Color Correction with Adobe Camera Raw: Practical Techniques | Mark Johnson | Skillshare

Color Correction with Adobe Camera Raw: Practical Techniques

Mark Johnson, Photoshop luminary and encouraging teacher

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3 Lessons (53m)
    • 1. Introduction

      2:17
    • 2. Color Correcting: Part 1

      28:24
    • 3. Color Correcting: Part 2

      21:57

About This Class

If you've ever dreamed of mastering color correction in Adobe Camera Raw, this class is for you!

As a photographer, you know that capturing a great shot in the field is only half the battle to producing a truly stunning image. In this digital era, it's critical to know how to properly process images on the computer. An inability to do so can leave you with images that don't come close to realizing their potential. Using crystal clear language and step-by-step instructions, I show you how to use Adobe Camera Raw to optimize color, contrast, brightness, and saturation in your photos so they do justice to what you saw (or imagined) while you were shooting. 

Note: Although this series does not focus on Lightroom, Lightroom's Develop module is virtually identical to ACR.  Therefore, Lightroom users will definitely benefit from the coverage of ACR.

Transcripts

1. Introduction: photographers know that capturing a great shot in the field is only half the battle to producing a truly stunning image. In this digital era, it's critical to know how to properly process your images on the computer. An inability to do so can leave you with images that don't come close to realizing their potential. Using crystal clear language and step by step instructions, I'll show you how to use photo shop and adobe camera raw to optimize color, contrast brightness and saturation in your photos so that they do justice to what you saw or imagined while you were shooting. In addition to learning how to produce beautiful, accurate color, you will discover how to create stunning black and white C P A and vintage toned images. Here's specifically what you'll learn. How to effortlessly use both the global and local color correction features in adobe camera Raw. How to make targeted corrections using photo shops, adjustment layers and mask a one click solution for correcting color caste. How to radically shift the color of a subject from red to blue, for example, the easiest and most powerful way to convert color to black and white. The secret to achieving gorgeous black and white infrared pictures. How to mix black and white with color or sepia. How to produce stunning vintage toning with Grady int maps. Three techniques for transforming your photos from modern to retro and a simple solution for achieving the popular cross process look. Although this course does not focus on light room light rooms develop module is virtually identical to adobe camera raw. Therefore, light room users will definitely benefit from the coverage of adobe camera raw sample images air included with this tutorial, Siri's. So please feel free to take advantage of them or use images of your own. Let's get started. 2. Color Correcting: Part 1: in this lesson, we're going to talk about color correcting in adobe camera raw. And since adobe camera raw is such a deep subject, I've actually split this lesson into two parts. This is part one. First thing I want to discuss is the concept of global versus local corrections. Global and local corrections is a topic that applies to adobe camera raw as well as all color correction that you're going to be doing, whether it's in adobe camera or photo shop. When you are making global corrections, you're making a correction to the entire picture. And when you are making a local correction, you're making a targeted correction to a very specific part of the picture. For instance, the blue car that you see in the image right here now you can do global or local corrections in both adobe camera raw and in photo shop. And so, in this lesson, I'm going to show you how to do global and local correction in adobe camera raw and in a lesson down the road, I believe it's Lesson three. We're going to show you how to do, um, color correction inside a photo shop because it's really helpful to know how to do this in both locations. Each has its strengths. Each has its weaknesses, and you get to decide what's the best option for you based on the image that you're working on now. Another thing I want to point out here just pop over to Adobe Bridge for a moment is that adobe camera Raw is designed toe open camera raw files. However, you can also open J peg and Tiff files into a C R. And from this point forward, I'll just call Adobe Camera A CR. You can open J Pagan tiff files in there as well, and the reason you'd want to do that is because you want to take advantage of the marvelous controls, very powerful controls that you have in a CR. But you need to keep in mind that when you're working on a JPG or tiff file rather than a camera raw file J picks and tips we're not going to be is pliable as Pamarot files. Therefore, if you are aggressive with your color corrections, you're going to be able Teoh, watch to the file degrade much more quickly than if you're working on a camera raw file Now , how do you open to jpg or tiff? Well, here's what you do. This is a J peg right here. And, um, the first thing you want to do is go into the A CR Preferences. Now, on a Mac, you go here under the Adobe Bridge menu and you go to camera raw preferences. If you're on a PC here to go under the edit menu instead and you're going to find the very same camera raw preferences, it's gonna bring up this dialogue that you have right here Now, by default. Here in CS six, you have, um, automatically open J pegs with settings option for J pegs and the same thing for tiffs. This means that if a J peg her tiff has been processed in adobe camera raw before, at any point in time, it will automatically reopen in a CR for further editing. But J pegs and tips won't naturally open at this point in a CR, unless you specifically ask them to. If you want all J pegs and tiff to just naturally open whether they've been edited in a CR before or not, you can come down here and you can say automatically open. All supported J pegs automatically open all supported tiffs. I like to work this way, as this means I can open them up if I want to. And let me show you how you do that. And, of course, if I've edited them in adobe camera before, then I'm going to naturally go right back in there if I start editing them again. So this is the way I like to work. Go ahead and I'm gonna cancel out. You're gonna Okay, if you're making any changes in here and the way I can choose to open this J peg in a CR is I can control or right click on the file here in bridge, and I could choose to open in camera raw. All right, let's get a pop it open here in camera raw. I can edit it with all the wonderful controls that a CR has to offer. But I have to keep in mind that the file will degrade faster because it is a J peg and not a camera raw file. Cancel out of that. All right, Now, um, I'm gonna go ahead and open up. This is actually a camera raw file camera. Raw files are gonna have the extension DMG if you convert to DMG at the time of download or any F if you should Nikon or CR two. If you're shooting cannon, those are going to be camera raw files and that's something you capture in camera. Now, when you double click on a camera raw file here in bridge, it naturally opens into a CR right here. So it is now in the camera. Raw dialog. Um, when you open a file, if you happen to see a little yield Ah, little yield sign icon right down here. That just means that you have worked on this specific image in camera raw before. But you worked on it in a prior version of camera raw. Therefore, if you want to update to this latest version and take advantage of all the marvelous controls in this version camera, which is version seven, go ahead and click on that little yield sign icon, and it will update you to this latest version, a few other sort of housekeeping things before we actually dive into the really fun controls. If you want to see your camera raw dialogue, full screen you can click this icon right here when I click this right now, it's going to go way outside the bounds of my recording area, so I'm gonna bring it back in. But this will allow you to talk toggle full screen. I always work full screen. Why not? You're gonna take advantage of all your screen real estate. Another incredibly important thing. Any time you open up, any image into a CR is to check the workflow options. All right, To do that, you come down here to where you see this thing that looks like a hyperlink. Go ahead and click on that and you're in the workflow options dialog. Now, since this lesson is about and actually this whole Siri's is about color correction, I'm going to address things in camera raw here that have to do with color correction. And I'm not going to be talking about things that don't have to do with color correction. So I won't be covering every single slider and panel that you see here. But I do want to mention space. This has everything to do with your personal workflow. If you're out putting to inkjet or light jet printers, then you're going to want to choose either Adobe RGB or Pro Photo RGB. Now, if you want to know specifically what those are, I have a free color management video tutorial series on my website. If you go into the learned part of my website and you look on the sidebar the right hand side bar, there is a section called Free Video Tutorials and listed. There are four video tutorials on color management that will tell you everything you need to know about Pro Photo versus Adobe RGB. But just know that these are great spaces for those who are out putting two in general like jet printers. If you are primarily working for the Web or for video purposes than s RGB makes more sense for you. All right, so you want to pick the space upfront here that is going to carry you through basically to your output. So it's important to make this decision right up front. I generally working pro photo depth, is also important. If you choose 16 bits, you are doubling your file size, but there's a huge benefit, and the huge benefit is that your file is extremely pliable at this point. It's a like a warm piece of clay, very pliable. If you choose a bit, you're gonna have a smaller file size but is going to fall apart more quickly if you do any sort of aggressive color correction. All right, so I generally work in 16 bits. These other things all relate to things that are not so much color correction. So I'm gonna skip over those for now and just hop on out of here. Any time you open a file in adobe camera Raw, it is a good idea to check your workflow options. Now, let's talk about working through this wonderful vast dialogue in a, um, very organized fashion. I like to begin right here in the basic panel with this region here, which represents the white balance or the color balance of your scene. Now, in association with this region, you have something over here that is the white balance tool. If you have something and this is really this is my starting point when it comes to making my pictures look better. If you have something in your in your scene that should be neutral, which means no color caste. If you think of it on the pixel level. That means that pixel is made up of equal parts red, green and blue. So there's no predominance of red, green or blue. They're all equal neutral, no color, no color caste. If you have something that should be neutral and what should be neutral is subjective. It's up to you. You have to decide. I mean, certainly the white paint on the side of this house should be neutral. But right now it's in the shade. And so I have to decide. Do I want it to be neutral without a color cast where I want it toe have this blue color cast that it has right now because it's in the shade and light. Things under a blue sky in the shade are going to pick up the color of the sky or eso a blue color right here. So, um, something that should be neutral is something that does not have a color cast like a gray computer. Um, white paint on a wall. Those should be neutral, but again, you have to consider the lighting conditions to decide if you want to neutralize it or leave the color tent that is there. If you want to neutralize that, you can come click on the area that should be neutral and watch what happens to the whole picture. This is now neutral where I'm residing and it made the same color correction White balance correction to the entire picture. Every single pixel in the picture has changed. Now I know it's neutral because if I come over to this area right here, where it says red, green and blue and I hover where I just clicked notice how that is equal parts red, green and blue 93 93 93 means it has no color cast. So you can read these numbers right up here and know if something neutral this blue sky is not neutral, nor should it be Should it be, it is. It has mawr blue in it and it has less red, which means it has more of the opposite color, which is science. Let's take just one moment to talk about complementary colors. The opposite of red is science. You can think of that as RC cola and scion is like the turquoise of Caribbean water. The opposite of green is magenta. You can think of that as general manager and magenta is like a hot pink. The opposite of blue is yellow Brigham Young. So now you have your acronyms, so you can remember what the opposites are. So if I have a shortage of red, then I have a predominance of or I have mawr science. So here I have more science and more blue, which is what you should have in a blue sky. So anyway, you can read those numbers and you can learn a lot. But anyway, I click here. I could decide if I like that. If I don't, I can. I can always undo it with Commander Control Z or what you can do is you can pop over here to this area and you can see I haven't as shot choice right here. All right, so even I as shot choice and then I had these other options. Never hurts to examine these to see if there's one that you like. This is like changing the color balance or the white balance in your camera. But you could do it after the fact with a camera raw file. So it's so nice that you have this option you can slide through and you can look at all these. And what you might decide is that you like one or the other, but you want to refine it a little bit. So say I like shade, but I feel like it's a little too war. Well, now I can come down here to the temperature slider, and I can move this. I can cool it off by moving to the blue area. You can move these around now. Something to keep in mind is that if you want to reset all this white balance back to the normal, the default you can choose as shot or if you're moving a slider, any slider in adobe camera on you want to reset it to how it was shot, how it was captured, DoubleClick, the slider, and it will reset that applies here as well. So you have this for clicking on something that should be neutral to drive it and every other pixel in the seen to that balance, that white balance. You have this so you can choose a camera white balance. And you have these sliders between these three, you can totally get your seen color balanced or white balanced. So what I might do is I might click here and say, that's a little too warm. So I might come in here, and I might cool it off until I like where it is. And maybe I like it right there. Perfect. All right, so now I have set the white balance. Have set the color balance for the scene. I'm ready to move forward. I actually want to just cool that off a little bit more. There we go. Now I'm ready to move forward. The next section here in the basic panel is probably the most vital of them all. This is where you adjust brightness and contrast. These six sliders control brightness and contrast. And in camera raw seven, these are extremely powerful, and they do exactly what you would expect. So I'm going to show you what those are in a moment. But before I dive too deeply into those, I want to show you how to read a history. Graham, Here's our history, Graham. I think it looks confusing because it has all these colors in there. I want to see it as if the picture were black and white. In other words, I want to read just brightness values. I don't really care about color right now. If that's the case, I can slide down here and I can drag the saturation slider all the way to the left. Drain the color from the picture. And now I can see my hissed a gram showing the Onley brightness in the picture. So sometimes when I'm working with ease six sliders, I will do this. Not always right now. I'm doing it more, for example, purposes. But I will actually sometimes do this if I want to. I really want to work on. This is if it's black and white picture. I'm trying to really see the brightness and contrast now Here's how to read a history Ram. These mountains thes spikes that you see here represent the quantity of pixels throughout the brightness or tonal spectrum. This area represents pure black. This is shadows with a little detail, shadows with more detail, mid tones, highlights with lots of detail, highlights with just a little detail and pure white. So you can see in this scene we have, um, highlights with some detail here that's probably represented by this bright area there we have these air just darker than a midtown, and, ah, there are a lot of them because it's stacked up very high. So this represents probably the sky, maybe the grass here. And then we have something here that's almost pure black, but not, and that's represented by the shadow that you see right here. So the real key to hissed a gram is make sure that if you clip any blacks, which means you start to see a pile of pixels here or you clip any whites, which would be a pile of pixels. Here, you want to make sure that you intend to do that. So watch your hissed a gram. Keep that in mind now into this region. First of all, you can always click auto and get adobes opinion of how this should look. I purposely chose a tricky image here, so auto isn't doing the job. Sometimes it will either do the job or get me really close, and I'll just do subtle refinements in this case, not loving it. So go back to default. Now the exposure slider. Adjust the overall exposure or brightness of the picture. Just just what it says if I go this way, I open it up this way, I darken it down. I'm gonna go ahead and show you what these do, and I'm gonna come back through and make them look the way I actually want them. Toe look. Contrast affects the contrast primarily in the middle tones. This adds contrast, and this reduces contrast makes it flatter. Here we have highlights. This is generally used for preserving highlights that air hanging by a thread so I could move it this way, and it will try to preserve those highlights. But you can also use it to open up highlights if you so choose. Shadows is designed to shine light into shadows. Open up shadows. There was how that shadow is opening up. You can also use it, of course, to make shadows darker, but generally it's usedto open them up or Brighton them. The white slider is used to set your very brightest value in the picture so you can do this by I moving this over and watching the hissed a gram. See, I'm starting to get a spike there, or if you want to be scientific, you can hold option on the Mac Ault on the PC, and you can drag it until you see actual white pixels. When you see actual white pixels, you know those areas are going to print paper white so you could be scientific or you can do it by I. Blacks is where you set the darkest point in the picture again. You can do it by I and watching your hissed a gram up there. Or you can hold down option on the Mac cult on the PC, and you can drag until you actually see black pixels. You know those areas will print with absolutely no detail. So if I were adjusting this picture, here's what I might do. It's just set my overall brightness here. I like to go too far and then come back set my overall contrast. Think of this is kind of mid tone contrast. It's funny cause I like it more contrast e on the house, but the shadow down there gets pretty dark, but let me go ahead and add a little bit of contrast there dark in this back a little. Now that I am, and I'm constantly riveted, revisiting sliders as I do this, the highlights of I wanna open them up or preserve them might preserve them just a little shadows. I might open up a little bit like that. Whites Let me go ahead and hold down offshore all and see when things clip. Now the question is, do I want anything to be paperwhite? I'll let go of option or all and not really and then black. So hold down, option all and see when things start clipping and I want a few shadows to be pure black. When I go with that, I'm gonna knock this back just a little bit. There we go. So here is before, actually, let me. Sorry, Let me double click the saturation slider and reset. This here is before, and here's after on the scene. So, generally speaking on kind of an overall, a global basis, I think it's improved, but it definitely needs some local corrections. And, ah, that will be part two of this lesson. We'll talk about how to do local corrections on your image. Now, Before we do that, let's continue with other global correction sliders that you can work with. Clarity isn't color correction, but it sure is nice to know about clarity allows you to punch out, um, edge detail, sort of like sharpening Onley different. But it's really nice for popping out age detail. And on that house, it's really nice to pop some of that out. Vibrance takes existing colors, and it saturates those that need saturation, and it tries to stay off of those that are already hyper saturated. It also tries to avoid over saturating skin tones. This is a slider I use when I'm in a big hurry. I'm not in a big hurry. I use the sliders that I'll show you in just a moment. But this is going to uniformly saturate colors in the scene based upon whether or not they need saturation and based a behind whether or not it perceives them as skin tones. But I'm gonna reset that for now because there's a better way now. A saturation slider is a sledgehammer. It makes all colors get more or less saturated. I don't use it well except to check out my hissed a gram like that so I otherwise I don't use this saturation slider. I don't I don't particularly like it. I am noticing. Here. I got a little too much. A little too much contrast going on in this picture. Knock back my whites Just a smidge and open up shadows just a little. There we go. All right. So from here to here now, what I want to do is show you the next stop on its these air, actually, global corrections. But because of the nature than there, there's some somewhat local. So what we're gonna do is we're gonna go into this panel right here, which is my next next stop with color correction. These panels here specifically detailed. This has to do with sharpness and noise reduction. So I do visit that panel. But when I'm doing color correction only, I just pop right into this panel here. Now, you'll notice you can adjust the luminous, which is the brightness, the saturation, which is the intensity or the hue, which is the color balance off all these existing colors in the picture? Pretty fantastic. If you want to do it with sliders, you can pull these sliders. But if you prefer an easier approach, you can come up here to the targeted adjustment tool, click and hold on it and slide down to what you want to effect, and I almost always want to affect saturation. In fact, this is why I slipped skipped the vibrant slider. Now let's say I want to saturate the blue sky a little bit. Come up here, I'll click and drag to the right and I can saturate that blue sky never hurts to go too far and then back it off. Okay, I come here to this grass that looks a little bit too neon, and I can click and drag left and d saturated and I wanted to look more natural. So maybe I'll do something like that right there. Now I also know there's knows their greens in here. It's harder to get to the actual greens, so I'll just pull this slider a little bit there. So you can see here are the changes so far from those, um, targeted corrections. So I've affected saturation at this point deep in the saturation on the blue sky, and I reduced it here on the grass. If you want to effect color balance, you can choose Hue. Now I can come into here and I can make my grass look a little more green, and I think I want to do that. I could also change the balance of my sky. And I don't really want to do that. So, Commander Control Z or you can double click the slider. I'll reset that. I feel like this went a little bit too far. This is the grass. There we go. What about this red area of the grass? You know, that is kind of this spot right here. Yeah, that's final, Commander Control Z it or double click it. All right now, there aren't really any other colors in here. So that's why I'm just working with the grass, which is Ah, yellows and greens and a little bit of orange and the sky, which is blues. So now let's go on. If we want affect brightness, go to loo minutes. You make your sky a little darker. Maybe Could make the grass just a little darker. Is just kind of bright over there. Don't ever feel intimidated to push it too far and then come back. All right, So here are the changes. So these air somewhat targeted. They're targeted to existing colors in the scene, but they're not targeted to a specific region of the image. Now, if you want to get overall preview of what you've done so far in this dialogue, what you can do because this preview right now is giving me the HSE. L grayscale panel. Ah, preview. This one right here is giving me the basic panel preview. But it's not giving me none of these. You give me the composite preview, so I want to come over here to snapshots. It's not intuitive. It all come to snapshots. Activate that panel now. It gives me a complete before and after of my seen before and after. It tells me I want a dark in this exposure back. Just a hint more there. Okay, so go to snapshots and you get complete before and after. Right here. All right, so a sfar as global color correction goes, that's the process. You're working with this white balance tool. You're working with the basic panel, this region for white balance or, um, color balance. Their synonymous this region right here for your brightness and your contrast. You can play with clarity just to pop the edges, and then you're popping into this area right here and using the targeted adjustment tool you are affecting the existing colors in the scene in terms of saturation Lew Minutes, which is brightness, and Hugh, which is color balance. So that is how you do global corrections in a c. R. Now, in the next part of this lesson, we're gonna talk about using the adjustment brush and the graduated filter to do local corrections. Since we want to come back to this picture right where we have left off, we're going to click done right now. And I want to show you that by clicking. Done. What's happening is right here in bridge. This raw file is now updated so that it has the, um, changes from adobe camera raw built into the raw file. Now, let's just say that you decide you want to reset this raw file back to its defaults. If you ever want to do that, you can cause raw files. Settings don't get locked in their impermanent. What you can do is control or right click here, go to develop settings and you can choose camera raw defaults or, if you want to clear all settings and make it look like this never even got touched in a CR you can hit clear settings right here, but camera raw default will set it back to its original setting. So we'll clear settings clear settings will just make it look as though it never even got touched by a CR, so I can always reset it. But I'm gonna leave it right here. And when I come back in the next lesson we're gonna talk about local corrections in a CR. 3. Color Correcting: Part 2: This is part two in the lesson about color correcting in adobe camera raw. And in this lesson, we're going to talk about using a CR's adjustment brush and graduated filter to make local targeted corrections to your scene. When we left off last time, we were working on this image right here. And so far we have done global image wide corrections to it. What I want to do now is reopen this into a CR and I want to show you how to do these wonderful local corrections. So I'm gonna go ahead and double click on it right here in bridge, and it will open up into a C. R. Right here. All right, so we've already done our corrections in the basic panel, which are all global. We've done our corrections in the H s L grayscale panel, where we affected existing colors in the sea. Ah, the saturation, the luminess air brightness and the hue or color balance here. So that's all done. Now we're going to dive into local corrections now. What do we want to do to this scene? Well, I want to do a lot to it. In fact, more than I have time for today, but I'm gonna show you how to very completely used these great tools. This is the adjustment brush. All right, We're gonna be using this tool to do a few things. First of all, we're going to knock back the brightness of this grass here. We're going to open up the shadows right here. Will knock back some of the brightness back here and will drain this kind of ugly blue cast from this region. Right here. We can do all of these things using the adjustment brush. Here's what's so awesome about this tool. The adjustment brush allows you to do local targeted corrections, and it allows you to do each of the host corrections to all of these characteristics. All these attributes. So in other words, you can, on a local basis, affect the temperature intent. So the white balance or the color balance you can affect the overall brightness. The contrast You can control the highlights. You contain the highlights. You can open up the shadows. You can affect clarity and saturation as well as sharpness, noise reduction, more a reduction and different jing. All of this with this one tool. So let me show you how you use this tool. So this is the adjustment brush right here. All right. When you're ready to make a correction, the first thing you want to do has come here and make a choice about what you want to effect. So, for instance, let's say I want to effect this bright grass. Want to knock it back a little bit? If that's the case, then and I'm gonna You didn't see me do anything there. If that's the case that I'm going to click on the minus next to exposure, it will automatically set this to minus 50 which is really arbitrary. I can adjust it after the fact. Now I'm ready to start painting. Now. If it knocks back the exposure too much or too little, it doesn't matter. You can. You can address that after you've laid down your paint here. Something else to keep in mind before you begin. Painting is down here you got You have to control the size of this process just like in photo shop. You can control the size with the bracket keys. The left bracket key makes it incrementally smaller, and the right bracket key makes the brush incrementally larger. Those bracket keys are so useful here in a CR end and photo shop. So that is a shortcut worth learning. I like to work with a feathered brush almost all the time, which means a fully soft edged brush. You can make it harder edged by sliding this to the left if you want. And I like to work with a density of 100%. So it's laying down full paint as I work here. Now you can control that. If you want, you can reduce the density so you could build up the density of the paint. But I find that 100% works for me 99% of the time. Now, you also have this feature down here that is called Auto Mask. Auto Mask either works extraordinarily well or not so well, Auto mask. Let me show you how it works. I'm actually gonna pay here. Okay? Painting an auto mask. I'm being a little bit sloppy trying to reach into these areas just like this. Here we go. Now, if I want to see where I've actually painted, I can either hover over this pin and see how the mask is actually kind of tailored to the area where the light grass meets the dark grass. That's auto mask working the other way. You can show the mask is by clicking this box right here. So this will show you the masked by turning this on and off, or you can hover over the pin. Either way is great. Let's say I don't want to use auto mask for this. I want to get rid of this pin What you can do If you have a bunch of pins you want to get rid of, you can click clear all. If you have just one pin that you're trying to eliminate, make sure it's active by clicking on it and then tap delete and it will just disappear. I think that's backspace on the PC. Actually have to test that. Can't remember these delete or backspace on the PC, but it's definitely delete on the Mac and PC users tried delete or backspace that wipes out that pin. Now I'm gonna turn off Auto Mask, I'm gonna paint again and I'll show you how it differs and being a little more precise as I paint here. Auto mask. Actually looks like it worked really well back there. But ah, I'm just sort of working into here. Let's just see what happens. And again, if I want to see where I have painted, make sure I got into all those nooks and crannies I can hover over this or I can check the show mask. Now, you notice that in this case I overlapped into the shadow a little bit, which might become a little bit of a problem. Probably not, but it might so Auto Mask, actually, I think worked a little better here. But that's OK. You get to decide, and you can always undo it like we just did by activating the pin, deleting it and turning this honor, often going back and painting. Now, once you have laid down paint, you now get to adjust all the characteristics of that mask or that painted area so I could change the temperature of it. In fact, I might cool it down just a little bit. It doesn't need to be quite that warm. I could affect the tent. I can affect the exposure, so I want to not get back. But I don't want to be in shadow. I still wanted to have light on it. I can affect the contrast. So notice how I'm moving down through these and it's a good idea. After you've laid down painting, done the mask, which is the hard part. Move these sliders and get what you want out of that region. And I'm just trying it kind of deciding what I want is I go zeroed that out by Commander Control Z ing or double click on the slider, and that'll reset it. And I'm not going to affect sharpness, noise reduction, moray or different Jing. But I want to show you. Here's a moment ago and here's now see how I really subdued those bright areas that wants to do subdue them quite that much. Let's get back to here. So notices. I'm working here. I'm still in ad mode. All right, so the moment I start painting, it's gonna go into add mood. If I over paint, let's say that I paint into, um, an area I don't want, so I'm just painting into the sky area right up there. Don't want that. I can come here to your race, and I can make my brush a little bigger and I can erase the painting from that region. So don't worry about over painting. You can always come back in clicky race in a race away a spot. Now let's go on to this shadow right here. If we want to open up this shadow, then we need to think about a new adjustment. OK, so your very first thought is you're moving on to a new adjustment. Should be click the new radio, but this is essential. Click the new radio button and then decide what you want to do to it. And I want to open up shadows. So I'll click the plus next to shadows. And again, I can adjust these after the fact to go lay down my paint now and notice how, as soon as I started painting here, it goes into add mode. So it's gonna continue adding or allowing me to add to this region as long as I just keep painting away here. All right. Now I should open up that shed. Well, let's do it. I'll be fast about. I don't want to bore you with giving this picture looking perfect. I'm more interested that you take away from it. The useful information of how to do this. So there we go. Now I've painted It's time to affect this area. This mask area. So I'm I open up the shadows. We'll see how far I want to open up. Maybe two. There don't know Effect exposure. Not really, Commander Control Z contrast. A little less contrast, maybe highlights a little bit clarity. You get the idea so you could sit here and just play around with these sliders and again use your preview switch and see before and after. See how we've evened out that area down there quite a bit. Maybe more than I want, but that's OK. Illustrates the point. Now let's move into You know, I would like to dark in this area back here, but that's going to be very similar to what we did right over here. So let me move into an area that's gonna have a different feel. I want to remove some of this blue, so the first thing I need to think about is a new adjustment brush. All right. Now, to remove a color caste, you're generally going to use your temperature and tents Sliders. So you re balance it. But if you have something that should be neutral like this house which is fairly neutral, then what you can do is you can actually drain the saturation, reduced the saturation and it will drain away that color caste so it can be done either with temperature in 10 sliders and or with saturation. If what you have should be neutrals, I'm gonna click. I'm on new. I'm gonna click the minus next to Saturation and I'll paint over this area right through here. It's like this. I'm gonna go a little bit bigger was hovering over the pin. That's why I was seeing the mask do something like that and again, being pretty sloppy here. But that's the idea. Now, if I drain more saturation, you'll see that that area starts to lose. That blue cast can also come up here. If I want, I could try toe warm it up or not. I actually don't think that's working at all unless I paid the entire side of the house, which is an option. But let's just do this. I want to drain out some of that blue, but up here it's evidence, so I'm gonna go back to erase using a bigger brush. I'm just gonna paint this in. So here's the change I did there. See how that blue sort of cast that is at the base of the house is being dramatically reduced right there much more what I want. Spend a little more time on that. I think I get exactly where I want. Let's actually finish this with one last thing. I want to do another new adjustment brush. This time. I would like to affect clarity. So I'm gonna click the plus next to Clarity. And I am going to pop out some clarity on the side of this house because that paint that peeling paint is what's interesting about this. And granted, this is not the finest photograph I chose, one that purposely has a lot of problems so that we could make some progress on it. But let's see what happens now. I finished painting, pumped the clarity up, really pop out the detail inside of that house. So now look before these four adjustments and after before and after. Now, if you want toe, see your mask hover over the pins just like this, if you want to delete any of these. Click on one spanned press delete. Maybe it's backspace on the PC. Wish I could remember that right now. And, um, if you want to make changes to any of them, click on it and just come right in here and start pulling your sliders. Or, if you want to get rid of them all, click clear all and remember to change the brush size use. Right bracket key, Bigger left bracket key smaller. So that is how to use the adjustment brush. Very, very powerful tool. The more time you spend with it, the better your pictures will become. Now there is a similar tool here, not quite as powerful, but certainly has its uses called the graduated filter. I'm gonna click on that. You'll notice that the graduated filter has the same sliders over here that we had well minus the brush ones that we had for the adjustment brush. The way this tool works is very similar to a graduated filter that you might use in the field in the field. Let's say you're using a color grad, one that has a orange cast to it so that your skies can become more orange. Think of it as, ah rectangular piece of glass with orange tinting at the top that graduates to completely clear at the bottom. When you slide that in front of your lens and take a photo, it adds warmth to the top of the scene. Where there's that orange cast. Will this grad, um, filter actually allows you do the exact same thing? But instead of just controlling color or tent, Sorry, those are the same or color or contrast or brightness or, you know, sorry. Instead of just color, it allows you to change color, contrast, brightness and all of those things, just like you do with the adjustment brush. But unlike the adjustment brush, it isn't as targeted. Um, in other words, you can't paint into individual regions. With this, you have to treat it as a rectangular piece of glass where your piece of glass is affecting a large region of the picture. Here's how it works. Let's say, And this is a terrible scene to show you this. Let's say that this house isn't here. You just have sky up there and below the horizon here, and you want to affect just the sky not not anything below the horizon. If you hold the shift key, you can click and drag down through here. And right now, by the way, I'm undoing that. I didn't choose what I wanted here before I started pulling. So you should actually choose what you want. Let's say I want a dark in that sky. So I need to click the minus next to exposure. All right, click the minus next to exposure that will allow me to darken. Now I'm going to hold shift and dragged through here just like this again. Pretend the house is not sticking up above the horizon here. Now, if I want, you'll notice everything from here on up is being 100% affected by the sliders over here. Okay. Through this region, it is tapering off from being 100% affected, too. 0% affected. And everything down here is not being affected at all. All right, so 100% affected tapering off to 0% affected. So I can make this a more gradual transition. And I'm holding the shift key so it won't start twirling on me. I can make it very gradual like this or very abrupt. Whoops. It's twirling anyway. So very abrupt or very gradual like that. All right, now I can change the characteristics over here. I want to darken it back a bit more. The sky. So there. No clouds, and there's not really worried about contrast. Highlights? Not really Shadows, Not really none of this, except for saturation. And so I could make it more saturated if I want. I don't really want any of that. But that is how you use this graduated filter tool right here. Now, just like the adjustment brush. If I wanted to bring in another graduated filter, what I could do is click new, and then I could drag a new one in there from a different area, and I could adjust the sliders for that one, just like the adjustment brush. If you activate one of these and it's active right now, you can delete it, which I'm about to do. Although let me show you a quick before and after. Oh, and one other thing you can turn the overlay on and off here, or for the adjustment brush. If that's getting in your way, you can turn the overlay off. But here And so let's let's turn that off and let's look it before and after, okay? I really don't want that. So I'll turn my overlay on, make sure this is active by clicking on the pin, and then I will tap delete, and I will wipe it out because I really don't want that. All right, so at this point, we have made some nice local adjustments using the adjustment brush. We didn't actually use the graduated filter, but we know how to do that. And, um, if we wanted to see a complete before and after, we would have to hop out of these tools because you don't see your panels over here. When you're working in these tools, we have to come over here to the either the zoom tool or the hand tool. Now we can see our panels a complete before and after will happen by clicking on snapshots and using the preview toggle. However, in this instance, because we saved our changes to this file in part one of this lesson, and then we reopened it. The changes were about to see are only, um, actually not seeing anything. That's how odd is that? Okay, I see why. All right, Well, um, the reason for that is because this snapshots area isn't actually showing us the changes to the adjustment brush here. Okay, if you want to see overall changes to your picture, you still need Teoh. Click on one of these, come over to snapshots and use this. But you don't want to have left adobe camera raw like we did a short while ago in a lesson one or in part one and then come back. So if we want to see the overall right now, there's another way to do this. Let me show you. We have to kind of work around things. Since we, ah, aren't working straight through a file. We come to this file here, we could choose camera raw defaults, that's where it started. And then if I command or control Z that that's where it is now. So again, camera defaults. We'll take you back to where you started, and then command or control Z, we'll swap you back to right where you are. Now, that's a nice little work around. Just in case you did what we did here. All right. Last thing I want to show you here is, um I'm an openness as a smart object. And that is done here in the workflow options. I have this box checked. All right. If I open this as a smart object into photo shop, then you will see what the advantage is of opening something as a smart object. The advantage is that it will tie your image. Let me actually get this out of here and make this fits that you could actually see what's happening. So, um, opening is a smart object. Means that, uh, your layer here is a smart object that is actually tied to the a C. R. Dialogue. So I want to make any further changes to this in a CR when the pixels are their most pliable and using the great tools that are in there, I can double click right here on the smart object thumbnail. It will reopen into a CR right where I left it off right where I left off. That is the advantage of opening something as a smart object. So I could make further changes to it right there if I wanted. Anyway. So that is color correction in adobe camera Raw both the global portion of it and the local portion that we just worked on with the adjustment brush and the graduated filter.