maximum Productivity

      8:11
    • 5. Discover the ACR Interface

      10:44
    • 6. Where Does Editing Start?

      2:47
    • 7. My Personal Workflow

      7:29
    • 8. Which Profile Should You Choose?

      3:45
    • 9. How To Read the Histogram Like a Pro

      7:00
    • 10. All the Basic Edits Explained

      11:37
    • 11. How To Use the Tone Curve

      6:23
    • 12. How to Edit With the Details Panel

      8:51
    • 13. How To Use the Color Mixer

      6:06
    • 14. How To Use Split Toning

      4:08
    • 15. Why Optics Is Essential For Every Photo

      4:56
    • 16. How To Use the Geometry Edits

      4:10
    • 17. How To Use the Effects Panel

      4:53
    • 18. What is Calibration?

      3:39
    • 19. How To Use the Crop Tool

      6:15
    • 20. Local Adjustments 101

      9:42
    • 21. How To Retouch in ACR

      9:53
    • 22. How To Use Adjustment Brushes For Precise Edits

      5:53
    • 23. How To Use Graduated Filters

      6:12
    • 24. How To Use the Radial Filter Creatively

      3:18
    • 25. How To Get Rid of Red Eye

      3:43
    • 26. How To Create an HDR Image

      7:19
    • 27. How To Create a Panorama Photo

      3:59
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About This Class

Adobe Camera Raw 12

Master editing in Adobe Camera Raw (Version 12+)! Everything you need to know to use ACR like a pro. From the new interface to all the tools, and hidden tools are covered.

Photos included to use as you learn how to use ACR to edit your RAW (or JPG) files.

Need to process your RAW files and not sure where to start? No worries. Once you're done with this class you'll know how to use all the editing tools in ACR.

You'll start from scratch by understanding what ACR is and isn't, how to setup Preferences for maximum productivity, and my number 1 question from students...

...where does editing start? You'll find out inside!

Oh, and also share my personal editing workflow I've used on hundreds of weddings + thousands of portrait sessions. Take this workflow as a starting point and develop your own workflow based on your needs.

Now, finally, we'll dive into Camera Raw to discover what Profiles are + how to use them, how to read the Histogram to guide your editing and learn what all the sliders in the Basic section do.

Once you have those covered, we'll begin working on more advanced types of edits with the Curve tool, how to sharpen images properly, how to target specific color channels, and how to use Split Toning for creative edits.

Next up are the Optics + Geometry tools for fixing your images, how to retouch in ACR, how to do custom edits, and more.

Also, we can't forget about creating HDR images/edits and Panoramas!

Meet Your Teacher

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Chris P.

GIMP, Photoshop, Photography + Lightroom

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Transcripts

1. Intro To Adobe Camera Raw Class: Hello and welcome to my Adobe Camera class. My name is Chris Barker. And in this ACR class, you're going to discover everything you need to know about ACR. Now for those that have updated to the latest version of camera raw fear, not because this class was recorded in version 12. And I'm going to share with you where everything has been moved to and where some of the missing tools are because some have been renamed. So what are you going to learn in this class? While like I mentioned, everything, every editing tool will be covered in detail and I'll even show you how to read touch your images in Adobe Camera wrong. Now once you're done with this class, you will know how to use each editing tool to achieve your creative vision. Now, one of the most asked questions I get from students is where do I start my editing? And you're going to find out inside, plus I'm going to share with you how to read your histogram like a pro so you know what type of edits needed to be done to fix your image. I'll even share my personal editing workflow that I've used on over 500 weddings and thousands of portrait sessions. You can take this workflow and use it as a starting point for creating your own. So these are just some of the things you're going to discover in this class. So if you are ready to master ACR, let's do it. 2. What Is ACR: Hello and welcome to the Adobe Camera Raw class. And this class, you're going to discover what Adobe Camera is, how it works, and all the tools available for editing your raw files. So in this tutorial, we're going to cover some of the basics about Adobe Camera wrong, so you know exactly what it is and how it works. So if you're ready, let me share with you exactly what Adobe Camera is. Alright, so Adobe Camera is an app required for editing your raw images with Photoshop. It's included for free when you get a Photoshop subscription. So if you shoot in the raw format, you can use the Adobe Camera raw plug-in to process your images also. So you know, ACR is the abbreviation of Adobe Camera, and I'm going to use it throughout this class. When it comes to editing your raw images, you have a lot of alternatives. A direct competitor would be Adobe Lightroom. In fact, the Develop module in Lightroom is precisely the same as ACR. It has the same tools, features, and algorithms for editing your images. The difference being the interfaces of the two are different. And Lightroom requires a database. Now as far as editing tools and ACR, it includes over 15 different tools like adjusting your weight balanced the tonal range, adjusting the exposure, cropping and much more plus and includes more advanced retouching tools like a Healing Brush, graduated filters, and more. So some of these tools you may be familiar with are ready if you have any experience in Photoshop or other types of editing software. Either way, we're gonna go over all the tools so you know exactly how to use them in ACR. In the next tutorial, I want to share with you the differences between ACR and Photoshop itself. 3. Photoshop vs ACR: Alright, so before we dive into ACR, let's look at ACR versus Photoshop and discover which one you should use and when. So initially, ACR was created for editing your raw images. However, over time, it has evolved to include the ability to process both JPEG and tiff files as well. So the question is, should you use camera raw or Photoshop? The answer is both. And the reason why is Photoshop contains additional advanced editing tools not available in camera wrong. So you can think of camera raw as an image developer and then think of Photoshop as the image editor. So when you begin working on a raw file or a JPEG or tiff, it starts off in the developing stage of your workflow. Then once you're happy with the ACR edit, you can then open it up directly in Photoshop to apply advanced edits. Now, when it comes to your ACR workflow, you're going to begin the initial image editing process with some basic edits. So these basic edits are going to be required for improving the overall image by fixing mistakes not done at the time of capture with your digital camera. This can include adjusting the white balance, changing the color profile, fixing tonal range issues where the detail is missing and the highlights are the shadows, maybe adjusting the exposure if the images to over or under exposed and some other things as well. So all of those types of edits are known as global edits. In other words, the edits are being applied to the entire image. Then once you've applied your global edits, you can further enhance the image with local adjustments. Now, you do have the ability to precisely control your edits with tools and ACR. But photoshop itself has more advanced options for image processing and retouching. So once you're done editing and ACR, The next part of your editing workflow is to open the image directly in Photoshop to further retouched and re-find the edit based on your creative vision. So this can be done by clicking on the open button, which is right here, and the bottom of the ACR window here. And that's going to automatically open up the image in Photoshop. So once the image is in Photoshop, you can begin applying layer masks and adjustment layers, advanced dodging and burning techniques on additional layers as well. And you can do much more to refine your image, to complete the edit based on what you had envisioned for that particular image. So the final step in Photoshop is the savior edits as a JPEG file or as a PST file. If you choose jpeg, any layers you created will be flattened and will physically alter the pixels. This means you will not be able to undo or refine your edits with this new file, which is not recommended. So instead, you should save your file as a PSD. This is a Photoshop format that keeps all your layers intact and is a form of non-destructive editing. So when you reopen that PST file, it will allow you to continue editing where you left off so you can refine the edits. Alright, now that we have that covered in the next tutorial, we're going to begin setting up ACR to work with your files and to get the most out of ACR. So if you're ready to get started with ACR, let's do it. 4. Setup Preferences For Maximum Productivity: All right, so there's one more thing we need to do before we dive into ACR, and that's setting up your preference settings. Doing so will help you get the most out of Adobe Camera Raw. No worries, we're gonna make this quick and to the point. So let's access your ACR preferences by opening up Photoshop. And then if you're on a Mac, you're gonna go up to the Photoshop menu here. You can go down to Preferences. And then at the bottom, we have Camera Raw. If you're on a PC, the Camera Raw preferences can be access under the Edit menu. So go ahead and select that, open it up. And once you select it, you'll have a dialog box that looks like this with five different tabs. Alright, so in the general tab here we have some options to edit the panel behavior. We also have a zoom and pan option and keyboard shortcut options. So this option will allow you to use older versions of the undo shortcut, which is Command or Control, and the letter Z, zoom and pan will allow you to use the Lightroom style zoom and pan, which allows you to click and drag around an area. And then it will automatically zoom into that area. Then for edit panel behavior, we have single selected by default, which simply means that when you have an editing panel open, if you select a different editing panel, it will close the first one and open the second one so you can only have one panel open at a time. Next we have multi, which will allow you to have multiple editing panels open at a time. So let me show you how that works. I'm gonna go ahead and open up an image here and ACR. And if I open up the curve panel here and then open up detail closes curve and leaves detail open. We can actually get to the Camera Raw preferences from this little icon right here. I'm gonna change this to multi click OK. Now when I click curve, it keeps the Detail panel open with curve at the same time. Personally, I like single, so I'm gonna go ahead and put that back. Alright, next we have file handling. So file handling determines how ACR handles certain types of file formats. If you can vary your files to DNG, then you have options to embed the XMP files into them. If you have no idea what a DNG file is, then you don't need to worry about any of these options. You can go ahead and skip it. Now for these other options here, I wouldn't worry about these advanced settings and I would recommend leaving them set to the default for now. Alright, next we have performance. And this can help you improve the speed and the performance of ACR depending on the option selected and the specs of your computer. So this first option here we have Auto selected by default. And I would recommend leaving that on unless you find that ACR is kind of sluggish, that may mean that your graphics card isn't compatible with the most recent version of ACR. If that's the case, you can turn this off and see if that improves the performance. Alright, just below that we have Camera Raw cache. And this can greatly improve the performance of Adobe came Raul. And that's because as you load images into ACR, you're not viewing the actual file. Instead, what you see is a preview of that photo. And he need to store that preview somewhere so it's going to be saved and a location of your choice via this button right here. This for my iMac is the default location. So if you want to change the default location, you can do that. How much hard drive space you need is dependent on your computer specs, how much hard-drive space you have, and how many previews you want to actually keep for future use. I have mindset to a 100 gigabytes and probably only need to purge the cache with this button here. And in other words, delete all those previews maybe once every year or two, depending on how much I use ACR. So a 100 gigabytes as probably plenty for most users. If you need more or have less hard-drive space, of course, you can update this to any amount of hard drive space that you want to dedicate for those previews. Alright, next we have raw defaults. So this section provides ways to improve your editing workflow by auto applying specific edits as you load them into ACR. For example, if you have a specific type of edit that you'd like to apply to all your images. You can select it from here. So if I click right here, I can choose from any one of my preset collections and set it as the default for a specific camera model. And of course, the available camera options are going to be dependent on the image you have selected. So this image that's loaded in the ACR now was shot with the Nikon D 200. But I also have two other types of cameras that I have setup for different types of options or editing options. So by default we have Adobe default, which is just going to be 0 edits on everything. So in other words, none of the sliders and the ACR panels over here in the editing panels are being affected with Adobe default. Alright, so next we have workflow, so we have a few different options here. The first one is the color space, so you can change the color space of your image. From here. By default, we have Adobe RGB. You can also change the bit depth. So 16 bits or eight bits, 16 bits is better because it's going to give you more colors to edit from, and it will provide a higher quality image. Now if you click on this drop down menu here, you're gonna see a ton of different color space options. Which ones do you choose? Well, each one is going to adjust the colors that you see and they edit with depending on the color space. Now these first five Here are the ones that you're going to be using the most often. The other ones below here, you don't really need to know unless you need something specific based on the output device that your image is going to. So for example, if you're going to an in-home printer, you may need to select one of these other options down here. But for now, I would just recommend selecting Adobe RGB until you become familiar with color spaces in general and how these other color spaces affect your images. Now I did put together an article about color space to give you some more information about that. So check that out below this video. Now this next option here, image sizing, is going to alter your photo when you open it into Photoshop, which can be done when you're done editing an ACR and then selecting the photos to be opened further by editing directly in Photoshop, by clicking open button down here. Now by default, you're not going to have this selected like I do. You're going to have this default option instead. So the default option is going to keep the original size of your raw file or your JPEG file. So these are the dimensions right here of the file that I have open in ACR. If I want to change the size of that file when I open it in Photoshop. Then I select resize to fit, and then I type in the width. The height pixels are inches, and then the resolution. Next you can select to have your images automatically sharpened four different options here. And then we have an advanced option here that will convert the file into a Smart Object when opened and Photoshop, if you don't know what smart objects are, I wouldn't worry about this, Okay, now that your preferences are set up, we're going to take a quick look at the ACR interface in the next tutorial. 5. Discover the ACR Interface : Hello and welcome back. Alright, so next up is discovering where all the tools are located in ACR. And I'm gonna give you some tips. I'm customizing the ACR interface. So if you are ready, select a few of your raw files, double-click on them, and they will auto open an ACR. You can also right-click on one of the raw files and select Open with. Then select your Photoshop version. So mine is Adobe Photoshop 20-20. And that will automatically open up the files as well. Okay. Now that your images are in ACR, take a quick look around and compare it to my interface. If it looks like this, that means you're using an older version of ACR and I recommend updating to the newest version when you do, it's going to look more like this. So let's go over all the different panels that make up the interface and explore where the tools are located and how to customize the interface. Alright, so the first thing I wanna do is I want to increase the size of the ACR interface so that we can take away any other distractions that you see right now. And this is very helpful when you're editing your images to help you focus on the images versus everything else around the ACR interface. So we can do that by toggling the full-screen mode of ACR by clicking on these double arrows right here. And that will increase the size of the interface and of course gets rid of everything else. Click on it again to get out of that mode. Or you can actually use the keyboard shortcut, which is the letter F. Alright, so our interface is made up of four, actually five different sections. We have the top here that has the filename over here to the right, we have this large panel with different editing panels inside of it, a smaller panel to the right. Down here we have some information, some different icons. And then over here to the left, we should have a film strip. But I don't because I only have one image open at this time. So if you have two or more images open at one time in ACR, you're going to see a film strip here that's going to show the thumbnail or the preview of each one of those files open. But I can actually turn it on with a single image by clicking on this film strip right here. So if you want to hide this and you don't want to see all these Preview files, just click on this filmstrip icon right here. Now, in addition to the preview, if we hover over an image, we're going to see a couple different options here. So this first one will allow you to save some options and create a preset. So we'll cover this in a future tutorial. Next to that, we have some menu options that will allow you to make some selections for this particular file. From here again, we'll cover these in future tutorials. Now over here to the right, we have this icon here. It's basically the same thing as before for saving your options. And as I mentioned previously, you can open up a camera preferences with this icon. Now, this panel right here, the largest one. Includes a lot of different editing panels within it. And of course, if you click on it, you will expand those editing options for that particular panel. And previously I did show you how to set up your preferences for these panels for single or multi view. But if you actually right-click on it, you can actually change it from here as well. You can also expand all and collapse all from here. So these edits here are considered global edits. So in general, the edits that you apply are going to be affecting all the pixels in your image. Not all the time, but mostly it's going to be affecting the entire image, or at least targeting all the different pixels within that image. The tools on the right side here to the right of it are what are considered local adjustment tools. So they're going to target specific areas of your image depending on the tool selected. So you have more precision and control with these tool and that's why they're referred to as local adjustments, since you can apply them exactly where you want them. Now when you select one of these local adjustment tools, it gets rid of the other editing panels and they disappear. But if you want them back, you just click on this icon right here to get those global edits back. And then down here we have our menu options to make adjustments to our files from here. So we have a couple of different ways to access this menu. Now, down here we have a little hand icon, so this will allow you to navigate around the image when zoomed in doesn't do a lot of good when you're zoomed out. So if you come down here and click on this little drop-down menu here, you can zoom into your image and then what the hand tool selected, you can move around the image to focus on a specific area for that image. You can also access this hand tool with the keyboard shortcut, which is the letter h. Next we have a toggle sample overlay, which will help you target specific points, colors, et cetera, of your image. So I just clicked on the image in three different areas right here. And if we take a look up here, we have some different color samples based on the area that I clicked on. So we have RGB values for each one of those points that I clicked on. So those are helpful for color correcting your images. If you need to focus on a specific set of colors, you can do that by targeting and clicking on that point in the image, and then using this as a reference as you color correct or adjust your colors. Okay, next we have a grid overlay that you can place over your image to help you see if you're images may be aligned properly. Or maybe for composition, you can also increase and decrease the size of your grid right here with the grid size. And then you can change the opacity of it here as well. Okay, now real quick for the Zoom tool, I forgot to mention, if you press the letter Z, that will get the Zoom tool for you. If I press H And back to the hand tool, the again, I can zoom in or out. Now another cool thing about the Zoom tool is if you want to zoom in further than the 100% or the percentage level selected by default. You can click and drag your mouse left or right to zoom in further or less. So right here I'm at a 160.3% based on what it's showing right here. So I can zoom in or out that way. If we go to our camera preferences and we turn on our use Lightroom style zoom and pan. This will change the behavior of the zoom tool. So if I click and drag, now, I'm getting the hand tool instead. And it's zooming in to the last point that I zoomed in that 160.3%. So that just gives you a different way to zoom and pan. And it changes the behavior. So you can set that up to whatever preference you prefer. When you're done editing your image, you will then click open and it will then open that file in Photoshop. If you're done with the file and you don't want to open and Photoshop panic ligand done so that it commits or saves all the editing information to your file. If you made a mistake and you don't want to edit this image anymore because whatever the reason may be, just click cancel and then none of your editing options that you selected will be saved. So here we have some options to set all the editing that we did and all the different editing panels back to the default. So in other words, you can view your image as it was originally. So this is the original file. This is my final edit. We also have a before and after option here with different variations of seeing image before it was edited and after. Now down here below the image, we have an option to set different star readings to where image. So if you want to create a star system based on your best images, maybe that's 5-stars or four-stars or images that are okay but should never see the light of day. Maybe you want to keep them at no stars or one star. So you can create a organization system based on the number of stars you want to apply to your images. You can also mark that file for deletion. Once you click done and just click on this little trash icon, and it will be moved to the trash. Once you click done. Just below that, we have some information about the file. We have the color space, the bit depth, and the size of that file when opened in Photoshop. So right now, it's much smaller than the original file. If I want to change that, I can actually click right here to get back to the camera Preferences. And then when I click right here, you're going to notice that the default options here are now listed down here as well. And if we change the bit depth and the color space that will be updated in the information below as well. Now real quick, one more thing about the film strip. If you click on this little bottom right corner, there's a little arrow there, kinda hard to see. You have a flip out menu here that can change the film strip orientation from vertical, two horizontal. You can also show the filename, the ratings, and color labels of those files as well. Alright, so that is the Adobe Camera interface and now you know how to customize it and locate all the different tools for editing. Before we get into using ACR, I'd first like to share with you some workflow tips and tools and ACR that can help you streamline your editing workflow. So in the next tutorial, we're gonna go over one of the most asked questions about editing. Where does editing start? So if you're ready to find out, let's do it. 6. Where Does Editing Start?: Hello and welcome back. Alright, so before we get into more of the editing tools, I first want to share with you where you are editing starts. So there's a lot of tools to edit with in ACR. And you might be wondering, where do you start your edit involved? First off, editing does not start an ACR or Photoshop or Lightroom or any other editing software. Editing starts in camera. So you have the ability to get the exposure right and camera, which will eliminate the need for fixing it in ACR. Plus you can also now the white balance that the field composition as far as a crop controlling the amount of digital noise and more all at the time of capture. Doing so means you'll have less editing work to fix what could have been done at the time of capture, and you'll end up with a higher quality image. Now I know from experience it's not always possible to get everything perfect and camera. This could be due to the limitations of the dynamic range of your camera. Fast-moving subjects not able to control the light as you wish and many other variables. However, if you make a conscious effort to now the exposure and white balance in camera as much as possible, your photography will improve and you'll spend less time editing. Now that we have that out of the way, the question is, where do you start your editing and ACR? Well, at the top, almost, Let's see ACR, the first editing panel here on the right includes the histogram at the top. So this is a great place to start, but before you read the histogram, I'd recommend setting the profile. So this can be selected in camera and then you can set that as the default and preferences. Or if you prefer a different profile for a set of images, go ahead and select it before doing anything else. Then I'd recommend working from the top down. So that's going to be all your global edits that you're going to do first, after you're done what those edits, you can move on to the local adjustments which are in this panel here on the right side. Now speaking of workflows, I'd like to share with you my three-step editing workflow. This workflow can be adjusted for your own needs once you've learned all the editing tools and ACR. Now in addition to my workflow, I also want to share with you how you can save your editing and different points of that workflow and the edits that you've done. So you can easily go back in time without having to restart from scratch if part of your edit doesn't turn out as expected. So that and the three-step workflow will be covered in the next tutorial. So if you're ready to learn how to create a workflow to make editing faster and consistent. Let's get started. 7. My Personal Workflow: Hello and welcome back. Alright, so in this tutorial, I'm going to share with you how I break down my editing workflow into three easy steps. I'm also going to share with you how to use snapshots to record your editing, to go back in time if needed, and how to create and use presets. We have a lot to cover. So let's jump into ACR and get started. All right, so this is my three-step editing workflow. You can actually download this JPEG file from the link below this video. So what I've done is I've divided up my editing workflow into three steps or three different categories because we have a clean edit here, which would be step one, step two would be accustomed. It. Step three would be a creative edit. So let's define what each one of these categories means. So to me, a clean that it would be an edit that looks natural. I want the image to look like it did at the time of capture. So I'm going to use all these different tools right here. So we have our Basic panel adjustments and then I'm going to apply a tone curve as well. And then that's it for that particular edit. If I don't wanna do anything else to the image, therefore, I will then move on to output, which is sharpening. So sharpening would be dependent on where the image is being outputted. For example, if it's going online, I'm going to sharpen the image more than I would for a print enlargement. And you'll notice in each category I have output as the last step. So I'm not going to do the sharpening until everything else is done. Now when it comes to a custom edit, I'm going to keep the natural clean edit, but I'm going to improve it because maybe there was something in the image that captured that I don't want in it. For example, maybe there's some trash in the scene that I couldn't get to and remove. Maybe I'm shooting somebody and they want their blemishes removed. So its a custom edit. It's retouching, it's making the image in the scene look better than it did at the time of capture. So for that, I'm going to use all these tools are here. The crop tool, linear and radial filters, local adjustment tools, and the Spot Removal tool. So Spot Removal tool would be the Healing Brush to remove spots and blemishes. Local adjustments would be for dodging and burning, as well as some other types of edits. If we Actually, let me show you that if we select a Adjustment Brush, you can see we have all the same types of editing options as we do in the Basic panel. So this would be all custom types of edits. Next we have a creative edit. So creative edit to me would be an edit that is not natural. It doesn't look like it did at the time of capture. For example, maybe I want to take these green colors from all these leaves here and change them to yellows and oranges and reds. Because maybe I wanted a fall image. But Mother Nature wasn't cooperating at that time. Maybe it's middle of October, late October, but it hasn't been cold enough for those colors to change yet, and that's what I wanted. So to me that would be a creative edit. So you're basically stylizing that particular image and it's now going to look natural Once you stylize the image. So for that particular type of edit, once I'm done with the clean and the custom edit, I'm going to work on these tools here. If I wanna do color, if I'm going to do black and white, then I'm going to use these tools here. And then of course finally I'm going to sharpen a once I'm done with the overall edit. So this is my workflow. You're going to have to adjust this for your own workflow based on your creative vision for your edits in how you want to edit. But by breaking them up into these categories here, it makes it easier. And you'll be much more consistent as well by following a set of different steps to edit your images. All right, so next we have another tool that can help us with our editing and our workflow. And it's called snapshots, which is right here. So if you click on this, what it will do is it will allow you to save your editing workflow at a specific point in time. So for example, here's my original edit. I have a snapshot here that says my edit so I can go back in time. Don't necessarily have to do the original as the first snapshot. It could be after I do a clean at it, I will then do a snapshot by clicking right here to create one. And then I'm going to name it clean edit. And then it's going to add it into the snapshots panel right here. And then of course, as I do my custom edits, my creative edits, I can do snapshots there. And I can also do smaller increments of snapshots as well. So maybe I add some filters to the customer that create a snapshot there. Then I do some dodging and burning. So I create another snapshot. Then I begin retouching the image by removing color casts. That could be another snapshot, so on and so forth. That way I can go back in time by selecting one of the previous snapshots that I created. And that will make it easier to go back to a certain point in time to redo the edit if needed. If you're not happy with the edits that you've done up to a certain point. The last tool we have available for helping with our workflow are presets. So once you're done with a particular edit, you can take those edits that you apply to it, and you can save it and then apply it to future images. So if we click right here on presets, now we can see a list of all my different presets right here, but I want to create a new one for this particular edit here. So I come up here and I click on this icon to create a new preset. I can give it a name up here. I can put it in a group or create a new group. And then I need to select the editing tools that I used on this image to save it with that particular preset, then I can come in and choose another preset simply by scrolling through and finding the one that I want and then clicking on it. And then that preset is applied. All those edits that were saved in this dark and moody or five preset are now applied to the image. How cool is that? I love it. So presets and snapshots and creating your own three-step editing workflow will help you streamline your editing process. Alright, so hopefully that gives you some ideas on how to make editing easier by breaking down all the tools into smaller steps and by categorizing different aspects of the editing process. Next, we are going to learn about one of the first adding adjustments you should make an ACR before doing anything else. So if you're ready to learn what that editing tool is, let's do it. 8. Which Profile Should You Choose?: Hello and welcome back. Alright, next up, we're going to explore the world of profiles. So an ACR profiles or just above the Basic panel right here. And the profiles that you're going to have available are going to be dependent on two things. This is based on whether you shot and JPEG or wrong. If you shoot in JPEG, than the profile that was applied in camera will be embedded in that file. And you will not be able to change it like you can with raw files. Now if you shoot in RAW, then you have profiles available from both Adobe and your camera manufacturer. There's actually a third source of profiles as well, and that's from other creative artists. So yes, you can create your own profiles or buy them from other photographers. So the question now is, what is a profile? A profile is an interpretation of what someone else thinks the colors, contrast and saturation should look like for a particular photo. So in a way, a profile is like a preset in that the profile contains saved editing data within it that is then applied to your photo. So think of profiles, like a starting point for your editing. So the profiles available to you will give you an assortment of options like I mentioned, for different amounts of contrast, color saturation, and how it interprets what those colors should actually look like. Alright, so your next question is probably which profile there's a lot to choose from. So part of the process of determining which profile to use will be experimenting with all of them. So you can visually see how each of them affects your images. So grab any raw file and open it in ACR. Next, you're gonna go to the Profile menu. Right here. You're gonna click on it. And you're going to see the first options here are for Adobe profiles. If you go under browse, right here, you will see additional options down here. So again, we have Adobe raw. Right here. I have my favorites up here. But below that we have camera matching. So whatever camera you use, nikon, Canon, Sony, it's going to have specific profiles for that particular camera. And you'll see a bunch of different ones similar to mine here. And these are actually the same ones you have on your camera. So you can select these profiles in camera as well. Now, just below that we have some additional profiles as well. We have some artistic black and white, Modern Vintage. These are all more artistic type of profiles. They're gonna stylize your images war. So vs. the camera matching and the Adobe Camera Raw profiles. Now at least most digital cameras are going to give you these options. You're might be different based on your particular camera. Now as I scroll over each one of these different profiles, it's updating the main image here in the preview section with that profile. And if you want to apply that profile, you just click on it and then it adds that profile to your image. So just remember someone at Nikon or Canon or whatever the case may be, that person decided that this profile should have a certain amount of contrast and saturation and how the colors should look. So that's why you should think of these as a starting point for your editing. So once you're done going through all the profiles, we're gonna start on the next step of your editing workflow in the next tutorial. 9. How To Read the Histogram Like a Pro: Have you ever wondered if you're over editing or maybe you'd like to discover tool that will prevent you from over editing. And wouldn't it be cool if this same tool can help you discover hidden details that are not readily visible when he first look at the image. While the histogram is an often overlooked tool that can help you improve your editing by not over editing, showed that hidden detail, improve your editing speed, accuracy, and more. So this tutorial is all about the magical powers of the histogram. And I'm gonna show you everything you need to know where to start your editing and to ensure you're not overriding. So let's jump into ACR and get started. All right, so here's our histogram and the top right panel right here. So the histogram represents the different tonal ranges of your image and the different color levels of all the different pixels in your image. So we have a histogram that goes from the far left to the far right, which is what you want in most cases, unless you are creative vision requires a high k or loci type of image where you're going to have less detail in the highlights and the white points or the shadows and the black points. So if we hover over our histogram, you're going to notice that different sections light up and those represent the different tonal ranges of the image. So right down here, it's going to tell you the name of that tonal range. So here we have our Blacks, shadows, exposure highlights, and the white points. So that histogram is giving us a lot of information that may be difficult to see within the image itself. For example, we can see that certain parts of the image here are very dark and they looked pure black. But they're not because if we look at the shadows right here, it's showing that there's a lot of information in the shadows and there's detail and texture there. We just have to bring it out. We had to fix the image because I didn't capture all that detail in camera at that point in time because of how I expose this particular image. It was a very bright scene and the areas where it was very sunny and it was very dark in the shadow areas where there was no sons. So the camera that I was using at the time had a very low dynamic range and comparison to the scene itself. So due to the limitations of the camera, I wasn't able to capture the perfect exposure and cameras and now I have to fix it in ACR. So with the information that the histogram is showing me, I know that I can bring out the detail and the texture in the shadows because it's there. Now and some areas of the image we can see, it kinda looks like it's pure white and some areas as well. But again, we can see that there's information in there. There's no major peaks, there's no gaps. So I can bring detail back in the highlights and the white points as well. The only problem is the black points. I did clip the data in that part of the tonal range, so I did lose some details. So let's find out where it is. We can do that by clicking on these little icons here and the top left and top right. These are clipping warning tools. So when you click on, they're going to provide a color overlay to let you know that part of the image has been clipped. So if we zoom in right here, we can see there's a red overlay that represents the highlights or the white points in the image that have no detail. Now over here to the left, we have a blue overlay representing the black points or the shadows. So I don't really mind losing detail and this area here because there's not a whole lot of detail missing. It's just little specks here on their same with the highlights. It's not a very important part of the image right here. So I don't mind losing the detail here. And it's a very minimal and other parts as well. The problem would be when I start editing and I begin clipping more data than what I did at the time of capture. So for example, if I increase the whites, I begin clipping additional pixels, data, texture. And I don't want that. This is a warning to let you know that you're over editing the image and you're losing detail. If we adjust the blacks to the left here, same thing. So all the area in blue now has no detail, no texture, it's pure black. So I've over edited the image. You can also take a look at your histogram and notice that it has changed from the original. So I'm beginning to push the histogram to the left. And this original peak that was here is now smaller, but I'm losing more detail and the black points and we don't want that. So for this particular image, if I go to the snap shot here and I go to my edit, Let's go back to the Basic panel. We see I increased the whites by plus 15 and I left the blacks at 0. Exposure 0 highlights and shadows 0. So I didn't use the Basic panel to really edit this image other than to increase the whites. So a lot of times when you're editing, you don't really have to adjust these settings here based on what the histogram is telling you. Just because it's there doesn't mean you need to slide these sliders left or right. But you may be wondering, How did I bring in detailed Peck shadows in these different areas of the image? If I didn't adjust to shadows here, well, what I did was I used my local adjustment brushes to apply edits exactly where I want them. So for this particular area, I applied the brush just in this area here. And I increase the exposure and the whites and at brightened up that area to bring back that detail. And we're going to talk more about this in a future lesson. That's just a sneak peek of what's to come. Alright, now that we've demystified the Histogram, we're going to move onto the next step of our editing workflow, which includes editing options within the Basic panel. So we're gonna read the histogram and then based on that, we're going to make adjustments to the tonal range or the tonal range in that history I'm that are showing that there's either detail or something needs to be fixed. So we had those tonal range options in the Basic panel as well as other editing tools that we need to begin applying to our image. So we're going to cover that in the next lesson. 10. All the Basic Edits Explained: Hello and welcome back. Alright, now that you know how to read the histogram, it's time to make those tonal adjustments, as well as some of the other edits that we have in the Basic panel. So for this tutorial, I've included a raw file that you can download to use as you go through this tutorial. And we're going to use it in future ones as well. Okay, so go ahead and download that file, open it and ACR, and let's get started. Alright, let's jump into the Basic panel here and take a look at all the editing options we have. And this part of our workflow, we have a lot of stuff going on here. We have white balance up here, we have our tonal range adjustments here. We have texture clarity D Hayes here. And this will increase the amount of contrast or decrease it. And it will make your image softer or sharper depending on how you adjust these. And then we have vibrance and saturation, which will adjust the saturation or the vibrancy of those colors, more or less depending on how you set up those edits. So where do you start? I would recommend appear at the top. I would set your white balance first and then work your way down. Now for this particular image, we have white balance right here. It says add a shot. So this is the color temperature right here that I dialed in and camera. Based on the light source, I knew what color of the light I wanted for this particular image. And I was able to dial that in, so I wouldn't have to do it during the editing process if you get in the habit of doing this in camera as well as your exposure cropping and other stuff as much as possible doing everything in camera, you will save yourself editing time. Now, one image isn't going to be that big of a deal. But if you get into the habit of doing it, then you won't have to worry about fixing it later on. When you have, let's say, a 1000 images from a family vacation or from a wedding that you shot. If you spend ten seconds adjusting the white balance for those 1000 images, you're looking at an additional 20 minutes of editing time for those 1000 images since he didn't do it in camera. Now if you add into that additional things that you can do in camera like cropping and getting the composition and camera. You could probably spend another 20 to 30 minutes cropping your images as well. And all of this adds up over time. Now, if you look inside of this white balance dropdown menu that you have some auto options and as well, and these match the same ones you have in camera. So you can set your camera to daylight. So if you're shooting in the middle of the afternoon and there's daylight, you're going to select this daylight option right here. And then it adjust the tent and the temperature according to the settings that we're saved inside of this particular daylight preset. Now if it was a cloudy day, you're going to select that and it's going to make the image warmer. So now the Kelvin temperature is 6500, which is more yellow than 5500. Go ahead and put this back to Ashok because that's the color I wanted for that light source. Now the other option you have here is to use this eyedropper tool. By clicking on it and selecting it. You will get this eyedropper tool icon and then you can click on your image to change the white balance. So if you take a look right here, these rocks right here are blue. So if I click on them, it's going to make the image warmer. So now it's at 6450, which is more yellow than 5700. And the tent is up to 25 VS minus six as before. So it's a lot warmer than it was before, but I find that the trees and this area here, our two warm now. So when using the eyedropper tool, you want to click on an area that is grey or should be neutral gray. So the light emits a specific color and it creates a color cast. And when you click on a neutral gray area, it neutralizes that color, casts, removes it, and then you end up with a color of grey that is more neutral without that color cast. And I'll go ahead and put this back to As Shot. Alright, next we have our tonal range adjustments. Now for this particular image, I did the best I could for the exposure and the camera. If I increase or decrease the exposure any more than it currently is right now, then we're going to have blown out highlights or detail lost and the shadow. So adjusting it one way or the other is not going to help this image. We need to go in with our local adjustment tools to adjust the exposure and individual parts of the image. So to the right to bright, even though I have more detailed back in the shadows now, the highlights are blown out and too bright for my taste. Same with exposure. I can bring the highlights down so they're much more natural and more pleasing looking, but we lose detail in the shadows. So for the exposure, I would not adjust it. Same with the contrast. I'm not going to adjust my contrast here. I would rather do that with the tone curve, which we'll do in the next lesson. So next we have our highlights, shadows, whites and blacks. Now, according to the histogram, we have detail in the highlights and the shadows, and we can bring that information out with these two sliders here. So if I drag this to the left, it will begin to reduce that red overlay here in the middle. The more I go to the left. So minus 100 and gets rid of all of it right in this area. And that just simply means we recovered the detail in that area. Now, originally, we probably thought because of the red overlaid that detail is lost, but our histogram is showing that the detail is still there, k. So we can do the same thing with the shadows, because the shadows show again that there's detail in that area. And we can increase the shadows to reveal the texture and the detail in the shadows. How Cool. Is that all right? I'm gonna go ahead and put these both to minus 100 and plus 100. And then we had to decide on the whites and blacks. Now, the thing is when you make adjustments like this to the extreme plus 100 and minus 100 and you begin to lose contrast, the image becomes flatter. So you can increase contrast two ways, either with the Contrast slider here or the whites and the black points. So as I begin to increase the white points and decrease the black points, I add more contrast to the image. So I'm gonna do that just a little bit. I don't wanna go too far. So I'm going to go to the right here until I see those red overlays. Again, don't want to clip that data, so I'm going to bring this back down to about plus ten, so right about there. And then same thing with blacks to the left until I see that blue overlay. And then I'll come back. So we'll go, let's go minus ten for this one as well. Alright, next we have texture and clarity. And these are going to provide what appears to be sharpening of the image because it's adjusting the contrast of a specific point of the tonal range. So clarity is targeting the mid tones of your image and the edges of the mid tones between the shadows and highlights. And as it increases the contrast along those edges, it creates the appearance of the image becoming sharper. So as we go to the right, the image becomes sharper and the contrast increases. To the left, it does just the opposite. Now, texture is going to target parts of the mid tones and other parts of the tonal range as well, but it's targeting more larger points of detail versus clarity. So texture is going to give you a different adjustment versus clarity to the left, it's still soft. To the right, it's still sharper. But the amount of sharpening it and where it's applying that sharpening is different than clarity. So those are two tools that you're going to have to play with to determine the type of edits that you'd like from these two tools. Now as far as these two tools, I'm not going to make any adjustments at this time because I don't want to apply global edits. I want to apply local edits with one or both of these editing options and we'll do that in a future tutorial. The haze is going to either increase or decrease haze in your image. So if you've shot an image that has a lot of fog, or maybe you have a picture of somebody that was backlit by the Sun that's going to create some haze as well. This tool will remove or add that Hayes as needed based on your creative vision. So in a way, it's adding contrast to the image to remove that haze, or it's lowering the contrast to add haze. So we don't need this particular edit for this image, so I'll leave that at 0 as well. Then we have Vibrance and Saturation. So both of these are going to adjust the colors in your image, but they're going to do so differently, very similar to texture and clarity. So let's take a look at saturation first. So as we begin to move this to the left, we begin to mute the colors because we're reducing the saturation and the colors. Once you get to minus 100, you end up with a black and white image. If we go to the right, we increase the saturation. And if you go too far, it looks on natural. Kinda looks like a cartoon. So I wouldn't go that far with saturation. Alright, so vibrancy is going to increase the saturation of your image as well. But it's targeting more of the mid tones versus all five tonal ranges. So as we decrease vibrancy, the saturation begins to be reduced, just like with saturation, but this time with minus 100, it's not completely black and white. We have some colors here in the trees. And that's due to the vibrance tool targeting the mid tones. So if you take a look at your histogram right here, we have a few color peaks, very visible in the mid tones. But if you look over here and the shadows, those colors are hidden behind this big white or this gray peak right here. And then when you move the vibrance to the right, it increases to saturation of the image, not as intense as saturation because it's not targeting all five tonal ranges like saturation did. So again, for this image, I'm not going to adjust vibrance or saturation. Alright, so that's the basic panel. So we're gonna make sure when we're editing, we're gonna do the profile first, then the white balance, and then any tone adjustments before we move on to the next part of our workflow. For me that includes a curve adjustment. So the tone curve is going to help you precisely control where contrast is added in the tonal range. It can also be used creatively and to color crack your images more on that coming up in the next lesson. So if you're ready to learn all about the curve adjustment, let's get started. 11. How To Use the Tone Curve: Hello and welcome back. Alright, so we have one more adjustment to make to finish our clean edit, and that includes the tone curve adjustment. Now, although I consider this to be a basic edit, it could be considered a custom or even a creative at it, depending on what you use the tone curve for. It can be used to add contrast to make your image pop. It can be used to color correct your image or to add a colour overlays. So for this tutorial, we're going to first do a contrast adjustment. Then I'm going to show you how to use it to remove a color cast and to use it creatively. You can then decide what part of the three-step workflow it will be used for in your workflow. So let's jump back into ACR and get started. All right, let's go ahead and navigate to the curved panel here and do some adjustments. So the Tone Curve I loved to use to add contrast to my image and it gives me the precision and control. I want to add that contrast within a specific tone range of my image. If you take a look right here, we have a histogram within our Curve tool and that represents the different tonal ranges and our image. So just like our histogram up here, we have blacks, shadows, mid tones, highlights, and whites. So from left to right, this point here, and this point here, you can use to manipulate the black point here and the white point here. Now this linear line here is going to allow you to increase or decrease the contrast accordingly. So if you click right here and drag up, you increase the exposure because we're dragging from the middle as x0 from here to we increase the exposure of the highlights or increase the exposure of the shadows. Now it is adjusting other parts of the tonal range as well because as you adjust down here, here, or here, it still curving the line down here as well, just not as much as it is up here. So this allows us to increase or decrease more or less depending on the area of the tone range that you're targeting. So we're gonna come over here and drag up to the highlights right about there. And once I release, we are left with an anchor point on that line. So we can continue manipulating the contrast and our image. And the contrast is added because we're brightening up part of the image and darkening the other parts of the image. And that tonal range, based on where we click again in this linear line, I'm going to target the shadows right here and drag down. And now the shadows are getting darker. So are the black points. So just by doing that, we increase the contrast of the image. If we click on this little icon right here, we can see the before and after. So personally, I think this is a little bit too much. The further you go, the more contrast you add. So for this particular image, I'm just going to go very small on either side. So maybe something like that. So that right there it increases the contrast just enough to make the image pop. But one of the things it does is it does darken up the black points and the shadows and we lose detail in this area. So for this particular image, I would probably go just a little bit smaller. So something like that. Now I do want to mention something real quick. This is a popular editing technique known as an S curve because it looks like an S. So increasing the highlights and decrease in the shadows creates the S curve and gives you a certain amount of contrast depending on how far you go on either end and it makes your image pop. I'm gonna go ahead and put these points back to where they were previously. So something like that. The other thing we can do with the tone curve is we can target our individual color channels, which are the red, green, and blue channels. So right now we have the point curve clicked or selected and it's targeting the entire image or all three color channels. If we click on read, we can then adjust the red colors to be either more red. Or we can begin changing the colors to be more green, which we can visually see in this grid right here. So if I increase this, I'm adding a color overlay to the image. This way I begin removing the red and it becomes more green. This is helpful to remove color casts and your image. I'm gonna go ahead and right-click here to reset that channels so that there is no adjustment to that linear line. So if we take a look at our rocks over here, we can see there blue and some areas because they're in the shade and it's cooler than the area over here in the image. So if we want to warm up the blues and the shadows, we can do that by clicking on the blue channel right here. And then if we increase it, adds blue. If we pull it down and begins to make it warmer. But again, it's targeting the entire image. So I can leave this anchor point right here, maybe add another one here, and then target the highlights. But that's not targeting the rocks as much. So in this case, we want to target the shadows by adding anchor points down here. And then targeting that part of the tone range and warming up the rock so they're not as blue. Alright, I'm gonna go ahead and right-click and click on reset channel. So creatively, if I want to do something creative with the tone curve, One of the things I'd like to do is create a flat mat type of look, which adds kind of an old school retro style to your images, which you can do by clicking on the black point here and dragging it. And it begins to flatten the contrast in the blacks and the shadows of the image. And a heads that old school retro fields. So that's a creative option for using the tone curve. Alright, so those are three different ways that you can use the curve adjustment. Next, we're going to look at the details panel and how you can use it to sharpen your images, and how to remove digital noise. 12. How to Edit With the Details Panel: Hello and welcome back. Alright, so in this lesson, you're going to learn how to sharpen your images and how to reduce digital noise. Plus, there's a hidden tool in the Details panel. It's not well known. So I'm going to show you where to find it, how it can make your job easier when it comes to sharpening and ensuring you don't over sharpen. After that, you're going to learn how to remove digital noise. So let's jump back into ACR and get started. All right, before we get into the detail panel, let's go ahead and create a snapshot since we've already done our basic and curved tone adjustments. So I'm going to click right here on the snapshot icon. And I'm going to click here to create a new one. And then you can give it a name of whatever you like. Step one, planet it or anything else. I'm just gonna do clean at it. Alright, let's get back to our global edits by clicking on this icon here and then open up your Detail panel. So from here we have sharpening noise reduction and colored noise reduction. So we have two different ways to remove digit or noise, but that depends on the type of digital noise they have. We also have a message down here for a more accurate preview, you want to zoom in to 100% or larger because it's going to be hard to see the adjustments that you make with digital noise reduction and sharpening if you can see the entire image like this. So I'm gonna go ahead and zoom into the trees right here so we can see the sharpening and noise reduction that we're going to do. So of course, sharpening is going to make your image sharper the further to the right you go. But there's one problem. The further I go to the right, the more I degrade the image because I'm introducing digital artifacts into the image. And it's kinda hard to see in the trees, but we can definitely see it in the sky. So it looks pixelated, but that's digital artifacts being added to the image. So that lets me know that as soon as I start to see those digital artifacts, I over sharpened the image. Sometimes it's hard to see these digital artifacts with color images, and it's easier to see when the image is in black and white. But instead of coming over here and dropping saturation down to 0, we have a hidden tool within the detail panel. It's kinda hard to see. Actually, it's not there at all. So the hidden tool is a keyboard shortcut, which is Alt or Option key. So go ahead and hold down Alter option. And then as you begin to move the slider to the right, the image turns to black and white temporarily until you release that keyboard shortcut. In. Of course, it does make it easier to see that digital artifacts in most cases. And as soon as you see them, you know, you've over sharpened and then you can pull back on the sharpening. So for now, I'm just going to place this at 50 for sharpening. Now that's not it for sharpening, we actually have some additional tools to help us sharpen our images. And if you click right here on this arrow, it will expand and show three more sliders. So when you sharpen, its sharpening along the edges of the different contrast levels of your image. So from bright to dark, and it will begin sharpening those edges. The radius will increase the radius of those edges, and it will expand the amount of sharpening. Again, you're going to introduce digital noise, the larger the radius. And again, hold down your Option key to see the effects of radius being applied because without it, it's really hard to see what's happening. But with the altar Option key enabled, you can definitely see you're adding more digital artifacts that way, especially in the sky and along the tree line here. Now the other thing that happens with radius is as you increase it, you start to lose detail in your image. So you can use the Detail slider to begin bringing some of that back. Typically, I don't use radius or detail, and I just leave them at the default. Next we have masking, which will help you control where that sharpening is being applied in your image. So let's say you want to sharpen the image more versus less. And you end up with those visual artifacts where you can actually remove those digital artifacts and some parts of your image with masking. So I'm gonna go ahead and zoom back out just by clicking on the image again. And I'm going to hold down my alter Option key and begin increasing masking. And soon as I do, the image turns white. So right now, sharpening is being applied to the entire image anywhere that is white. So since masking is set to 0, the entire image is getting sharpening. The more I moved to the right, the less sharpening is being applied to the image. So anything and black is not receiving sharpening. So if I want to remove that sharpening from the sky and remove those digital artifacts, I can place it right here at 35. If we zoom in, we can see those digital artifacts are no longer there. And I can continue refining where that sharpening is being applied the further to the right that I go. So again, white receives sharpening. Black does not. Alright, I'm gonna go ahead and zoom into our image here so we can do our digital noise reduction. Now for this image, I did not have any digital noise in it because I used a small ISO of 200. But we can still go over the digital noise reduction options because if you overuse these tools, it's going to have some negative effects on your image. And you can still learn how to use these tools for your digital noise reduction. Now, you're not going to use both of these in most situations. It all depends on the type of digital noise that your camera produces. If your camera produces digital noise that look like little gray specs or looks grainy. You're going to use this first option. If your digital noise looked like colored specs, red, green, and blue colored specs, we're going to use this option here. So if you take a look here and expand each one of them, we have a couple more sliders and each one we have detail on both. And then we have contrast and smoothness. So you're going to need to experiment and play with all of these different sliders for the digital noise that you have in your images to see how they affect your images. So of course, if you increase the slider to the right here, it will intensify the amount of digital noise reduction in your image. But as I continue going to the right, you're going to notice something is happening to the image. It's beginning to lose detail. And it looks painterly. So it looks more like a painting than an actual photograph. And that's because I applied too much noise reduction. And that's the negative effect that noise reduction has. It's going to smooth out the details and the process of removing that digital noise. And you don't wanna go too far. Otherwise, it's going to look unnatural because you've lost all the detail. And just like we did with sharpening, we can hold down the Alt or Option key to see the image and black and white. And sometimes this will make it easier to see the reduction and the divisional noise because it's removing the color from the image and it's easier to see that digital noise being removed and black and white. So for this particular image, I don't really need to reduce the digital noise. So I'm gonna go ahead and just bring this down to five for now. So as you increase noise reduction, you lose detail. So you can use the Detail slider to bring back some of that detail. Contrast is going to increase the contrast along the edges of the texture and the details on your image to bring back some of that detail or to make it look sharper as you reduce the noise. Because again, it's smoothing out the pixels in the digital noise. So contrast can help bring back some of that texture and detail. Alright, now that we're done with step one of our editing workflow, and we can begin on step two, which is the custom edit. So if you're ready to learn all about our different custom edits, let's get started. 13. How To Use the Color Mixer: Hello and welcome back. Alright, so next we're going to discover all the awesomeness of the Color Mixer. Now real quick, if you're coming over from Lightroom classic, the Color Mixer, and that is called HSL. And it's exactly the same as the Color Mixer and ACR. And that's because not long ago, Adobe changed the name and ACR from HSL to the Color Mixer. Alright, so there's a lot of cool things we can do with the Color Mixer. And if you're ready to find out what it's all about, let's dive into ACR and get started. Alright, let's open up our Color Mixer panel here so we can learn how to alter the colors in our images. So we have a few different options here under adjust right here we have HSL. If you click on this menu, you'll see a color option. Let's go over HSL first. So HSL stands for whew, saturation and luminance. With luminance, you can increase or decrease the brightness of individual colors. Saturation will increase or decrease the amount of saturation based on the color channel you target. And you may remember in the Basic Panel, saturation here, targets all the colors and the image. With HSL. We target individual color channels. Then with Hugh, we can adjust the colors themselves. We can change the colors to something else. So let me show you how that works. Here we have some nice green, yellow trees from the spring, but maybe we wanted a fall image instead. But Mother Nature wasn't cooperating because it wasn't cool enough in the middle or the end of October. And you really wanted those fall colors for a particular image. Well, just come in here and adjust your green channel to the left and the yellows to the left. And now you have yellow, orange, and some reddish colors and here as well, how cool is that? A lot of it. Alright, I'm gonna go ahead and put these back to 0 for each channel. Alright, let's check out saturation. And as I mentioned before, you can increase or decrease the color saturation of the individual color channels. For example, maybe you want a deeper blue for the sky, or you can come in here and increase the blue to create that deeper blue. Now you may notice in other parts of the image, it's targeting that blue as well because those blue colors are in other parts of the image as well. And I'll go ahead and put this at plus 25 because I want to go into luminance next. And I want to darken up the sky as well. So I'm gonna go ahead and grab my blue channel here. Move it to the left, and that will darken the sky permanent brighter. Of course I can go to the right. So maybe minus 13. Now, the other thing you may find when you begin targeting different color channels is it's not really targeting the color that you wanted. So for example, I'm going to zoom into these rocks here and let's say for whatever reason there's blue in the rocks here. And I want to change the colors from blue to something else. Well, if I come into the hue tab here and I begin adjusting the blues, It's still want a little bit, but not a lot. There's a little bit here, here and here, but it's not really doing a lot. If I adjust OK law. It's turning those colors to a different color more so than blue. That means there's more aqua colors in here than blue. So instead of trying to go through the different color channels to find the color that you want to actually effect. We have right here a handy dandy targeted adjustment tools. When you click on that, you get this targeted adjustment tool icon. And then you can click in an area that you want to target. Specific colors, of course that you want to target. And then it's going to focus on the area that you clicked and record those colors and a range of colors around it. So maybe two or three pixels. So once I click, I can then drag my mouse left or right to begin adjusting the colors. And look at that just like that, I was able to adjust to color channels versus one at a time. So that may be an option for you to quickly make an edit or to target specific colors if you have a hard time finding the Color channel from here. Now the other thing we can do here is instead of going through each individual tab, we can expand to view all at the same time. The other thing we can do is we can switch to the color option. When you do, you're going to see three new sliders, which are hue, saturation and luminance. And then we have our color channels right here. So in effect, the color option gives you exactly the same results as HSL, just in a different format. Personally, I prefer HSL. Alright, so that's how you use the Color Mixer to manipulate different colors in your image based on your creative vision. Now just keep in mind, depending on the intensity of your edits width, the color mixer will define whether it's a custom edit or a creative edit. Either way, play around with the color mixer with your own images and adjust your workflow steps as needed. Next up, we're going to look at the creative side of the split toning panel. If you're ready for that, let's do it. 14. How To Use Split Toning: Hello and welcome back. Alright, next stop is learning about the creative side of split, toning four stylized edits. So I'm gonna use the same image as before. So go ahead, loaded up and let's dive back into ACR. All right, let's jump into the split toning panel and take a look at how we can alter our colors with split toning. Now, unlike with color mixer, where we were targeting eight individual color channels, instead of color channels, we are targeting our colors and to tonal ranges. We have highlights and shadows. Now I do want to share with you how to use this for creative edits. But first, I want to show you how you can use it for a custom edit as well. If we take a look at our light source from this image, we can tell it's from the sun, anything and direct sunlight is much warmer than the light in the shade. So maybe we want to increase the warmth of the light and the shade. We can do that with split toning because we can target the shadows right here. So I'm gonna move my hue slider here over to the yellow and orange part of the slider. So maybe right around 45 or so. Nothing has happened yet. And that's because we need to increase the saturation of those colors in the shadows. So when I do, we begin to warm up that part of the image. But if you go too far, of course it looks unnatural. So for this particular image, I would do something subtle like around ten. And we can definitely see that's much warmer than it was before. So that's one way of using split toning. Let me show you how to use it creatively. I have another image for that, and this isn't one of my images. I actually found this on pixels.com. Now, the Create event we're going to do is a cinematic type of edit. And what does that mean? Well, if you've ever looked at the color tones of a movie poster, you're going to notice that there's orange and tools and the highlights and the shadows. So one color will be in the highlights and the other will be in the shadows, and it creates a certain amount of contrast and your subjects and the movie poster tend to pop from the background. Now in the movies themselves, they actually use this cinematic type of color adjustments in the movie as well. So how did they create that while they place either the teal or the orange and the highlights and then the other color and the shadows. So let's go ahead and see how this works out. I'm gonna go ahead and warm up the highlights with our orange colors. I'm going to increase the saturation. And you can see she's becoming much warmer now. Her skin tones are much warmer than they were before. Now for the shadows, I want to add the teal color. So I'm gonna move the hue slider over here to the greens and blues to get the teal for the shadows. And as I increase the saturation, it's applied in the shadows. Now you can see that her skin tone is changing a little bit as well. So we can always increase the saturation for the highlights, or we can adjust the balance of the highlight and shadow adjustments by placing more emphasis on one versus the other. So as I slide to the right, more of the orange colors are coming back to her skin tones. And if I go to the left, it's going to be more of the teal colors. So I want less of the teal colors and our skin tone. So I'm gonna move it to the right. So let's take a look at a before and after. And that is our creative cinematic effect. Alright, so that's how you can use the split toning to stylize your images. In the next tutorial, you're going to discover an important edit that should be applied to every single image you take. Ready to learn what that is. Awesome, let's do it. 15. Why Optics Is Essential For Every Photo: Hello and welcome back. Alright, next up is the optics panel. So in an older version of ACR and in Lightroom classic, as of this recording, it used to be called Lens Correction, but for some reason, Adobe decided to change the name and ACR to optics. But the original name gives away what the tool actually does lens correction. But what does that really mean? Well, all lenses, regardless of the quality, creates some type of lens distortion. This distortion can cause vignetting around the corners of your photos and can even warp the image to how much vignetting and warping is different for all lenses, but it's there and you're going to learn how to fix it in this tutorial. So let's jump into ACR and get started. All right, so when it comes to seeing the lens distortion or the warping in your image, it's really hard to notice unless you're looking forward or if it's really extreme, then the heading, on the other hand, is easier to see because what it's doing is It's making the corners of your image darker. It's adding like a vignette on those corners. So some lenses are going to add more vignetting than others. Now for this particular image, we can definitely see the vignetting and the top right corner right here, we can see this part of the sky as darker than over here. So that's the vignetting. We wanna get rid of that and it's real easy to do. All we have to do is come into our optics panel and click on Profile Corrections. If you shoot and Rafi shoot and jpeg, then you have to manually adjust the vignette here and the distortion here for raw files, like I said, all you have to do is click right here and watch what happens in this corner right here. I'm gonna go ahead and bring this down a little bit. So as soon as I click on it, the vignetting will be gone. And you're gonna notice that the trees will shift as well. So there it is. Boom, then the headings gone and the trees are stretching towards the edge of the image. So what happens is along the edges of the image, that's where the warping of the image occurs. So Profile Corrections is automatically fixing bolted distortion and the vignette and knows how to do it for your particular lens, make and model. Because what it's doing is it's reading the metadata of that file. And you can see right here, it knows the make, which is Nikon, and the model of the lens that I use. So Adobe has created a lens profile based on this particular lens, make a model. And it knows how much distortion and vignetting to fix. But if you're not happy with the results, you can come down here and tweak that edit by adjusting the distortion or the vignette or both, of course, to your personal preference, then you can come up here and select, Save new lens profile as the default for that particular lens. So you don't have to come down here and do that again in the future. The other thing you're going to notice in the optics panel here is remove chromatic aberration. So if you have an aberration and your image and it doesn't look like it's part of the scene, then you can remove that chromatic aberration right here. And I don't have an image to show you what that looks like. But it's going to look like blue and white wavy lines. So the color transition from one color to another is not very smooth and it creates a chromatic aberration. So if you see something that looks similar to that, try removing it from here. Now if that chromatic aberration has colors in it, like purples and blues and those hues and those tones. Then you can come down to D fringe to remove that color fringe and your image by adjusting these sliders according to the colors in your image. And it's going to basically reduce the saturation of the chromatic aberration or the fringe that occurred. And that usually happens when you have a lower-quality lens that doesn't have a special type of coding on it. That automatically reduces the fringing and even the chromatic aberrations in your images. All right, so that's how you fix lens distortion and your images. It's one of those types of edits that I would put in step one of my workflow. In fact, it's something I do before anything else including the profile. So make sure to add it to your workflow. And then in the next tutorial, we're going to learn all about geometry, edits. 16. How To Use the Geometry Edits: Hello and welcome back. Alright, we have another tool that was recently renamed from transform to geometry. Now geometries sounds intimidating but no worries, there's no math involved to use this editing tool. So what exactly is the geometry tool? Great question, and I'm going to answer that and how to use it in this tutorial. So for this tutorial, we need a new image to demonstrate how to use the geometry tool. So make sure you download the image provided and open it up in ACR. And we'll go ahead and get started. When it comes to geometry at it, like I mentioned, no math is required because ACR is going to do the math and calculations for you. But for what? Well, it's going to fix perspective issues when shooting architecture or when you have architecture in your image. Maybe you have somebody you're shooting through a doorway. And that doorway is not perfectly straight, top to bottom. You can use geometry to fix it, but I would be cautious when you have people in it because although it's fixing the distortion or their perspective issues of the building, it could actually warp that person and make them look unnatural. So I would focus this tool mainly on architecture without people in it. But then again, it depends on the image and how much that person is filling up the frame of that particular image. So let's check out how to use geometry. It's actually pretty easy because ACR is going to do all the heavy lifting for you. And then you can tweak what ACR does if you're not completely satisfied with the edit. So let's go ahead and open up geometry here. And we have some options here. So right here, this icon means nothing is being applied to the image. So if we go to the right here we have a so basically Auto applying perspective issue fixes. So all we have to do is click on it and boom, it's fixed. Or is it? Well, let's take a closer look. So this corner here looks pretty straight. Now over here to the right, it looks straight, but I think it's leaning to the right just a little bit. So we have some other auto options here as well that we can click through to see if one of these options will give us something better or worse. And this case, and then we can decide on which one to use. I think this one right here does a better job than automatic. So if I go ahead and click on automatic, What's the end of the building right here? And you can see that it's leaning Just a little bit. So I think this option does a pretty good job and I would pretty much be done. That's it. But let's say I'm not happy with it for whatever reason, I go to auto and I don't try anything else. Well, we can come down here and we can manually tweak the perspective issues with these sliders here. So of course, pretty self-explanatory vertical is going to adjust it vertically. And then we have horizontal, which is going to adjust it horizontally. And I think vertical right here does a pretty good job. I think this actually did a better job. So we can come in here and tweak it if needed. But I think most of the time it's going to nail the perspective fix for you with one of the automatic options. But then again, I don't shoot a lot of architecture myself, so I really haven't played around with this a lot. So if you do shoot architecture, you may want to come in here and play around with the different manual options in addition to the automatic option you select to fine tune your edit. All right, so that's how you use the geometry tool to fix perspective issues. Next up, we're going to learn all about the effects panel and the editing options available within it. So if you're ready, let's do it. 17. How To Use the Effects Panel: Hello and welcome back. Alright, so in this tutorial, we're going to go over the two editing options available and the effects panel. These types of edits I consider to be creative and would apply these in step three of my workflow. So for this tutorial, we're going to use the same image we used previously in the geometry lesson. So go ahead and open it up again and we'll go ahead and get started. All right, let's go inside of effects here. And we have two options. We have grain and vignetting. So I'd like to add a vignette and grain, two images where I went to creat an old school retro style effect. And that's what we're going to do with this image. Now both of these tools come with additional tools within them to fine tune the effects. So let's go over here and click on these arrows to expand both of them. Right now, the options down here and here are grayed out. We can't make any adjustments until we add grain or vignetting. So let's go ahead and add some grain. I'm gonna go to plus 75. And then I'm going to increase the size of that grain as well. Now the one thing you're going to notice is as you add grain and increase the size, the detail on the texture and the image are going to soften up, which is fine because that's the effect that we want for old school type photos. Go ahead and increase the roughness of that grain as well, which is going to intensify or make it much more prominent when we go to the right. So there's the before and the after. Alright, let's go ahead and add a vignette. I'm going to slide this to the left to get a black or a dark vignette to the right, White or a bright vignette. I'd like the darker options. So I'm gonna go over here to the left. Now, right here we have a style option and inside we have three different options. We're going to start with highlight priority. And so I can show you what's going on. I'm gonna go ahead and move this to minus 100. And I'm going to zoom in in the top right corner here. So if you have a vignette over highlights, and you want to allow those highlights to show through the vignettes so that those edges are not as dark. You can adjust the highlights of dilate priority to show those highlights more so the not. So let me show you I'm just going to say this to the right. And you can see the highlights in the building There are showing through more so now than they were before. Okay. Color priority is pretty much the same as going to allow you to have color come through the vignette More so than not. And when I slide it to the right, we can see that that red color of the bricks here are coming through more. So when I go to the right versus not having it set at all. Now when it comes to paint overlay, it's completely different. You don't have the options to adjust the highlights or the colors and the vignette, it's just a straight up vignette on your image. So as you can see, a highlights is now turned off and we can't make any adjustments. This is the style that I like, but minus 100 is a little bit too much. So I'm going to bring this down to minus 50. All right, let's take a look at the before and after. And so far it's looking pretty good. Alright, so we have three more options down here for transforming our vignette based on our creative vision. Midpoint is going to allow you to decrease the size or increase the size. Roundness will change the shape of that vignette. So to the right, it will be more round. Then with feather, you can increase or decrease the sharpness of the edge of the vignette. So to the right, you will reduce the feathering and you will have a harder edge to the right. We'll be softer. So by default we have 50 for feather, 50 for midpoint. And those are the options that I prefer. You can play around with this and decide what you like best for your images. So there's two more things I like to do for my retro images. I'm gonna go ahead and adjust my tone curve to add an S curve to increase the contrast. And I'm going to low the vibrancy to remove some of the color and there's our retro effect. All right, now that you know how to use the effect at its creatively, we're going to move on to the calibration panel in the next tutorial. 18. What is Calibration?: Hello and welcome to the camera calibration tutorial. So this is probably one of the least used editing tools and ACR. But it does have some important editing tools that can drastically alter how your images look. So let's jump into ACR and get started. All right, so let's check out the calibration panel. So we have some sliders down here to adjust or alter the colors and her image as we'll talk about those in just a second. First, I want to go over process. By default, you should see version five, which is the current version of the algorithm and ACR that processes your images based on the edits you apply. Not only that, but the tools available are different from one version to another. So for this particular image, since I've been editing it recently in ACR, its version five. But when I first took this image, I believe it was version two. I'm gonna come down here and select version one so I can show you what's going on. Let's go back up to the Basic panel and you're going to notice that the tonal range sliders here have different names. We have fill light instead of highlights. We also are missing the texture and the D Hayes slider in this part of the Basic panel as well, because those types of edits were not available in version one. So if you open up an image and older image, maybe from me or from somebody else or from an older camera that you used. And you want that texture slider and you don't know where it is. Well, just come down here and select version five. And it will add all the new tools based on that particular version. So most of the time we don't really have to worry about the version because it's going to default to the last time that you edited the image. In that case, you may want to update to version five. Or if it's a newer cameras and a newer file, then it's going to automatically default to version five. Now for your color options here. And a previous tutorial, we went over the different profiles available. And as you know, different profiles affect the colors in your images differently from one to another, as well as the contrast and the saturation levels. Well, if you're not happy with any of these options here, or if you want to tweak one for your own personal preference, you can come in here and you can adjust the hue or the saturation for each of the red, green, and blue color channels. Then you can save it as a preset that you can apply as a default by setting it up and preferences or applying it to all your images via a preset. So either way, if you make changes here, you wanna make sure you save it so you can reuse it on other images so you don't have to come in here and manually make these adjustments every time you want a specific look for your image. Now you could also use these for creative edits as well to alter the colors or the red, green, and blue primary channels in your images by adjusting the queue or the saturation for whichever color channel you need to adjust based on your creative vision. Alright, so that's the calibration tool and it's not that exciting personally. I haven't used it well ever from high images. But you'll need to experiment with the calibration options to see if it can help you edit your images better. Next up, we're going to start working on our local adjustment tools. And the first one will be the cropping tool. So if you're ready, let's do it. 19. How To Use the Crop Tool: Hello and welcome to our first local editing tool, the crop tool. So let's say you don't get the composition you want and camera. You're going to then have to use the crop tool to fix it. Or maybe you need a crop, an image for a specific print enlargements size, for example, an 11 by 14 or five by seven image. So by default, the size of your image is going to be dependent on your camera's sensor size. And it's not going to fit into those prints sizes Exactly. So you're going to have to crop them accordingly before submitting to the lab. Otherwise, the lab is going to send you prints that are autocrat for you and you may not be happy with the results. So let's dive back into ACR and learn how to use the crop tool. Alright, we're now going to work on the crop tool. But first, I want to show you something about this particular image because I just realized this image that you downloaded and that we're using is already cropped. And I want to show you why a cropped it. So we're gonna click on our crop tool icon right here. And as soon as I do, we can see where the image was cropped. So the top side here and the right side are grayed out or heavy, great overlay. That's the part of the image that was cropped. So if I come in here and select As Shot, it will reset it back to the original image before it was cropped. So I'm going to hit Enter or Return to commit to that particular crop and to give back to our global edit panels here because I want to show you something when we turn off the optics, we talked about optics, lens distortion, vignetting and all that fun stuff in a previous lesson. And watch what happens when I turn it off. It's a lot darker than it was during that video tutorial that we did previously. So if we turn this back on it, it does a pretty good job of getting rid of it, but it's still pretty dark right in this area. So let's try and fix it. So I'm going to increase the vignette option here. To try and reduce it. It does a pretty good job. But I don't think I was really happy with it at the time I did this edit originally. And that's why I cropped that part of the image out of the final edit. So I'm gonna go back here to my snapshots and click on clean edit so I can get back to that original crop and we can see now that that vignetting is completely gone. Alright, so that's another reason why you may want to crop it. You are images. If the optics isn't giving you the results that you want. Alright, let's go back to our crop tool. And again, we can see that crop that was applied originally. So we also talked about in the beginning of this tutorial about wanting to crop you were images for a particular print size, 11 by 14 or five by seven, for example. If we come into the aspect ratio here, we can see some options to crop based on different aspect ratios. So one-to-one would be a square crop. Four by five or eight by ten would give you a crop similar to this. And we can see on the left and the right side we have an equal amount of the image being cropped. So this full frame of the original image cannot fit into the aspect ratio of eight by ten, so we have to crop it accordingly to that size. Now if he send it to the lab, it's going to automatically crop in the center. But maybe you want more of this side of the image in that print, or maybe this side because the composition is better here versus over here. So that's why you need to come in and select the aspect ratio for the print enlargement that you're trying to do. Now if we take a look at five by seven, the amount that's being cropped on the edges is smaller than an eight by ten. You can also come in here and type in a specific size here. Okay, I'm gonna go ahead and put this back to As Shot for now. And also real quick, right here to the right, we have an option to rotate the aspect ratio. And then next to this icon we have a little lock icon, which basically locks in that aspect ratio. So when you click on a corner or aside, it's going to keep that ratio in tact. It's not going to make it larger or smaller on either side. If we unlock it, we can then do a custom crop to any ratio of our choice. Let's put that back to s shot angle, pretty easy. This will adjust the horizon or straighten the horizon. If it's cricket. You can either use the slider or you can use the ruler. So if you can see the horizon, you can click and drag out a line that aligns with the crooked horizon. And then it will automatically rotate it so that the horizon is straight. Constrained to image will make sure that your image stays inside of the crop ratio that you selected. Because sometimes if you have to do an extreme angle, it will not fit inside of the cropped area. So I'm gonna go ahead and put angle back to 0. And then we have some options for rotating and flipping our image. And before I forget, I'm gonna go ahead and put this back on clean edit. Okay, now that you know how to crop your images, you have to decide where in the workflow to place it. Next up, you're going to discover some hidden features of your retouching tools, like the Healing Brush and the local adjustment brushing, and how you can alter those editor after the initial edit. So it's going to be awesome because once you know the fundamentals of these retouching tools, you'll discover that not only can you retouched blemishes, you can also remove people without having to open that image directly in Photoshop. So if you're ready to learn the basics of our retouching tools and ACR. Let's get started. 20. Local Adjustments 101: Hello and welcome back. Alright, so there's a couple things I want to share with you before we begin retouching our images. This way we don't have to cover these topics again in upcoming tutorials because our local adjustment tools, retouching tools, they have a lot of things in comment in regards to how they're used, and some hidden features that will make it easier for you to do your retouching and precisely controlling where your local edits are applied. So let's jump into ACR so we can learn how to use our local adjustment tools. So we're gonna go over the basic features of our Spot Removal tool, Adjustment Brush and R2 filters. And that's because they share some common features among them. The first two tools, the Spot Removal and Adjustment Brush, are applied with a brush. So we can see the brush adjustments here and for the adjustment brush here. So they have some similar features. So let's go over those real quick. So we can adjust the size of the brush here. Or you can use your keyboard shortcuts, which is the left bracket key to make it smaller and the right bracket key to make it larger. Now, feathering, going to allow you to use a brush with a soft edge. You can make it a harder edge as well depending on what you're trying to retouched or the type of edit your applying. So right now I have it set to 100, which is the softest edge brush you can get. So if you take a look at the brush, we have an inner black circle and an outer white and blue dotted circle. So the edit is being applied from inside that inner circle and then it begins to be feathered to the outer edge. In other words, the amount of that edit being applied is gradually decreasing as it gets to the outer edge. If I drop this down to 0, we can see that in our circle is much larger, which creates a much harder edge brush. There's less gradual reduction in the edit from that inner circle to the outer circle. So that creates that harder edge. So the same thing with the adjustment brush. We have another option here as well. Next we have opacity. So you can lower the opacity of the Edit applied so it blends in with what you're trying to do or to make it less intense. The adjustment brush doesn't have opacity, but it does have flow and density, and it works a little bit differently than the opacity slider. So flow you can think of like a can of spray paint. The higher the setting, the faster the paint is going to be applied or the edit that you select is going to be applied. And of course, a lower flow means that edit will begin to be applied to the image at a much slower rate versus a higher number. So you can use this to gradually build up your edit, which is going to make it much more natural if you build it up versus applying it all at once. That way you can customize where. It's being applied, so maybe you want it applied more so in the trees up here versus down here or on the rocks or whatever the case may be. So if you use a lower flow, you can apply that ended up here maybe and a couple of strokes. But then down here you're going to apply for five, maybe seven strokes to gradually build it up so that the transition from one side to the other as much more gradual and natural. Now when it comes to density, it's a little similar to opacity. A higher setting is going to be 100% of that edit 0. You're not gonna see the edit at all. So it's similar to a capacity. In that regards. Auto Mask is pretty cool because it's going to help you control where that edit is being applied based on the contrast between two edges. So for example, if I want to darken just the trees without Auto Mask and the feathering as high as it is right now, it's going to bleed into the sky with auto mask. It's going to recognize that the contrast level between these two points, the sky and the trees or the edge here is much different. So it's going to constrain that edit into the trees and eliminate it from the sky. At least that's the idea. In theory. It doesn't always work 100% of the time. You need to adjust your flow, your density, the feathering, in addition to applying an auto mask to help control where that edit is being applied. So if you don't like the results you're getting, you can start over by removing that edit. So let me show you what happens when you apply an edit. So right now I have my exposure. I'm going to bring it all the way down to minus four so you can see what's going on. So once we click and begin applying that edit, we can see that it's being applied in the sky as well, even though the ener black circle is staying within the trees. Now once you release, your edit isn't permanently affecting those pixels that you just apply the edit too. So we are left with a pen, and the pen holds the editing data. So think of it like a photoshop layer. You can click on this pin and move it. And as you can see, it's not affecting the pixels permanently because it's a separate layer or it's saved within this pen. These are considered pins, not a layer. So just keep that in mind. Now you can add another adjustment by coming up here and clicking on this plus icon. And now that pin is de-selected and you know it's the selected because it's white. The other thing is when I hover over that pin, I see an overlay of where I applied that edit. So we'll come back to that in just a second. So now I can come over here and I can click over here, and then I get another pen for that edit. Now, I can come over here and make adjustments to the edits that I want to apply and that area. And it doesn't affect the edits over here because the pins are separate. If I made a mistake on this particular edit, I can come over here and select that pen. And then everything is reset to the edit settings that were applied in this pen. And then I can make adjustments to it based on what I need to do for this particular edit. And again, it's not affecting the edits over here. Now the other thing you can do is you can turn on your mask option right here, which is going to show that red overlay showing where that edit was applied. And sometimes it's easier to have this turned on so you can see exactly where you applied the edit. Now if you made a mistake and it wasn't supposed to be down in this area here just in the trees. You can hold down your Alt or Option key, or you can come over here and click on this icon here. And that's the Eraser tool. And you can begin a racing that edit where it shouldn't go. Again, I have my feather too low, so maybe I want to bring this back up a little bit higher so it blends in the edges a little bit better. Now that edit is just being implied in this area and not down here. Now in regards to the two filters, they do share a few common tools. And that is basically the editing options. So if we take a look at our brush again here, we have all these different types of edits to choose from down here. And we have those same types of edits for both of the filters. Plus both have a mask option to show where that edit is being applied. And then the overlay is basically the overlay of that particular tool when it's applied on your image. So it does have a pin, but it has an additional overlay as well. So for example, I have the radial filter selected. Once I click and expand, we are left with this outer circle, which is the size and the shape of that particular filter. Inside we have a little red pin and I can add a new filter if I want to by just clicking in a new area. And then I have this pen over here and this one, and of course they are both separate. So I can apply an exposure adjustment here and then a different adjustment over here. Now, the one thing I want to mention is if you want to get rid of a particular pen because you no longer need it or you added it by mistake. You can select that pen and then hit your backspace key or your Delete key to get rid of it. Now when it comes to the graduated filter, it's applied in a linear line versus a radial. So we have two horizontal lines right here. And the edit that you apply is going to gradually decrease from one area to the other. I'm gonna go ahead and drop the exposure here and you can see that edit is being applied mostly appear and it's gradually decreasing from here down to this line here, and then below it, it's not applied at all. All right, now that you know how the retouching tools function and the hidden features, we're gonna go ahead and begin retouching this image in the next tutorial. 21. How To Retouch in ACR: Hello and welcome back. Alright, so the power of the Healing Brush is in its ability to remove blemishes, small objects like trash or even bigger elements like cars or people. That being said, it's not perfect. This means if you don't get the results you want in ACR, then you're going to have to open the file in Photoshop to complete the retouching. But personally, I can still do about 90% of my retouching an ACR, since I strive to do as much as possible in camera, that means if I'm shooting portraits and someone is photobombing, I kindly ask that person to move along versus trying to fix it in Photoshop or maybe there's some trash laying around. I'm gonna go ahead and pick that trash up again so I don't have to do it in ACR or Photoshop. So doing these little things will save you a lot of unnecessary editing time. Everything else like skin blemishes can be easily removed with our Healing Brush. For that, we have a new image which can be downloaded from. We're also going to use the Letchworth image to remove someone from the photo. So if you're ready, let's jump into ACR. Hand gets started. All right, so let's work on this image first to learn how to use the Spot Removal tool to read touch our images. To activate the spot removal tool, we're going to click right here on this icon. And originally the spot removal tool was created for removing spots on our images that were created by dust on the sensor or the lens or both. And that's why it's called the Spot Removal tool. But since then, it's much more powerful than just a Spot Removal tool. We can now use it for retouching our images, whether it's skin blemishes that need to be removed or people and our images or anything in between. Now in a previous video tutorial, I mentioned that we apply this with a brush, but we have two types of brushes. So let's go over both of those first. So by default we have heel, which is right here under type. If we click on this menu, we have another option called clone. So this is how it works. Let's say you have a blemish that you want to remove. You click on that blemish with your brush. And then ACR will look for an area that is similar and color and texture. And it's going to copy the pixels from that other area to cover up the blemish. So with clone, it's going to copy those pixels and that texture and the colors exactly heal, on the other hand, is still going to take the colors, the texture, and those pixels. And it's going to use it to cover up the blemish, but it's going to blend in those pixels and the texture with the area being retouched. So they blend together and it's much more natural. Now that being said, he'll sounds like it would be perfect for everything, but it's not. Sometimes you have to use clone to get the results you want and you're not going to discover what that is until you begin applying and practicing both brushes to see how they interact with your images and the things you're trying to read, touch. We're gonna go ahead and leave it on heal for now. And I'm gonna go ahead and zoom into the image by clicking on 100% right here. And we're gonna go to the chin. If you're not on the chin after you zoom in, hold down your Spacebar, and then you can navigate to this particular point of the image. So we're going to size our brush a little bit larger than this blemish right here. Remember, the right bracket key will make it larger. The left bracket key will make it smaller, which is faster than coming over here and trying to decipher exactly the sizing needed because you may need to go back and forth a couple times. K, I'm going to go right there and I'm going to click one time. And then ACR is going to automatically pick out another part of the image to cover up this blemish. Boom, it's gone. How cool is that? I love it and makes it so easy to retouching ACR with this particular tool. Let's say that ACR picked a part of the image that doesn't work for this particular retouched. Well, we can click on this circle and we can move it to another location. And now I have a piece of her braces down here on her chin. So if that's a point that ACR picked, you can always come back with that circle to an area that is similar to the area that you're retouching. So in this case, right next to the blemish. Now when it comes to a larger blemish like this, it gets harder because if you make a large brush to cover this, you're gonna have a hard time finding something that matches exactly like right here and now she has a double chin. So for something like this, I would do it in smaller increments. So 234 brushstrokes, five brushstrokes, whatever it takes. And that's another thing you don't need to click once and then wait for it to update. You can actually click and drag like a brush. And now we can see a white outline of where I applied that brush. Now, ACR is picking an area down here to cover up this part of the blemish. But remember that may not be the right location for getting a natural retouched of her blemishes right there. We may need to come in a little bit closer and to the right or to the left or to the top to get a better blend of the colors and the textures to cover up that part of the blemish. Now, sometimes when you start adding these brushstrokes, you may end up putting some on top of each other and it gets hard to see where everything is located. Well, you can come over here and click on overlay to hide the Overlay. Or you can use your keyboard shortcut, which is the letter v. So now that they're hidden, I can come in here and do a little brush stroke rate here. I can't see where it is right now. I need a press V again so I can see the overlays. And I think that's a pretty good place to cover up that blemished from. So I'm gonna go ahead and hide that again with the letter B. I'm gonna do this part of the blemish. And then I'm just going to continue doing this until I'm happy with the results. Alright, so let's navigate to our other image here. Alright, let's go ahead and grab our zoom tool with the letter Z. And then just go ahead and zoom into this part of the image because we have somebody walking or standing in our image right here and I don't want him in there. So I'm gonna go ahead and grab my heel tool again. And I'm going to paint a stroke around him to see how the heel tool works with this particular edit. So it's grabbing it over here from the stairs. I'm gonna go ahead and move it over to the middle of the stairs right there. So not too bad. Let's go ahead and hide the overlay with the letter B. And it did a pretty good job. But maybe it could be better. So let's try. I'm gonna go ahead and press V again. Let's select the clone tool and see what happens. Boom, it automatically updates the edit by switching to clone from Hill. And I think that looks much better than it did with heal. So let's go back to heal again and clone. So there you go. Sometimes clone works better than hill. We can also lower the opacity if needed to help blend that in a little bit better or keep it at 100%. So again, play around with the different settings, the different brush tools to find out what works best for whatever it is, your retouching. Alright, one more quick tip before we move on, I want to show you how easy it is to find the spots in your images. Sometimes it's easier than other times, it depends on the image, the color is, the textures, the size of the spots, and more. If you use this little handy-dandy tool, the visualized spots and makes it easier because it will convert your image into pure white and pure black. And the pure whites will be the dust spots. So let's go ahead and zoom into our sky here with our zoom tool, just press the letter Z and zoom in. Now if we navigate around, can't really see any dust spots except there is one right here. It's a little easier to see. But if we were zoomed out and we were to activate this visualized spots, it would show up much easier when we're zoomed out versus not. And boom, there it is. Alright, so now we have found our dust spot. Oh, we have to do is click right there. Let ACR do its magic and Boehm, that spot is gone. Alright, so I'm not going to lie retouching and ACR can be difficult at first, it's going to take some time and practice learning how the heel and clone options work for the best results. So at this time, I recommend grabbing a few of your own images and practice to reinforce what you've learned. And of course, you can always come back to this tutorial for a refresher. So in the next tutorial one you're reading, we're going to cover another local editing tool known as the adjustment brush. So when you're ready, I'll see you then. 22. How To Use Adjustment Brushes For Precise Edits: Hello and welcome to the Adjustment Brush tutorial. So the Adjustment Brush gives you the precision and controlled to apply your edits exactly where you want them on your image. You can even erase part of the Edit applied if you made a mistake. So we're going to use one of the images we've been using throughout this class so you can learn how to Dodge and Burn, enhance textures and details and much more. So let's jump into ACR and get started. All right, we're going to use this image again for this tutorial. So what we're going to do is we're going to do some dodging and burning as well as other types of edits. But first, what do I mean by dodging and burning? Well, dodging and burning is a term leftover from the film days when we try to make part of our image brighter and another part of the image darker while we were creating our print enlargements in the lab and the digital world, we can still do dodging and burning. It just means, I guess that making part of the image brighter and other parts of it darker. Alright, now that we got that out of the way, let's say that part of the image is underexposed, like this area here, and you'll want to make it brighter. Well, we already did that once in the Basic panel by increasing shadows to plus 100, but it's still too dark. So we can use a local Adjustment Brush by clicking right here and applying an exposure adjustment in this area here. Or we can use shadows. We can increase the shadows and increase the exposure in that area. So something like that. And when I click in here and makes that area brighter. Now, the thing is we can easily come over here and increase the exposure If we want because it's not bright enough. Or we can right-click on this pin and select duplicate. But that creates a problem because if you want to select that original pin, you have to click on this pen and move it, select it, and then you need to make sure this pen goes back over that original pen so that it aligns perfectly. Now, the other thing you can do, of course, that we've talked about previously is coming over here and clicking on this plus icon to add a new adjustment, which is something that I prefer to do versus duplicating, but at least you know, it's there because maybe you just want to duplicate the exact same types of edits to double up that particular edit. Hammond, select these and delete them because there's something else I want to show you. Let's go to Snapshots and click on my edit. So this is my final edit. And I did a lot of dodging and burning as well as other adjustments with my Adjustment Brush. So once you click on it, look at all those pins, there's a ton of them. We have one outside here that doesn't belong. I'm gonna go ahead and delete that one. So we have a lot of different adjustments going on. And what you can do is you can go through all of these pins to see the type of adjustments that I applied. So for this particular pen, I lowered the exposure a little bit and I lowered the highlights. So what I did was I wanted to bring back the detail in this area of the image. And that was accomplished with these two adjustments right here. Now appear. I did a different type of adjustment, minus 17 on the highlights, minus 18 on the exposure. Again, to recover detail in the highlights. Down here we have some different edits. I've increased the exposure and the white points, and I've added clarity in that area as well. I don't think there was anything else. No, that was it. So go through each one of these pins and take a look at the type of edits I applied. So you can see what I did. And then what you can do is you can go back to your clean edit here or your custom edit if you save a snapshot for custom edits, and then do your own dodging and burning based on your own and create a vision might type of edits may not be suitable for your particular taste. Now one more thing, I'm going to go back to my edit because I want to show you one more thing. If we go to the Basic panel, you will see that my adjustments are very different from what we've done previously. I did not increase the shadows or remove or decrease the highlights to minus 100 and plus 100 here. That's because I made the creative decision to do dodging and burning from the beginning of the edit. And it was not necessary to make adjustments in the Basic panel since I was going to do those with the local adjustment tools. So when you're editing your images, you have to decide what tools you're going to use for a particular image. I'm not always going to use local adjustment tool. Sometimes I can get away with just using the highlights and the shadows. For this particular image. I felt that the adjustment brush is game me a better option for fulfilling my creative vision because of the stark contrast between the tonal range of the image, because it was very bright here and very dark down here in the shadows. And the adjustment brushes allowed me to pick and choose how much of an adjustment in different parts of the shadows. So again, go through all the different pins to see the type of edits that I applied in different areas. Now that you know how to use the power of the adjustment brush, I recommend practicing with your own images again, to reinforce what you've learned. Once you've done practicing, will go over another local adjustment tool in the next tutorial. 23. How To Use Graduated Filters: Hello and welcome back. Alright, so in this tutorial, you're going to learn how to use the graduated filter tool and how you can use it to apply local custom edits to enhance your images. Now, unlike the adjustment brush from the previous lesson, this editing tool is applied like a gradient. So let's jump into ACR to find out how to use the graduated filter. Alright, we have a new image to work with for this particular tutorial which you can download. So I've already done some basic edits to this image. I've increased the shadows, I've reduced the saturation and also changed the profile to Camera Vivid, which is based on my Nikon Z6 that I used for this particular image. And if you take a look right here at all, these little icons are all grayed out. There's only two that are lit up and that's basic and curve. And that's because I did not apply these edits at all. So until you apply an edit, this little eyeball is not going to change. Go ahead and reset that. And you can also click on this i to turn off that edit to see what it does before and after being applied. So same thing with the basic before and after. Alright, so let's navigate to our graduated filter tool right here. Go ahead and click on that. And let's go ahead and apply a filter to the image. Now we talked about the graduated filter a little bit in a previous lesson, but I want to show you a couple more things and how I use it for enhancing my landscape photos. Alright, I'm gonna go ahead and apply my Graduated Filter here. And we have green and red lines. So above the green pen or that dotted green and white line is where the edit is going to be applied the most. And as it reaches this bottom pen or line, it begins to gradually fade away until none of the edit is being applied below that line. So right now I can swing this line, are these lines at an angle, but if I want it to be perfectly horizontal, I can hold down my shift key and it will then lock it in place. I'm gonna go ahead and drag this down to the horizon right about there. And then I'm going to darken up the sky just a little bit. So maybe something like this. So now this guy is darker but not much has changed. I wanna do something a little bit more dramatic by adding some colors into the sky. And we can do that if we scroll down here to the bottom, and we click on this color box here, we can choose a color first guy. So I'm going to choose something up here in the purples and pinks and bone. I now have a purple sky. Now that might be a little bit too intense unless you want something a little sci-fi. I don't someone and bring the saturation down by clicking. On this area of the color box here to get something a little less intense. Or I can use this saturation slider here to tone it down. Now the other thing that you wanna keep in mind when you're shooting landscapes and you have water, the sky's going to be reflected in the water. So we want to add some of this color into the water so we can actually move these pins and make sure you hold down your shift key as you click and drag that pen down. And this one as well. And now the colors intensify and they're starting to be added into the water as well. We may need to expand this just a little bit. So something like that. So now this part of the sky is really intense. Maybe I need to lower the saturation, which I can do by coming back in here and dropping that down. Alright, let's take a look at the before and after. So there is our original edit and the new edit. All I'm going to click on this a few times here to get back to the original image. And let's turn on our mask options. So right now, this edit is being applied from here down to here, and you can see how it gradually decreases from this line down to this line. The only problem is the edit is being applied on these tree stumps as well. So we may not want those colors in the tree. It's really hard to see. But let's say you are a stickler for perfection and you want to make sure that color is not in there. What we're going to zoom in and then go back to the graduated filter and select our pin here. And then we can use our Eraser tool to write or erase that gradient from that part of the image. It's going to be real hard to do since we have a lot of branches. But I just want to show you that you can erase part of your graduated filter as well as your adjustment brushes, which I showed you in the previous tutorial. So as you can see, I removed it from the tree trunk here, but I also went outside lines, so I may need to redo that. So we can do that by undoing that with our keyboard shortcut, which is Command or Control, and the letter Z and adds that edit back in. We just need to lower our feather and our flow probably too, and maybe our bursa as well. To get in here real tight. Now for this particular image, I'm okay with the tree trunk being darker and having the color in there because it's really hard to see. And I don't really want this detail to be shown because I was hoping for a nice silhouette anyways. So by removing that part of the gradient, it doesn't really achieve what I had envisioned for this edit. So I'm gonna go ahead and undo that anyways, and I'm gonna go ahead and zoom out. And that's how I would use the graduated filter for landscapes. Alright, now that you know how to use the graduated filter for custom local adjustments, we're now going to cover the radio filter in the next tutorial. 24. How To Use the Radial Filter Creatively: Hello and welcome back. Alright, next we have our radio filter that is very similar to the graduated filter you learned previously, but instead of applying the edit along a linear line, this time, it's well, radio, even though it's very similar, I do have a couple of tricks up my sleeve to use it creatively. So let's jump back into ACR and I'll show you what I mean. Alright, we're going to use this image again. So I can show you a couple quick tips on how to use the radio filter creatively. We've gone over some of the basics are reading. I just want to give you some quick tips right now. So grab this image again and let's go ahead and get started. So one of the things I like to do is I like to add a vignette to my images. So as you know, because we've covered this previously, you can come into effects and adjust the vignetting, the midpoint and roundness, which is the size and the shape of that vignette. But it's still very uniform. And you may want something a little bit more custom, which you can do with the radio filter. So grab your radial filter right here, then click and drag out the size and shape that you want for that vignette. If you need to grab the pen and move it into a different position, K, All we have to do now is darken up the outer part of that shape, which we can do by lowering the exposure and boom, we now have a custom vignettes. How cool is that? I love it. Alright, so if you're not getting the same results, I am. It's probably because you have invert unselected and you have something like that where it's placing the edit on the inside we wanted on the outside. So make sure you have invert, selected and of course, you can increase or decrease the feather as well to your liking. All right, so that's one creative option. The other is changing the depth of field for the image. So maybe you want a very shallow depth of field. So for whatever reason, you didn't do it at the time of capture, or maybe your lens doesn't give you the option for the shallow depth of field that you had in mind. So for this particular image, I think I shot at 2.8 or four, I can't remember. And I think I would have been happier with a shallower depth of field while we can do that very easily with this particular tool, scroll down until you have texture and clarity visible as well as sharpness. Because when you lower texture, clarity and sharpness, It's going to blur that part of the image where the edit is being applied. So I'm going to just drop these down to around 75 or so. And boom, we have a shallower depth of field. Pretty cool if you ask me. Now, you can also use this technique with the graduated filter to reduce the depth of field and your images with that particular tool for landscape photos. Okay, hopefully that gave you some ideas and inspiration for using the radial filter. In the next tutorial, we're gonna cover how to fix the dreaded red eye. So if you're ready for that, let's get started. 25. How To Get Rid of Red Eye: Hello and welcome back. Alright, so in this tutorial it's all about removing or fixing red eye and even pet ie what exactly my referring to him. Well, when you have on-camera flash and you point it directly at a person or your pet. It creates either a red or white color in the pupil of their eyes. So the red occurs in humans and white and pets. So here's the photo that we're going to use in this tutorial which you can download. And I'm going to show you how to fix this and ACR. So go ahead download, open it. And let's get started in ACR to learn how to remove red eye. So our next image is a JPEG file and it will not open up into ACR if you double-click on it, and instead will open up in Photoshop. So you need to right-click on it, select Open With, and then find ACR from this menu. But if ACR is not listed in this menu like mine, then you need to go to Adobe Bridge, which is included for free with Photoshop. Right-click from here and select Open in camera. And then that will open up in ACR. I'm gonna go ahead and zoom in here. And then we're going to activate our red-eye tool from here. So under type, we have red eyes selected by default. If you click on that, you have another option for pet I, so make sure you use this option for your pets. All right. With that selected, we're going to keep the other two items here, pupil size and darken at the defaults of 50. Now we need to make a selection so we can let ACR know where the red eye is and then it will do its magic. So I'm gonna click up here in the top left and drag out a square or rectangle to cover the entire I0 or just let all of the red eye boom. Well, no, not really. Looks like ACR missed a lot of the red eyes, so we need to help ACR out a little bit. And I'm going to click on this top right corner here, drag up and to the right. I'm going to click on this corner to the left and down to cover all of the red eye. Now you may have noticed that part of that correction went below and above the eyes. So you need to make sure that you're really tight on that pupil itself. Otherwise, it's going to bleed out of the pupil and into the skin area. And just like that, the red eye is removed. So you can increase the size of the pupil. But as I do you can see it's a bleeding out and to other parts of the image. So I think 54, this particular I edit is fine. I can also dark in it as well if I want to. And then I just need to make a selection for this i over here. And then again, we need to help out ACR just a little bit. Alright, let's turn off overlaid by clicking on this option right here, just to make sure that we have all of the red eye removed properly. Okay, so that's how easy it is to remove red or white. I it's very simple, but there's an easier fix. And that is don't point your flash directly at your subject. Instead, you want to bounce it off a wall or even the ceiling. And it's going to also create a more flattering type of light. It's not going to be as harsh or as direct if he pointed directly at somebody. Alright, so in the next tutorial, you're going to learn about HDR photography and editing and how to use ACR to make your creative vision a reality. 26. How To Create an HDR Image: Hello and welcome back. Alright, you are now going to learn how to merge three or more images and ACR to create an HDR image. But the question is, what is an HDR image? Well, HDR is an acronym for high dynamic range. Dynamic range refers to the tonal values in a scene that can be captured by your camera. Now, not all cameras are created equal and some heavy higher dynamic range versus others. For this video tutorial and others, I'm using my Nikon Z6, which has 14 stops of dynamic range. My first digital camera I picked up in 2001 was this one right here, the Fuji S2. And it only has a dynamic range of eight stops. This means that my Nikon Z6 can capture a larger range of tonal values, from blacks to shadows, the highlights and pure white. Now if I've lost you at this point with some of these photography terms, I recommend reading the articles that I provided below this video. They're going to provide more information on each of the different terms that I mentioned so far. So once you've gone through those, you'll have a better appreciation for HDR and why you might need this feature in ACR. Alright, we have three new images for this tutorial. So if you haven't done so already, go ahead and download these files from the link below this video. Once you have those downloaded, make sure you have all three file selected, right-click and select open. So these are going to open into ACR and you're going to see all three of them with the film strip already expanded to show the preview thumbnails of each of them. So we have three images here. And the only thing I've done to them is I've applied an optics correction and we can see everything else is grayed out, so no other edits have been applied. So my first image here that I shot, I shot underexposed to show the detail in the shadows. This image is more in the middle of under an overexposed, it's more of a correct exposure. And then the final image is under exposed. So with this exposure, I was able to capture more of the detail in the highlights. So when we merge all three, ACR is going to calculate the three different exposures to bring out the detail in the shadows and the highlights. So what we need to do first is we need to select all three. So hold down your shift key and click on the last image, and then right-click and select merge to HDR. We now have a new window with a couple of options here. And if you need to, you can resize this window by clicking on a side or corner and resizing as needed. Alright, so the first option here is going to align these three images. Now, I shot this handheld. And the images are not perfectly aligned. So we need to tell ACR that we want these aligned. Otherwise you're going to have what is known as ghosting. It's gonna look like a double exposure or a triple exposure because everything's not properly aligned. So once they do that, ACR is going to do its magic and automatically align those images. Next, we want to select auto apply settings. And it's going to automatically make editing adjustments based on the three different exposures. Now you don't have to do this if you don't want to. And then you can adjust the settings according to your own tastes. But auto settings in this case are actually pretty good and it's a great starting point. I always go back and read, tweak what ACR gives me, but it's a great starting points. So I'm gonna go ahead and turn that on and boom, you can instantly see the difference and the shadows and the highlights. We have more detail in both the shadows and the highlights just on the auto settings being applied by ACR. Next we have the ghost. So this is going to help eliminate some of the ghosting that happens when your images aren't aligned or when there's movement in your image. In this particular case, the water was circulating in this part of the image and a circular type motion. So in-between each shot, the ripples and the details within the water had moved. So without fixing that, you're going to have some ghosting effect and it's not going to look natural. And it's hard to see in this preview. So you can do to merged images, one with the ghost off and the other with the high setting, which I'm going to apply now. And then we can also turn on the overlay to see where that ghosting is being fixed. So mostly in the water area here, there might've been some wind where the brush was being moved as well. Okay. I'm gonna go ahead and turn that off and that's it. It takes me longer to explain it than it does ACR to actually merge all these photos. So I'm gonna go ahead and click Merge. And we need to select a destination for our new DNG file, which is going to be one file with all three of them merged together. So click save. And that's it. Boom, you're done. You now have a high dynamic range image. Now if we take a look here, we have this little I icon is now illuminated, meaning that edits were applied in the Basic panel. So ACR has already automatically made some adjustments for you. And if you go inside here, you're gonna see something similar to this. So the exposure of the contrast highlights shadows whites, blacks were all adjusted as well as the vibrance and saturation. If you're not happy with these adjustments, of course you can come in and treat these as needed new. You can also go in with your local Adjustment Brush, your Graduated Filter, radial filter, and apply other types of edits as well. Maybe it didn't bring back the detail enough in the highlights like in this area here. So I'm going to lower the exposure and the highlights to bring back some of that detail in there and just to darken it up a little bit. And maybe over here as well. If you want, you can increase the texture and the clarity to sharpen up the rocks and the trees or whatever it is that you're merging together to create a custom edit based on what ACR gave you with the three merged images. So HDR is another skill set that you can add to your toolbox for creating images based on your creative vision for a particular shot. Another skill set you might be interested in is creating panoramic photos. So in the next tutorial, I'm going to show you how easy it is to stitch multiple photos to create a panoramic image. 27. How To Create a Panorama Photo: Creating panoramic images is going to require two or more images of a scene. Once you have those, you can then use ACR to stitch them together. Although ACR is doing all the hard work, there are a couple of tips I'd like to share with you. But before we dive in ACR and stitch them together, I just want to give you two quick tips on capturing images for a panoramic. The first is to use a tripod as you capture two or more images. This will make the stitching of those photos more accurate for the images that we're going to use in this tutorial. I captured them without a tripod plus it's a full 360 degrees of that location. So if you don't always pack your tripod like idea, then you're going to have to be the tripod. So let me demonstrate. So the first thing I do, of course, is I set the exposure from a camera or so the ISO, aperture and shutter speed. Then I position myself to take that first photo. And I press my elbows in real tight to my side. Now after I'd take that first photo, I'll keep my arms tight as I term. So this is going to help keep that photo at the same perspective, the same height. And that's it. I keep turning with my arms tight until I have all the photos I need. It also wouldn't hurt to do this two or three times to ensure you get a good sequence of photos. Alright, so let's open up our images and ACR and get started. For this set of images. I placed them all into a folder to make it easier to select them. So go ahead and select all the files and then open in ACR. Now we just need to select all of them. So we're going to scroll down to the bottom here and hold down your shift key and click on the last image to select all the files. Now we just need to right-click and select merge to panorama. And ACR will begin doing its magic depending on the speed of your computer could take a few seconds to a few minutes to merge all the files. So we have our images merged together. We just need to stretch or crop this particular image to fill in the Canvas because we can see above and below, there's some transparency where it wasn't able to fill in all those areas after merge, which is something that always happens when you do a panoramic type merge like this. So we need to fix it with these options over here. So if we change the projection from spherical to cylindrical, it will stretch the canvas, but it doesn't completely fill that Canvas. If we tried perspective, we end up getting an error saying that we can't use that particular option. So I'm just going to use spherical for this particular image. We can change the boundary war peer to stretch the image to fill the canvas. Or we can select this option to automatically fill it. So I'm gonna choose that option because I'm going to let ACR use it's AI to properly fill the canvas without degrading the overall image. Just like with our HDR image, we have an option to auto apply some Edit settings in the Basic panel. I want to do that. Then when we click merge, we just need to choose a destination and a name and click Save. All right, we now have our images merged into a panorama. And we can see that ACR did some basic edits. And of course we can go in and tweak these to our liking. Alright, so panoramic images can be fun and creative. Now that you know how to stitch them in ACR, it's time for you to try it out for yourself. So grab your camera on a tripod and get to photographing your own panoramic images.