Mastering Camera Raw and Adobe Bridge | Scott Kaine | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

22 Lessons (2h 42m)
    • 1. My Introduction

    • 2. L0 Update Camera Raw

    • 3. L1 Opening Camera Raw Files

    • 4. L2 Which Raw Format

    • 5. L3 When Shoot Camera Raw

    • 6. L4 Camera Raw Menu Overview

    • 7. L5 Basic Actions Panels

    • 8. L6 Camera Raw Workflow

    • 9. L7 Lens Distortion Tab

    • 10. L8 Achromatic Aboration

    • 11. L9 Camera Raw Crop

    • 12. L10 White Balance Color Correction

    • 13. L11 Highlights and Blowouts

    • 14. L12 Shadows and Balance

    • 15. L13 Hue and Saturation

    • 16. L14 Camera Haze

    • 17. L15 Spot Healing Tool

    • 18. L16 Clone Tool

    • 19. L17 Getting Rid of Noise

    • 20. L18 Radial Tool

    • 21. L20 Correction Brushes Setting Save

    • 22. L23 Film Grain

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About This Class


Course Description

The Camera Raw plugin within Photoshop is one of the most advanced and underutilized crayons in the box.  Shooting Camera Raw on cameras that are capable of doing so not only allow for maximum creativity but also immense flexibility and repair if needed.  In this course I'm going to show you how to maximize your potential in working with Camera Raw, to jumpstart how you can become an even better photographer than you already are by shooting in Camera Raw.

With 3 Hours of content, I explore all the tools within the Photoshop plugin; I show you how each tool works and how it can be used to bring your photos to life and even add creativity to an otherwise lifeless shot.  I want to give you the tools to become an expert, to stand toe to toe with other professionals whom shoot Camera Raw for weddings and other special events on which their livelihood depends.

I designed this course to be packed with information but true to detail in that each step is explained and garnered to give you results in your quest for knowledge.  I hope you full enjoy this course as I have in making it, I welcome you now to Mastering Camera Raw and Adobe Bridge! Lets Begin!

Meet Your Teacher

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Scott Kaine

Believe In Your Learning Skills And Never Stop!


My name is Scott Beowulf Kaine and my steadfast commitment to learning has earned me not only a Bachelors Degree in Computer Science, but also two Masters' Degrees in Psychology and Marketing. I have combined these skills in the corporate arena into building a path to success that has been highly rewarding and very lucrative. The methods I am able to share here, I feel, are the blueprints of self sufficiency and financial security.

As a Corporate Marketing Business Consultant, I have over 10 years' experience in training sales leaders in making their mark in their respected industry; furthering not only their personal careers but enhancing personal growth in the process. My forte is not only limited to the area of traditional marketing however; I have been a part of many online m... See full profile

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1. My Introduction: welcome to master in camera, raw and bridge and thank you for choosing my course is the goal of this course to help you learn and understand on how and why it's beneficial to shoot in camera raw. I want to show you through this three hour lecture on the details of how to use each and every tool with inside the camera raw plug in and why it's been official that you should shoot in camera raw and how everything is is so ingrained inside of each and every one of those shots. I'm going to show you in detail every single tool inside of camera raw. I'm going to give you step by step instructions on how each and every one of these tools work. So join me now and I want to thank you once again and hopefully you'll join me in my other courses and let's begin 2. L0 Update Camera Raw: So let's talk about updating camera raw within Photoshopped. The best way to tell what version of photo shop you have in regards to the plug in is if we go to you foot Ah, Photoshopped about plug in and then camera raw and this window will pop up. As you can see, I have, ah, very old version of the camera Raw plug in its version, a porno, and it hasn't been updated in a really long time. And it's evident because if I click on, say, for example, this camera raw file, there are some features like, for example, there's a feature down here that doesn't even show up, which is supposed to actually show up. Ah, and that's indicative of this being an older version of the plug in. So the best thing to do is to essentially update either through Adobe Update or, if you prefer, go to the website and download the adobe camera raw plug in installer. If you have a problem doing it that way, you can just go straight to adobe dot com and just do a search for the plug in and ah, you can download the most current installer as As of this date, it's 9.5. So that's the best way to update your adobe. And, ah, just keep that in mind whenever you're working on things And, uh, you can't find something, chances are your camera raw plug in might be update, but if you regularly update your stuff, then you shouldn't really have to worry about it. But if you seem to be missing something or can't find something, chances are that's probably why. So let's move on to the next lesson. 3. L1 Opening Camera Raw Files: So let's take a look at the camera. Raw adobe interface. Now here is Adobe Bridge. Now Adobe Bridge is essentially one of the best programs there are in working with camera raw. Essentially, um, if you're using a proprietary camera, raw formats like the CR two format, which is essentially what ah, the canon uses. Or if you're using the Nikon proprietary format or if you're using the Universal D and G format that adobe is implemented, Adobe Bridge is probably one of your most essential tools in and utilizing camera raw and essentially looking at your photos. So as you could see, what we have here is I've got a couple of camera raw photos on my desktop here, and I have a J pig. Now if I click on it, I click on the J Peg. You can see a couple of things here. Essentially, you can see how it was shot. The F stop the I. So the size the how maney megabytes it is. The file name, the dimensions, the RGB some focal lengths, um, and other various things. Um, now you can do the same thing with the camera raw, although it probably would gives you a little bit more information because it's a raw image file. Here's the lens, the F start dating time. Now one thing that is something that I always love is the ability that adobe Bridge and Photoshopped integrate with each other. So I have photo shop open right here, and I have a bridge open right here. Now there's two ways to open camera. Raw photos. Now the first thing to remember and never forget is that a camera? Raw photo. No absolute camera raw, not a J peg, but a camera. Raw photo is essentially a digital negative. It is the purest source of digital photography that exists. It cannot be destroyed short of deleting the file, and it cannot be destroyed or alter. So if I were to say, click on this double click now, what will happen is, as you can see, the default action is when I double click on a raw file or any file, really, it will automatically default and open the file in photo shop. Now what I want to do and show you that you have options here in regards to what you can and cannot do within this program, now we will go into detail as to all of these functions. But for now I want to show you the benefits of one way or the other, the first being that if I were to go in here and double click inside of Adobe Bridge and make modifications for to make that you know a little darker or change some of the highlights I'm not trying to improve this photo in anyway. I'm just trying to modify it so you know, it's been modified. So I was completely dark and then I would click. OK, done. Now what will happen is it will dismiss this dialogue, and it will go back to Adobe Bridge if I select open image. Now, all of the changes that I've made here will now open here inside of photo shop, and now I can continue modifying this adobe raw file. Now here's the thing to note. When I make these changes, you'll notice that I cannot save this file in any shape or form, and you'll notice that it does say save, but watch what happens when I click Save. You'll notice that the only option that I have to save anything is the default Photoshopped actions, which are J Peg photo shop and other assorted formats, none of which are CR two. That's because you can't You can't actually save anything as a CR two or or the DMG or the Nikon format because a camera raw can only be created inside of a camera so I can change the this to something else any of this format. For example, if I change this to a PSD and what will happen is it will now change to dot psd, and now this image is now solidified as a Photoshopped document. However, if I go to my desktop, you'll see that here is the PSD file. And if I do a quick look, this is the photo shop document that I just saved out, which is a flattened image. And here is the the camera raw image in its original format. This is originally what it is. Now you'll notice that this little document right here, this text document is actually all of the information that has been changed. If we open this up and take a look at it, all of this information essentially tells photo shop or any other program that opens it, what it needs to do to manipulate the image visually so that it matches this. It sent this essential photo right here because this is actually what we've saved it as. So what we'll do. This will go back to Adobe Bridge and we will open this up in Adobe Bridge. And instead of double clicking this, what we'll do is we'll use this in, like on right here, which is open, and camera raw, which is also open in Adobe Bridge natively. And as you'll see all of this, information is the same that we had in Adobe Photoshop. So if we make any changes here, it will change that text file. Now watch what happens if I go ahead and delete that text file from the desktop and then reopen this filed once more inside of Adobe Bridge. Now what will happen is it'll default to its exact default open picture, and there it is because Adobe Bridge has no reference file at all. So it's going to open the photo as it was shot originally, and those are the two ways that you can open up adobe raw files in Adobe Bridge. So let's move on to the next lesson. I'll show you something else 4. L2 Which Raw Format: So let's talk about camera, raw formats and all the different varieties and flavors there are now when you really think about it. And there's a lot to think about when we want to talk about this. There are three major kinds. I know that sounds kind of weird, but there are three major kinds of camera raw. There are the adobe format or the canon format, which is the CR two. There is the Nikon format, which is the any F. And then there's adobes format, which is the nonproprietary, open sourced D N G format, which they've been pushing for a few years now. There are a few other kinds, but they're they're hardly worth mentioning because they're very small fry. But these are the three top formats out there, one by Canon, one by Adobe and one by Nikon. Now two of these are photo are are pretty big camera camera companies, and one of them is Adobe, which pretty much practically rules the industry when it comes to photo processing. But the D and G format is a dope ease attempt to try to make everyone play nice together so you could open any raw format image in any program anywhere without having to worry about compatibility or interrupt ability or colors being off or any of that nonsense. Well, as it turns out, nobody actually wants to adopt it. They are pretty much just sticking to their own proprietary formats and are kind of just ignoring the DMG format that Adobe has made freely available to anyone who wants to adopt to it. Any of these companies. Now some companies are actually adopting to it. Ah, some smaller camera companies are using it, and it seems to be working. But if there's not enough traction and to really get it moving, So when you ask yourself well, which can't which camera raw formats will actually work with with the dhobi any of them will any of the any F, D and G or C R. Two formats Adobe Bridge and Adobe Photo Shop will open any camera raw format that exists today? Um, you may get up. You may need an update, but it will open any format that is currently being used on any camera that there is today . So you don't have to worry about any of that when you ask yourself well, Which one should you get? You know, if you if you're in the market for a camera and you don't have one? Well, if it's not a matter of which which camera raw format is better because they're they're identical. Camera Raw has virtually nothing to do with the quality of the camera itself. There I personally use Canon products, but I could have just as easily gone the way of Nikon many years ago. It just happened to have gone the way of Canon, so it's just luck of the draw. But there's no there's no better format in regards to camera raw, whether Nikon does it better or Canon does it better than both pretty much the same. It's the quality of the camera that makes it better, Um, and the type of camera. So when you when you think about that, you want to put that on the table and just tell yourself, okay, I'm not going. I'm not going concern myself with the extension of the raw foreman. I'm not gonna worry about any F or CR cr two or DMG, cause all of that just doesn't mean anything. It's all nonsense. It's just two or proprietary on one is open source, but it has nothing to do with nothing. It's just This is politics. That's all it is. So don't even concern yourself with it. Um, photo shop will open any raw format, so you don't have to worry about any of that nonsense. So with all that out of the way, let's move on to the next lesson. 5. L3 When Shoot Camera Raw: So you're probably asking yourself, Okay, when is the appropriate time to shoot in raw. And when is it okay to shoot in J Peg? Well, they're a couple of answers to that. Me personally. Every time is a good time to shoot in raw, no matter what, Because as an artist and as a photographer, you never know when that one shot is going to be there. That you are going to wish you shot in raw toe have maximum flexibility in being able to control the output of that photo. And it's gonna be that one time that you should take that photo and it's gonna be a low quality J peg or even the high quality J peg. And it's gonna be pixelated out. And you're really going to be hating bananas because you didn't shoot raw. And the in today's time, if you are in them if you have one of these cameras, if you have a DSLR, chances are you could probably spring the 30 bucks for a 64 gig or 128 gig SD card. Ah, high speed SD card, because that's how much they cost now, anywhere from 30 to 50 bucks for one of these little SD cards, and you can shoot in camera raw virtually nonstop all the time and still be able to store 3 to 500 photos. And I know because I've done it with camera raw on all the time. Now, as far as the speed goes, there are SD cards out there that that have the speed boost on them, and they can write to that card itself anywhere from 90 to 120 megabits per second. And that is more than enough for that camera to shoot and record fast in regards to Kameron out for for high speed shooting for, ah, event photography or sports photography, you may want to test out your equipment first to make sure that your camera can keep up with the SD card, but you can still do it. So the really the only question is whether or not you have enough SD cards, depending on how many photos you plan on taking. So, for example, if I were to take this shot and I look at this, open this up. This is a camera raw image. I'll open this up in photo shop. If I were to have shot this in as a JPEG, there's not much I could have done with this if I didn't have this shot and wrong. Because if you look at it, this is really ah, over or under exposed. You look at the sides here, there's everything is just there's not enough light here, but being ableto take the exposure and brighten that up. I mean, granted this there's a different way to do what I'm doing, but you can see all of the detail pops out. And if I would not be able to do this with the J peg very easily because that data is just not there because that camera raw holds all of that information. It's almost like being at a crime scene. You can see all of the information that was there when and if you should always shoot raw, I would personally say absolutely absolutely. There's no reason why you shouldn't, especially with the prices of SD cards today. They're really, really cheap. You Kenbrell by a handful of, um from anywhere Amazon eBay anywhere that are really fast, and there will be a lecture on the types of SD cards that you can use later, um, and and the speed of them on how toe shoot fast and quick with camera raw. And but I would say that if unless there's a specific reason to not want to shoot camera raw, that you should always shoot camera roll because space is not an issue, because kid SD cards are really, really big and really, really cheap nowadays. The transfer speed is not an issue anymore because the camera raw rights to the SD card Justus Quickness, Jay Peg thes days. The only thing that I would say that would be a caveat would be the transfer from the SD card to the computer itself. Because thief files are a lot larger. Um, they're gonna be anywhere from, you know, 10 to 20 times larger cause you have to. You have to think that an average J peg is going to be anywhere between one and three megabytes, whereas a camera raw file is going to be anywhere from, you know, 18 to 20 megabytes. So there is that size differential there. That would be the only reason that I could imagine you actually having an issue with shooting camera raw all the time. But I will tell you that the moment you decide not to shoot camera raw when you have an example of something that you want that is so amazing that you shoot as a J peg. For example, this image right here. You know, this is not a nim Ege. That was Well, this this actually was an image that was shot with camera. That just happens to be the J. Peg. I'll open up the camera raw. Here is theory journal. You have this and this is just a fly by night shot. You know, if I change the exposure, you'll see all of the detail, but the top is completely blown out. If the data isn't there, you wouldn't be able to recoup this, you know. But with all of these options now, I can. But if I were to take this image, for example, and take this image the original J peg and try to manipulate that, I'm I still can a little bit, but it's not going to be the same. They're still going to be a lot of data that's going to be blown out and and completely taken out of the equations. You can see, in my opinion, always shooting raw unless there's a very, very good reason for you not to do it. So with that, let's move on to the next lesson. 6. L4 Camera Raw Menu Overview: So let's talk about the camera raw interface, the basic interface. Now there's a couple ways that we can open up a camera. Raw images, one inside of bridge. If we double click on this, it'll automatically open up the camera raw in your face. But it'll open it up. Default in photo shop. So, for example, here's a camera raw image right here and I'll DoubleClick element. As you could see, I have Photoshopped open already. However, if you don't have photo shop open, it will open up photo shop for you. But I'm gonna hit cancel here and I want to show you what happens if we open it up in bridge. So here's the same image and I'm going to use this item right here. Open in camera raw. So what will happen is it won't open that in photo shop, and it will open it up here inside of Adobe Bridge. So, essentially, if you don't need to go into Photoshopped, you don't have to do that extra step, especially if you're not gonna be doing any post processing for your image itself. So if you know that you're gonna be doing all of your editing or your quick editing right here. And you're not really gonna need photo shop for anything else. You can pretty much do it here and open it up there. So that's Ah, that's a quick little tip right there. That that will come in handy. So let's take a look at the overall interface here. I'm gonna go ahead and make this Ah, full screen now. Ah, quick way to make this full screen. Is this little icon right here This full screen? Or I can just hit the f key on my keyboard. All right, so here's full screen, all right? Now, if we take a look at the top left hand corner here, all the items that we can select, uh, to use and manipulate our image Here's the 1st 1 is thes zoom tool. And each one of these items has an actual key. That is a short cut, As you can see as I hover over them, each one of them, you can see what the actual letter is. So those air great shortcuts that you, uh, should learn if you end up using one of them a lot. The 1st 1 is the zoom tool The 2nd 1 is the hand tool, white balance tool, the color sample tool, target adjustment crop, the straighten tool, spot removal and so forth. And we'll be getting into all of these tools later on. Maurin depth In other lectures if we move on to the right here again, it's the full screen which you can toggle on and off by hitting the F key, the spectrum tool. This is rather the spectrum window. Now these two little icons right here at the top, left and top, right. These essentially are buttons that let you know what are the clippings of the dark and the light. So, for example, if I were to toggle this this is absolute black right here you can see that black is being exposed as an absolute clip so you can see that anything that's that shaded in here as a blue, even some right here is absolute black. And I can do the same for the brought far right here, which is the absolute white, which is in here these areas right there, Um so that that's those air tools to show you toe better help you. Now we are going to go into these panels right here, however, we're going to do that in separate lectures. For now, we're just going to stick to the basic now. In this particular instance, right here, there's several things that you can do. The white balance is displayed as shot, so as you're seeing it, it is exactly as it was shot on the camera as raw. There's drop down here that lets you select presets based on essentially quick presets. So, for example, if I were to do an auto, I could do and it would. It would change it based on a white balance for an auto what it what the algorithm thinks it's best, which is not always best day like cloudy and so forth. Now I usually just leave it at as it was shot and just manipulated as I like. The first icon is temperature. Now, as you'll notice each one of these has sliders on it, every single one of these. Now, the one thing that you keep in mind when you manipulate these sliders or any slider in any one of these as you'll notice each and every one of these has sliders in them is that if you ever want to change anything? For example, we can change the temperature of the color in this actual photo. Let's go ahead and brighten this up. Wrong direction. Um, we're darken that up. Let's say, for example, I wanted to change this and make it very, very dramatic. Now it's all the way over there now. I can change this in two different ways. I can type in the number directly, or I can double click on this triangle slider. If I double click on it. What will happen is it will slide to the default of what it was originally. So as it was shot, it was 51 50. It will slide right back to the default. I can do the same with any of the so, for example, if I wanted to increase the exposure. That's very, very big. 222 and 3/4 of a stop, Um, but if I wanted to change it, if I wanted to reset it, I could easily double click, and it would default right back. Or I could very easily type in that number 2.75 and I couldn't do it that way, too. I can hit the default, which would bring it right back to zero. And that would if I wanted to do all of these at once. For example, if I had a bunch of these that were, let's say, really all the way messed up Z change all of these. And instead of double clicking on each one of these triangles individually, I can go ahead and click the default. And it would snap everything back except the bottom those you actually have to do manually because they're separated. Um, and essentially the triangle eyes, the slider and you pretty much can reset everything by double clicking on it. So that's something good to keep in mind, and that works on every single tab here. So if we go down, we see ah, done. Now, when you are actually finished with all of these, with any any of your changes here and you hit done, what happens is it doesn't open the image. It simply saves all of your changes that you've made to the text file on in the same directory that your images that so if I were toe change the exposure here and hit done it, would it would write all of those changes that I've made to that text file and close the file. It would not therefore open the image. However, if I wanted to open the image, it would save those changes and open the image. Now, if you wanted to just cancel everything that you've done, do you obviously just hit? Cancel Now, if we go right here, we have these options right here, and there is a separate lecture that I have that explains what the's are. But essentially these air just cycling between before and after. And for example, there's a quick button that we can use called P the letter p. So, for example, if we had to change the exposure here to really something really high, I wanted to see what the previous change was. If we just tapped the letter P, we can see what it was before and that it's simply just pushing the letter p. And it only works with the previous change that we just had, and this works with anything, So any change that we make, it doesn't have to be exposure, but any change that we make inside of camera raw in this interface, our previous chains. We can just tap P. So if we go to anything here and change a color or change anything that before and after is a quick a little before and after. So that is something to keep in mind if you ever want to simply look. So let's say, for example, now that I zoomed in and now I want to zoom back out. Well, if we go all the way to the left again, we have these three little icons. We have the minus the plus, and the 300% now the minus zooms out on the plus, zooms in as you'll see the slider over here. The number actually tells us how much of a percentage we have viewing, and we can click on this little area right here, and we can go to a certain percentage. We could go to 100%. We can go fit toe, window and weaken change whatever view position that we'd like. Now if you look at the bottom right here, it says this is the name of the file itself, the bottom left hand corner. If we'd like to save a quick image, if we click on that we can change all of these images on that. For example, Um, if I were to make all of the changes here and then I wanted to, without having to go into Photoshopped, create a quick image. Say, for example, to send to someone via email, I could click on save image. I could go to my presets if I had a preset. So, for example, if I changed all of these for specifically sending to an email, I could then save that as a preset, um, your options to saving as a destination, selecting your folders, your file naming convention Essentially the name itself or and the extension itself the file extension here. Ah, the format is a J peg A tiff for the photo shop PSD um, the compatibility or whether or not if you are sending it as a camera raw file. Since you if you choose the digital negative Ah, the JPEG preview, preview size, Um, and then your other options here. Now, other things that you can do if you, uh, choose other options, you can actually change. Ah, the image size and the source file. If you have customized presets. But we do not. So we're not gonna change anything here at the moment. But this is where you can actually save as a quick, uh, image or J Peg. I normally don't do this, Um, simply because I usually do all my stuff in Photoshop. But if you're used to the workflow going in that way, then by all means, you know, um, lastly, we have the working profile. Now I have a lecture that goes into depth as to what this means and does. But essentially, this is the working workflow profile as far as how and why. Um, we use this particular configuration when we go into Photoshopped. Um, but essentially, this is telling you what size, what bit depths and the resolution we are keeping this image at when we transitioned into photo shop. And this is very essential when you are intending to go into photo shop and manipulate this even further. So, um, as you can tell, there's a lot to learn. Eso Let's move on to the next lesson and learn something new. 7. L5 Basic Actions Panels: So let's take a look at some of the common adjustments that can be done. We're definitely going to be going into more detail about thes later. However, I want to touch on the basic panel, which is right here, and this first icon called Basic. Now we have a bunch of sliders here and we have our camera raw image here. Now, the first option that we have is white balance. Now this this essentially is the drop down menu that you condone. Pick for I guess you could say quick dial. So the 1st 1 being as shot. So it obviously displays the image as it was shot. The next one is an auto temperature, which the the algorithm changes to what it thinks might be the best. And then we have a bunch of options that we can choose that are essentially adjustments that are pre made from the camera raw Now. Ah, lot of these. Sometimes these will work great, and sometimes they won't. It really depends on what you are looking for. Um, I usually never used these because, um obviously, you know the image that I shot ISS for a purpose, and these are very specific, so they they don't really tell a story, and that's essentially what a photograph is. A photograph tells a story, and when you change colors in a photograph, you are changing this story, the context and the mood of what you are trying to portray to the person looking at the story. So let's take a look at the first slider. Now. The very first thing that you should remember is that by double clicking, the slider in the center will automatically move the slider back to where it waas or the default section. So, for example, this is at 51 50 which is what it was shot at. If I were to make a dramatic change so you can see, um, if I were to double click, it would automatically move it back to whatever the default is. As you can see, these are all at zero. So if our to move this all the way down here to you, negative five and double click, it would automatically snapped back to zero. So I don't have to manually try to maneuver it right back in there or I can I can ease very easily click default as well, or I can type in zero. So there's three different methods that you can restore this back to the original default. So once again I can slide. Make a change. I don't like that change. There's three different ways I can do it. I can type it in. I can hit the default button or I can simply DoubleClick. DoubleClick is probably the fastest, depending on where you are. So the temperature slider is essentially the kelvin temperature that the image itself is actually being shown to the left. The temperature gets cooler to the right, the temperature gets warmer. So with this, you could actually change a lot on how the actual images is being displayed. So we'll go ahead and change that back. Now the tinting is essentially the tint factor. So as you can see, I contempt this towards the magenta or towards the science or the green Rather, and the exposure. If I move the exposure to the left, I can under expose the image. If I move the slider to the right, I can over expose the image. All right. Now, go ahead and double click on that and restore to default the contrast, slider. If I move it to the left, I can change the contrast. Now, you're probably not going to see too much because these dials aren't exactly moved. But contrasts with left will make it, um lighter. And moving it to the right will make it slightly darker. So go ahead and move that back to zero. Now, the highlights, the hot. What the highlights does is essentially creates the brightest point at which the whites are being emphasized. So, for example, um, your brightness if I moved this all the way to the left, your darkness is enhanced. So your highlights are actually being shown a za growing darker, and the shadows will actually work the same way. If I do that to the left. And if I do that to the right and the shadows will be enhanced or rather brightened, as you can see and if I take the highlights up that will actually move that in that direction as well, it's pretty amazing. This is a raw image. The sky has blown out because of these highlights and shadows, but the bottom looks pretty fantastic. All right, so it's got to move that back now. the whites and blacks essentially are the brightest that the whites will be and the darkest that the blacks will be. So if I were to select the whites and I would move the whites down here and I want to take the highlights here, you'll notice that even if I take these highlights up, you'll notice that they don't get too much brighter. Because my whites have been lowered. I can't really take it a crazy amount because the whites are all the way down there. You'll notice that I can still blow it out, but because my whites are are located essentially at the bottom end. Now, if I were to take this all the way to the top, you'll notice that the sky is blown out. And if I were to take the highlights and move that all the way up, skies completely blown out. But watch what happens when I take highlights. I move that all the way down and move the whites all the way down. You'll notice that now if I take highlights and gold way up. That white ist point, which is regulated by whites, is not as bright, so I'll move that back and you'll see that whites is now, ah, lot brighter because highlights is at maximum and the same goes for blacks. So this into this pretty much determines how black you're black is black will be in either direction, so you'll notice you'll notice it almost immediately with black because black, it's blown out. And that's what the blue is indicating that it is, in fact, being blown out. Now, speaking of being blown out, if we look at the indicator up here, these two little icons right here the shadow indicator. You click on that and we click on that. These are the clipping indicators, and you'll notice that when I click these, these are warning me of blowing out clippings. You see that these are white points that are beyond the scope of absolute white. So if I were to take the highlights or the absolute whites and bring this down so the clipping isn't that high, I'd be able to get rid of those blowouts. As you can see, then I can bring the whites back in just a little bit, but it looks like I'd still get a little bit blown out. So as you can see now I have my highlights down here, and I don't have that much blow. I still have a little bit of blowout right here in the wings, but you can barely see that now. The same goes for the blacks as well. And you would notice that the blacks would get blown out a lot easier. But, uh, because I've made that Oops, because I made that change. It didn't actually do that. So that is a quick look at the basic panel and let's move on to some of the other ones. 8. L6 Camera Raw Workflow: All right, So let's talk about workflow inside of photo shop and camera raw now inside of bridge right now and essentially when you have a photo, let's for example, let's open this up right here. Now, as I have done many times before, I've pretty much opened. Ah, this photo just by double clicking on it. What it does is it opens it up in the camera raw ah, window, which then defaults into Photoshopped. And like I mentioned before, there's a couple of ways that you can do that. You can go to the open in camera raw, in which case you would have to go into Photoshopped. But since I wanted to go into Photoshopped, we're going to do it this way. Let's say that I have made a bunch of changes to this and on how will simulate that is by just clicking auto. And let's say that this is the actual finished product that I want to take into photo shop so I can do some more changes now. There are a couple of things that you have to keep in mind when you do this. First of all, the color, the color profile down here. If you look on this bottom link right here, we'll click on this. This right here is the workflow option. Essentially, what this entire window is is basically how this image, how this raw image is going to be transferred into Photoshop. Now, let's take a look at what we're looking at here. Three pre set, as we can see here, is essentially if we want to do a new workflow preset by customizing all of these options or weaken select. Okay, and have this is the default, which is what this is. I'm gonna go through all of these and explain to you what this is the color space which is here now. As you can see, there are a lot of color. Space is now the vast majority of these you will never use and, ah, part of the parts of the world Use these different kinds. As I mentioned in a previous course, the essential guide to photo Shop that we won't really get into much of these. However, there are three here that you should be made aware of the default. Of course, being adobe rgb 1998 this is probably the one that you are going to use the majority of the time. This is the one that I use the majority of the time, if not all of the time, for several reasons, it is the happy medium, middle of the road. This essentially is e compromise between size and color as faras the availability that Photoshopped gives you in regards to your work layout. If we go down to pro photo RGB this right here, this workflow allows for maximum amount of color in your workspace. However, there's a price to be paid for this now. One of the prices is file size, which in my opinion is is hardly a price to be paid, especially with the cost of SD cards. And, you know, hard drive being as cheap as it is, so it's not really a negative. The actual display and the amount of colors that are presented may be misleading. And what I mean by that is if your display or your monitor is not fully calibrated or your printer is not properly calibrated, what you see on your display may not necessarily be as accurate as what will be printed, because this workflow is so true and accurate in regards to how much color is is brought to life within the photo that your monitor may not actually be able to display it properly. So it's kind of like having too much of a rainbow and not being able to see all of the colors on it. The last one, the S RGB. This is mainly for people who are going to be Onley out putting to the Web. The strict strictly has Web based colors and severely limits your number of colors that are going to be displayed. I virtually never used this as it is a complete waste of time, and you can use it. Um, the reason why this is really here, I believe, is to save on disk space. And this is this is was a really big thing when the Internet had slow connections and and this is almost, you know, virtually non existent in some parts of the world. I can see where this might be a thing, but nowadays it's almost obsolete. So you're really looking at this and Adobe rgb. But for print photography with people who have high end monitors and high end equipment and high end printers, that are all properly calibrated. This would be your ideal workflow, but you you have to have your stuff properly calibrated at all times. Or you may run into the chance that your output the printer will not properly display all of the colors. I'm not saying that it's going to look like garbage. I'm saying that it may not be 100% true as to what you're putting on your screen. So this is the safe, happy medium, so we'll just leave it on that. For now. Your bit depth is the amount of pixels that is displayed in in variety of your colors. So you want to be able to have as much information available to you that you could manipulate and show, uh, and in regards to going from one color to another, and I always change this to 16 bit. It's does result in a large file size, but as I mentioned before, file sizes almost an irrelevant point these days. So 16 bits per channel. Um, this right here is image sizing. Now, this is, um, something that you should keep in mind if you are going to be out putting too a printer for example, this is a nice step for later on. Let's say, for example, I have this photo right here and I have a 24 inch printer and I'm going to be printing this to the printer itself. So what I can do is I can resize this image to a particular size to output directly to photo shop automatically so I don't have to do it inside of photo shops when I start anything I'm editing at the size that I need to be editing without having to monkey around in here. And this is a very, very useful thing. You don't and don't enlarge either, because that will distort the pixels, obviously. So let's say, for example, that I know I am going to be out putting at 24 inches and the length is 36. So 36 by 24. If this is actually 36 by 24 then it will shrink. It will constrain this to 36 by 24 Now, if I, for example, want to constrain it by one angle, for example, long side. Now, what this does is it essentially changes the resized to one side so long side would be this entire length horizontally, so that means that 36 inches will be 36 by 24. And that's exactly what it actually is. So it was a pretty good guess on my part. So this is going to tell you that it's going to be 36 by 24 at 3300 pixels per inch. So that means when I click go, this is going to import this into photo shop at the print, ready of 36 by 24 at 300 pixels per inch. So what that means is it's going to import this this photo long side, which means horizontally at 36 by 24 into photo shop without me having to do any calculations or re sizing. And that's great, because that's sometimes I can get kind of confusing if you don't know what you're doing with that. So the other options would be short side, which would be, ah, the shortest point here to there, and in this case, sometimes you have different sized images. So, for example, if it was this top to bottom, the short side would be 24 by 36 so 36 is the longest side, but 24 is going to be here. So that means that 24 is thes shortest point, which is going to be top to bottom. And that's what short side means. And that's usually if you have, ah, bulk amount of of, ah, workflow that you want to send this through and that that's what that would do. Uh, and you have the option to Dubai megapixels if you want to change the megapixels And if you want to do by percentage, But we will go ahead and leave it by, uh, the, uh we will actually uncheck that, and we'll leave it at the default 20 megapixels. Um, this right here is, um, an option. But I would highly recommend that you do not do it essentially, What this does is it sharpens for screen glossy or matte paper, Um, and then the amount of which is low, standard or high. Essentially, what this is doing is taking your photo into photo shop and then sharpening the image. Um, if you're taking your photo into Photoshop to edit it, the last thing you want to do is for it to be sharpened or for it to do any kind of pre editing for you. I've never understood why this was even here. It's kind of like it's it's almost nonsensical for me, but it does give you that option. I suppose there are some reasons why something like this would happen, but, um, I never use this. You might find a use for it. I do not. This right here. Open photo shop in us as smart objects. Um, is not going to be covered in this course, but it is covered in my Photoshopped. Fantastic course. Um, but I go into more detail about that, So if you'd like to know more information about that, you can definitely check that course out. And I described that very well. So with that said, we go ahead and click, OK, and then we go down to open image, and then we can see the magic happen. And now we can start on the next lesson. 9. L7 Lens Distortion Tab: I want to talk about lens distortion and the ability to manipulate those. Now I have, ah, lens that is basically a fisheye lens. It's a very, very, um, weird looking lands. Um, it looks is weird is the pictures that takes. Here's a picture of ah wall in my living room Now, as you can see, I originally got this lens to create a virtual reality website in which the person was able to walk around the house. But just by clicking and moving and dragging along, it's actually a really cool little thing that I did. Um, as you can see, it's essentially a wall and here's a clock and you can kind of obviously see the distortion cause my walls really don't look like that. If I if they did, I'd probably live in the Doctor Seuss house. It's kind of funny, but let's say, for example, that you had a picture, something like this. Now, the reason why I took this particular photo with this lenses because I really wanted it to be pronounced. I wanted you to see the distortion as opposed to using a very subtle distortion. Now, in Photoshopped Bridge in camera raw Now there is a section here. If we go over to this lens correction tab which is located right here, there is an option for you to be able to correct the lens profile. Now, once we select this, we can actually change the correction right on this panel. Now, if we go to profile, which is right here and then we select enable correction. Now, essentially, what this does is it allows us to automatically change the perspective. And what it does is it basically loads the information from the camera or from the X i f data of the picture of the camera automatically. In this particular case, it is not going to because the lens that I'm using, it's an aftermarket lens, and it just it's just not a very expensive lens. But if you were to use like canon lens or a Tamron lens, chances are you would probably get instant. They would they would show up instantly here. So what we're going to do is we're going to find it manually, and that's what you can dio so you can go to auto and sometimes it'll work, but sometimes it won't. So what? I'm gonna do something to go to custom, and I'm going to go to Lens profile, and I know that my lens is a broken on. I think that's what it's called. I mean, I know that's what it is. I just don't know if that's how you pronounce it. Um, and then I know that the lens is a eight millimeter fisheye, so I will select that now is you'll. You'll notice that there's actually a fish eye to, but I believe it's this one right here and then the profile. Now, essentially, this is the cannon USM, the Fujifilm, Samsung and Sony. Now I use a canon, but I have actually used this profile before, and for some reason this does not work as well as the Fuji Films. I'm gonna switch to Fuji Film and you'll see that the ceilings tends to snap better. But I mean again, you can you can modify this, so I'm gonna go back to Canon because I want to show you how you can modify that better. So as you can see immediately, what happens is the images is fixed. Or as so it seems so what we'll do is I'll change the distortion a little bit more, and I manually correct it. And I'm using the ceiling to actually fix, and you'll notice what's happening here. You see that she could see him kind of just eyeballing it. Now the vignette on the bottom is not really affected too much because of how much is actually being seen. But you'll notice that if you look at the edges, they get a little darker and little lighter. And since I actually don't want it to be dark, I want to move it all the way to the right, so it's lighter. But another thing you'll notice is that the image is cropped. It's not going to correct the entire image. And that is how the lens distortion works is it takes the information from the sides and corrects it by distorting the center. So watch what happens when I uncheck this. You'll notice that this part of the wall is gone. This part of the wall, this whole door is gone, and if we go enable again, half this door is not even in the picture anymore. So you'll see. You can see it pretty much just takes this entire section here and here and clips it as it does here. And you'll notice that even if you look carefully at this at this wine glass, this one craft that it's actually a little distorted as well. So you'll notice that it's not perfect. But this is an extreme example of a lens correction. So considering that this is nearly 180 degree distortion, this did of pretty fantastic job. Now. There are many things that you can do within this lens Correction. Tabby. You can go to color and you can remove the color aberration. You can add mawr different amounts, the purple hue, um, but usually things that we're not going to really get into right now. But these are all things that you can modify based on what you have here. Now you can modify ah lot mawr in regards to how much is actually being displayed. For example, if I wanted to change the outlook to the right or to the left, for example, you'll see the clipping happening there like, for example, if I wanted more there, or if I wanted more here, you notice that the top and bottom gets star, see it clipped, but for example, let's say you did want something like this. You could easily take this and crop it here and here and you'll have yourself another photo once again. If I double click on that tab right here. Any one of these tabs, you double click and it'll default. Snap back to where it was. These were rotating thes air scaling. This is the aspect ratio. So, for example, if I wanted to stretch it larger or smaller, I can do that double click, and I will bring it back to where it was the lens vignette ing again from before I will bring that back. And then, obviously the distortion of how much is being distorted from the center and then essentially all of your options right here are pretty much going to effect the outside and around. So as you can see, you've got a lot of options here. Um, you can customize all of these profiles. You can even go to Adobe's website and get custom profiles. You can make your own custom profiles even on adobes profile. If you look at this very bottom, you can show the grid. So if you actually want to align your objects to something. For example, if you're trying to align the horizon, there's your grid. There's your ceiling right there. Obviously, this is not something that I would do because the ceilings at at a slant. But you're pretty much set right here. So after I've done that, I can open the image right into Photoshopped, and there it is. And now I can modify this in any other way that I see fit. So with that said, let's move on to the next lesson. 10. L8 Achromatic Aboration: Now we're going to talk about something incredibly complicated that I am not going to describe to you in any way, shape or form in detail because it would blow your mind. But it's called a chromatic aberration, and you probably have no idea what that even means. But I guarantee you have seen it every single time. You've taken a photo, I promise you, you probably have while maybe probably what is a chromatic aberration? Well, essentially, when you take a photograph, the image is transferred, the light is transferred onto the lens and then on to a CCD, which is here, which is theoretically right here, hypothetically, right in this area, right here and in this image, you can see that all of these points of light are bouncing off the CCD image. So, for example, I will I will. I will create the CCD image for you. This is the sensor right here. So let's pretend this is the sensor and back here is your camera. Here's your sensor right here, which then transfers all of this information to your SD card after a catcher's catches your image, right. So what happens is the photograph is captured the images transferred through light bounces off of the CCD image, and then it's sent to the SD card. As you can see in this image right here, these three points of light are not actually hitting the CCD at the same point. What ideally should happen is they should all intersect at the exact point of origin, and that creates the image. Now this doesn't happen all the way across the image. It happens in different portions because there's so many different sensors on your CCD that if you have a very inexpensive camera, your CC'd on your camera may not be able to sometimes catch the problems that happen. When this type of thing happens, it doesn't mean that your camera is bad or that it's cheap. It's just it happens. You know, even some Nikon cameras do the same thing. So let me show you an example of what happens when this anomaly happens and how you can fix it in camera raw. So I've shown you this picture before, and you've probably haven't even noticed it. But it is in here a chromatic aberration. Where is it? Well, take a look at this little bird right here. You don't notice it until you look really close and a chromatic aberration happens right around edges. It always happens around edges because that's where light has a tendency to bounce. And if you look carefully, you notice the red glow around the wings and you'll notice that it's around here, too. So if I zoom in a lot more notice the red glow here and the red glow here almost looks like , you know, you went into photo shop and put a little trace around it. Well, that is a chromatic aberration. It essentially means that the light when this photo was taken was not focussed properly and that the red points and the green points and the blue points all focused at different portions of the outline of this photo. So how do we fix this? Well, the first thing we need to do is it has to be a camera raw. With this fixing point here we go to the lens correction tab and then we go to profile. I want to do enable lens profile correction. We want us make sure that that is selected and what will happen is this lens profile will come up and it see in this particular instance, it automatically detected what type of lens was actually used to shoot this particular photo, as opposed to in a previous lecture where I had to manually put in the lens. This one detected it. It's a Sigma lens, 35 millimeter F 1.4, and the profile is already set. No distortion amount. So what we want to do now if you want to go to color and now we want to remove the chromatic aberration. And I had mentioned this before when I first introduced all of the tabs here. This is how we do it. So we select remove, and it won't do anything until you actually change some settings here. But what we want to do is you want to remove this purplish Taipei's around here, so what we'll do is we'll take the purple slider and will slowly move it to the right. And, as you can see automatically the glow around their starts to disappear right. About four or five, we move it only back to the left, where it waas the glow comes back. But when we were back, go to four. Take it Teoh about 44 looks good. And let me zoom in on our little bird friend here. And if I take this back down to Yep, there, you can see it. There it is. There's the glow you can see. I'm taking the glow away, all right? And if I go back up here, you can see it a lot clear as to what's actually happening. You see the aberration disappear. You don't want to go too far with this. You want to go just far enough for it actually disappear because sometimes you take away too many details that you actually don't even know about. So it really depends on, ah, how much you want to take away and how much detail cause you're really just trying to take away the aberration around these things. So at about four, it looks like all of it's gone. So as you can see, all of these little birdies are nice and good. So once that's good. We can open our image now and we can say goodbye to my bad drawing. And there we are. And now our bird is no longer full of red beak and no more red wings. And that is how you use that. So let's move on to the next lesson. 11. L9 Camera Raw Crop: It's the one great thing that you can do in the camera. Raw interface is cropping, so let's take a look at this image right here. Let's go ahead and click on the image and then open it up in the camera Raw interface. Click on that and we'll open this up. And here's a photo that we have a father and his daughter. Now let's say we want to use this photo and send this off as a Christmas card or any kind of festive holiday card. So we want to first reduce the size of this image because it is actually very, very large, and we're going to need it. Ah, about four by six or five by seven. Something like that. So what we're going to do first is what we're going to do is take the crop tool, which is located right here on the top bar. And what we're going to do is we're going to constrain it, so when we do crop it, we will automatically crop it to size. So what we'll do is we'll do a four by five or five by seven, so either one of these is actually pretty good postcards are usually four by five, so we'll do four by five. Now keep this in mind that if you want to do a custom constraint, you can actually do custom and then enter your restraint That you want a one by one would be like an instagram, which would be like a square box. But we'll hold this down again and go for by five. And what we'll do is we'll click and drag. And, as you can see as I drag, no matter where I move my mouse, it will always remain the same restraint. So now, as you can see everything around it is the grey portion that is going to be cropped out, and everything in the center is what's going to be remaining. If I click inside of the actual box, then it will move the actual window. No, since there's no window here. For example, if I take this window and this corner edge, you can see there's four little boxes here on the side. For example, if I click and drag it to the left, did you see what ends up happening is that constrict changes automatically, so if I move it enough to the left. The constraint changes from a horizontal to a vertical. And if I What I can do is I can actually drag that farther down and make that make that little nicer right there. So But let's go ahead and move it back, All right? So whatever I choose, it's still going to be a four by six constraint. And essentially, what that means is that no matter how big of ah option I choose here. But how big it looks that whatever the output is is going to be dependent on how I have this. So, for example, if I know, I need to output this as four by six. What I will do is I will click here and I will change this to resize to long side six inches. So as you can see 4.8 by six. So what will end up happening is that when I move this into Photoshopped, four by six will be the constraint. So what I want to do because I want to make sure that I have a little bit of bleed on the outsides. So if I do need to crop this any further, I will have everything that I need. And now if I want to put, for example, the images you know directly in the center, on the side or if I wanted to put some lettering right here, it really depends on you know what your overall goal is? So I'm gonna go ahead and put them to the right. I'm going to make sure that everything is here. If I could do the overlay, the overlay right here. The option for this is essentially the rule of thirds. But you can see here these thin lines that give you an idea of how the image looks in regards to the visual representation of where things are. Now it gets to a point where in year a photographer like myself that you almost don't need these guides because you've done it for so long. You can see essentially everything that's here. So for me, it's just it's pretty natural. But for someone starting out, that's definitely probably something that you'd want Teoh start doing. So here we are. And here's the photo. It's going to output to photo shop as 16 bit six by eight at two megapixels at 300 d. P. I and we're not gonna make any changes here. No, I don't. I definitely don't wanna do that. We can. We can just leave it right as it is. And let's go ahead and open the image. As you can see, here's our cropped image. And if we take a look at the image size, you can see that the resolution is the dimensions are in inches is six by 4.8 and the DP I is 300. So now if we were to print this out, we could print this out at 300 dp i four by six very easily, and it would obtain everything that the camera raw crop indicated. And this is a great way to use the camera raw crop. So, you know, you could you could have just as easily done this and in photo shop. But once you get used to the workflow inside of bridge and inside of camera raw, especially since your for example, this is this was a J pig. But you wouldn't have been able to do that. Had that been a camera raw file, for example, if I wanted to do that with this, you would have no options but to do that with the camera raw. So if I wanted to crop this, say to a five by seven and select that, then there we are. Then I would open up that image there it ISS as the process. But for a J. Peg, you don't have to go through that. I just do it because, you know, one workflow is easier to remember than two different work slows. But as you can see, there are a lot of different ways to do things, and it's just whatever works for you. So with that, let's move on to the next lesson and let's learn something new. 12. L10 White Balance Color Correction: So let's talk about color casts and fixing white balance. Now inside of Adobe Bridge and camera raw, you can actually fix UM, J peg and camera raw color casts, so we'll start with a camera raw first. So what we'll do with will open up inside of bridge right there Now, as you can see, this is a picture that was taken of a sky of a building now inside of here. There are many different things that you can do to fix this image. It's it's a little dark, it's a little under exposed. But if we look at the white balance right over here under the basic panel, we can see that the White balance is has some options here. Now, when I open up a J peg image to do a white balance, you'll notice that the options here will disappear because it doesn't have the information inside of the actual file itself because it's a J pic. So there are a couple things that weaken do here we can these air all presets that we can actually take a look at. So let's let's select some of these presets and see what happens. So it's like the Otto and immediately we can see there's a pretty good change right there. It's like daylight. It's cloudy and you know some of these air pretty good. That one is definitely not good. That one's that too much better. And you know we can. We can choose any one of these and then modify them by just using the sliders and going from there now. One of the things that I like to do best, however, is I like to use the, um, the white balance dropper tool, which is this little icon right here or simply selecting the, um, the I tour for the I button. Now the exposure, for example. In this particular instance, I'll just click. OK, now what I'll do is I will select the eyedropper tool. And as you can see, this little area here is a neutral. It's kind of gray ish. So when you use the eyedropper tool, what you need to select is something that is not black or white, but something that is great, something that is in between, and this definitely looks like it is. So I was select this, and as you can see, that made a huge difference. Yes, this definitely looks like there's some a chromatic aberration in here. I'm just so used to seeing it, but there's definitely some in there. But that definitely made a difference simply by selecting using the eyedropper tool. Yeah, Jumper Tool definitely does save day. As you could see, it automatically changed all of my settings here, and ah made this picture come to life by hit the P button to do a quick before and after. I can see what it looked like before and now after is before and now after. And that's using just the P button. So that's a pretty good Ah, pretty good change right there. So let's go ahead and try to do this with a JPEG. Now I'm going to select a J Peg. I'm gonna select open inside of camera raw. Now when we go to white balance now you can see that we only have auto and custom. Now, in this instance will select auto. And as you could see, it does a pretty decent job of selecting and maintaining the auto balance. But it's not perfect, and it's pretty destructive as well, because the differences when you do a white balance adjustment in camera raw. You with a J peg. You are altering the pixels on a very small level. Whereas when you do it with the camera raw, you are doing it non destructively. So that is something to keep in mind. When you adjust white balance in camera raw, you are doing it destructively. And when you do it with a camera raw image, you are doing it non destructively. So what I'm going to do is I'm gonna select, undo, and I'm going to try to use the eyedropper tool. And I'm going to see if I can get a little better job. I'll select maybe the tree trunk and that did a little bit better, but still kind of limited. There's not much I can dio that really pictures way to blown out being a J pig. Um, still, But as I said, um, when you when you do these kind of corrections on J pegs, um, inside of camera raw you you're kind of limited because the data isn't there. We'll keep that in mind as another reason why shooting and camera raw offers more benefits to shooting Justin J. Pigs being that There's Mawr information set of a camera raw image than inside of a J peg. So as you can see, um, so what you've learned here is being able to use the white balance eyedropper tool using the before and after with the P button and then being able to use the drop down for the custom white balance. All right, so with that said, let's move on to the next lesson, learned something else. 13. L11 Highlights and Blowouts: So one thing that I like to emphasize is the highlights. Functionality inside of the camera, raw Now, essentially, sometimes you have photo, for example, like this one where you have an image that the sky is really blown out or you have some really bright object. That is, that is essentially really, really bright. That has some kind of detail in there that you want to pretty much recoup. Now, in this particular example, um, there's the light that was coming from the sky was hitting the lens, which caused the exposure to undo two under exposed here and essentially darkening up the bottom. So what we'll do is I'll just hit the auto button. And that pretty much lightens Thean Midge down here corrects the exposure, but we still have a very dark sky or a very light sky way. We did recoup some of the sky because the highlights have changed. But let me show you what happens when we modify the highlights even more so I'm gonna zoom in on the sky and I want to show you what happens when we take the highlights and manipulate them. So as you can see if I go to the left with highlights, you'll notice that this sky suddenly becomes, ah, lot more a lot more, uh, prevalent in the image. So if I were to hit the P button, there's the sky. Originally, there's the sky, with the highlights emphasized before and after before and after. Now the highlights and the shadows essentially are what control the details in the light and the dark. So if you have a photo that has, you know in darkness or brightness inside of it that you wish to control or details that you'd like Teoh recover. Uhm, messing with the highlights usually can do a great deal of benefit to you. So, for example, if I were to take this all the way in the opposite direction, you can see how the sky almost completely just goes away and you know you can actually even use this is in a creative outlet. You know, if I were to turn on my how to turn on my clipping tool in the window up here, you can see that this is absolute white up here. So if I were to take my highlights now and scroll down, you can see the absolute white starts to completely disappear, and I get some more detail back. And, ah, there's no more clipping in here. So as you can see, highlights has, um, a great deal of functionality and use in photos that have skies that are blown out. That's that's really, really or really anything that has a lot of light coming at the camera. And that was not intentional. So experiment with that. And with that, let's move on to the next lesson. 14. L12 Shadows and Balance: All right, So let's talk about shadows now, which is the younger brother to highlights. Now, when we have an image such as this, we have, ah, very bright top and a very dark bottom. And essentially, we have a great deal of shadows with a great deal of very bright images. Um, it's very difficult sometimes to moderate both of these. You know, we want to create, um light, but we want to balance it out. So if we use the highlights, for example, and we start to, you know, create the sky on darkened sky a little bit, so there's more detail in here, but then we've We've essentially created more darkness down here using that highlight. But if we change the exposure, while we can modify the exposure a little bit better, you know, if we emphasize the exposure has changed exposure up to stops. You know that's not too bad. But now, now the sky is is kind of right again. Well, that's where shadows comes in. Essentially, what shadows does is it emphasizes the bottom or the darkness without blowing things out. So watch what happens when I take shadows in the exact opposite direction. of highlights. All right, As you can see, what's going to happen is it's I actually have this too exposed. Let's bring this exposure down. I'm actually gonna bring it to default. Um, So what ends up happening is now I have the sky properly exposed and I have these shadows properly exposed. So as you can see, it actually turned out pretty good right here. So I'm gonna actually resort this to default. I'm gonna click auto and let and look camera raw, determine what kind of exposure it should be. So I actually went to two stops, and it only wants to go to looks like 1/3 of a stop or 2/3 of a stop. So what I'm going to do is I'm going to increase Thies, too, because I like this. But I still think there's too much darkness here. I'm too much darkness here, and there's probably not enough detail in the sky. So what would happen if I were to pump this up? Well, I've got my detail in my sky, so I want a little bit more detailed down here because it's still a little dark. So let's pump this up now. I've got more detailed down here, and it does look kind of nice now, you know, probably maybe a little bit darker. And this this is starting to look nice right here. So as you can see, highlights and shadows work pretty good when they move in opposite directions. So I guess it's really an aesthetic choice as faras you know which direction or how much you want to go with your shadows and how much you want to go with your highlights. Um, the automatic wants to go 50 50. I still think this would probably be a little too dark. I would have gone a little bit more with shadows. There we are. I think that looks pretty good. Um, so that is essentially what shadows does. It maintains your your levels without blowing out your your darkness. Um, so it's It's the three younger brother to highlights. So why I still want to keep playing with this and helpless. Seems like there's there's no happy medium here. Could always look a little better. Um, yeah, yeah. See here. That's highlights at 98 and shadows at 71. And Yep. Yeah, I think I think I'm gonna leave it alone. No, no, I'm not. I'm not. I'm gonna change it a little bit more. I'm such a perfectionist. But as you can see, shadows definitely does this without compromising up here. So with that said, let's move on to the next lesson. And if you have a happen to have a photo that looks like this where you have half, half dark and half really bright, then I would definitely experiment with that. Or you can take this photo that's inside of the photo package that's included in this. Ah, in this lecture and experiment with yourself and see how long it takes before you go crazy trying to balance these two. All right, so let's move on to the next lesson. 15. L13 Hue and Saturation: what I'm gonna talk about now are these three little options right down here on the basic panel Clarity, vibrance and saturation. Now you may think that you know exactly what the's are, but you probably don't. And when I first saw these things, I was utterly and completely confused because it almost seemed like they all did the same thing. But they really don't. Clarity is almost like a sharpening tool. However it is not sharpening. It is. Ah, for example, what we'll do is we'll bump it up. Let's say I'll bump it up to an extreme level of go 100% what it looks like it's doing. Is it sharpening the details in the image itself? But in actuality, what it's doing is its defining colors to make it look like it's actually sharpening when it actually is not so. If I hit the peaky here, watch what will happen. See, you're not actually seeing any distortion of pixels. You're seeing distortion of colors, which gives the illusion of sharpening. So that is actually kind of cool when you think about it. But the thing to keep in mind ist the reason why you would have this, I mean, and that's the probably the first question you're asking. What's the point of that? The point is because clarity is a variable sharpening, meaning that if you were to just put thes sharpening tool on this and then do a bunch of changes, we'll all of the pixels that you've actually changed would kind of solidify themselves. And when you made a color change, those changes would kind of be ah ha spas in the changes that you've made, Where's clarity actually changes as you change any of your other settings here to match all of the other modification. So, for example, if I were to go to Vibrance and let's move on toe this and I'll explain how this one works , vibrant is essentially, um, very subtle change in the color that's displayed, um, in regards to making things pop out. So, for example, if I wanted to make a background pop out, but not necessarily ah make like the Reds or the yellows pop out, this is mainly for, like, portrait photography or photography that has, um, very specific colors. Um, that are ingrained in it like, and that's why it shows this because it has this yellow and this red stem in here. Um, if you have, if I bumped this up, I'm gonna bump this up to, let's say, 100% So you can see you notice that the yellow in this little bug has bumped up a little bit and the greens have really popped and the red has just a little bit. You notice it bugged Black Bug hasn't really popped out that much. And if you look at the history Graham, you'll notice that the colors have have moved quite a bit. All right, so what I'm gonna do is I'm gonna go in the opposite direction now, and I'm gonna go all the way down to zero. Now, what you'll notice here is that even though my vibrance is all the way down to zero, there still color in here. That's because the colors that it still keeps are the yellows and the greens, whereas the reds and the majority of the other colors it pretty much tries to knock out. So this is why this is good for portrait photography. Because, let's say, for example, you have a a person that's sitting by a lake or a very colorful background. You want the background to pop out, but you don't want to put too much color on the person themselves. Well, that's why you would use vibrance. You would use this slider to pop out the background without popping the person out as well . So watch what happens if I use saturation instead of vibrance. And if you'll notice. As I was moving the vibrance up and down, the clarity actually modified itself to the changes that I made to vibrance. So as I went down, it's still maintained that level of of clarity, no matter which direction I went to. So as I went down, it changed itself to suit that as I went up, it changed. That might itself to suit that as well. And that's what the definition clarity is. If I went the opposite direction, the opposite thing would would be essentially Thea, see how it gets all blurry. So will you just leave it right there in the middle for now? So watch what happens now If I go to saturation and examine the image as it's actually um, Aziz, the whole image actually fills with color. As you'll see. Everything is uniform. If you look at Thea Scale here, everything is uniform in the saturation of the color. So now the yellow almost turns red now and the red gets gets very dark. The green gets very dark. Everything is really emphasized. So if you could imagine a person, skin would be this yellow, this yellow insect right here and you wanted to pop out the background. So let's say I pop the background out, you know, here's the background. Boy, This background was great, but now this person skin almost looks orange. I mean, that's terrible. That's not something that we want. So if we go to saturation that we go all the way down to zero, you'll notice that it's It's virtually a black and white image. There is no color here whatsoever at all. So saturation takes out all the color at zero at negative 100 or puts in 100% more color at plus 100. So we'll go ahead and reset that. So, as you can see if I if I move this up to ah plus 100 you see how I took the background? I popped it out, but the bug Onley maintains a little bit more color, so we used the P button to see it before and after you see, as you can see, that's how the vibrance works. So let's say you wanted to, um, modify this even mawr or more specifically, based on a specific color. Well, we can do that. We can go to this little tab right here, which is detail. We click on that. Let's say you wanted to modify this more in detail. Well, weaken do that. What we do is we go to this little tab right here that says, H S L gray scale when we click on that and we have three other tabs down here hue, saturation and limits. Well, the first option that we have is click convert to Grayscale. That's pretty straightforward right there. Um, the other one underneath that under Hugh, if we can change the modifications of the hue themselves by clicking the sliders here, we don't want to do that. We can click the saturation levels. So let's say, for example, if we wanted to saturate this in red, we can do that, but we don't want to do that. Oh, are the Luminant like for example, if we had Ah, this in particular. For example, this bug is orange, so what we'll do is we will emphasize the orange and C went up a little bit. Or we can take away the orange so you can see the orange almost turns into a negative value here, so it starts to get really dark. We'll turn that back. Let's go back to saturation if I go in the opposite direction. For orange and saturation, the color almost turns to a black and white, so you're almost looking at turning the bug into a transparent insect. By doing this, I take that I will be onto 100. Almost looks like it has no color whatsoever. That's a pretty wild effect right there. I take that back where if I go in the opposite direction, I can enhance the color. I can create a more orange color, or I can combine colors I wanted to and move a bunch of sliders. So there's really a lot of things that you can do in regards to creating combinations and different effects. So I urge you to experiment with this and see what kind of effects and options you can come up with in your own images. So with that, let's go ahead and move on to the next level. 16. L14 Camera Haze: I Sometimes you come across a photo that you've taken that has a lot of haze in it or bad weather. For example, we have this photo right here that is really fantastic. But you can tell that there's a lot of whether distortion in the photo and this isn't too bad. You know, this is easily fixed, but then you have an image that is something like this taken in Indonesia, where the weather was a little bad. And there is you might think that there's not much you can do about it because there's almost no detail left in the photo and you might think, Well, this this photo is just gone. Well, surprisingly, there are things inside of camera raw that you can actually do now. This particular images of J pay. Now what will happen in Camera Raw is if you use J. Peg to do this, it'll actually distort the pixels. So it's best to do this with a camera raw image. But we'll try this with the JPEG just to give you an example of what can be done. So what we want to do there's a several steps that we need to take First of all, it's analyzed the image. It's a rather dark image. Obviously it was overcast, so we're probably going to have to change the exposure and the contrast and play with these as we manipulate the image to get some of the background that's hidden inside of this haze . And, believe it or not, there is actually things behind these people that we're actually going to be able to see. So let's take a look at that now. So if we go to FX, which is this little button right here and we see D. Hayes now, what we'll do is we'll take the D. Hayes button the tab and will start to slowly slide to the right. As you can see as we're moving it, you'll start to see some detail in the back. But the image does start to become a little darker Now. What ends up happening is camera raw starts to produce an algorithm to get rid of the haze . And, as you can see almost like magic, it's almost like it's clearing the room full of the fog. It's pretty amazing. However, the darkness is getting quite dark. Now what we're gonna have to do is we're gonna have to compensate by brightening up the image and maybe getting rid of some of this grain. Now, let's go ahead and go back to basic click here. Now. What we'll do, first of all, is we will click on Auto and just see what Camera raw thinks that is definitely too dark. We definitely don't want to do that. Let's bump up the exposure a little bit more. As you can see, we are definitely getting a little bit brighter, but there is definitely a lot more grain in there. So let's see what we can do with the contrast differently. Getting the contrast now if we turn on our blowouts for blacks and are whites, let's see what we have. Uh, looks like we definitely have some blowouts here in the white and almost nothing in our blacks, so we'll leave that on. But it looks like the whites are limited to just thes two locations, so I think that's kind of acceptable considering, So we'll go ahead and just leave. That doesn't look like it detracts too much from the I. So what we'll do now is let's see if we can bump up the clarity just a little bit to bring out a little bit more detail. And what I want to do is maybe bring out some of the vibrance of the image. So some of the colors that are coming in here kind of popping out and standing out. As you can see, it definitely is a little distorted from the image, and this would definitely look a lot better if it was a camera raw image. You would definitely see a difference, however, if you only had the JPEG, which some people only do, which is the reason why I'm actually using a J peg instead of a camera raw to give you an example that you don't sometimes you don't have a camera raw, and you have a J pick. And no, this is what you're capable of doing. So let's bump up thesis saturation just a tad all right, and it still looks a little dark, so let me see if I can bump up the exposure a little bit to bring out a little bit more white. But more lights, clarity looks good. So let's see what it looked like before I'm gonna tap the P key, and we're going to see what we saw and what we have. And I want you to pay attention to the background here and see what we brought out with the D. Hayes function inside of camera raw. So take a look at the back. So let's take a look at this. Wow, look at that. That is a huge difference that is massive. It's almost like a completely different photograph. So as you can see, you can really bring out details that you wouldn't even have imagined even existed. This this whole center section right here, Comptel that there's a building here, This little thing right here. I didn't even notice that before. It's a faint shadow, but once you cleared up, you can see that it's something. So take this photo and experiment more with this photo and see if you can get it a little bit more clear than I did spend a little bit more time in it. And with that, let's move on to the next lesson. 17. L15 Spot Healing Tool: So let's reexamine this photo again. Now, when we look at this photo that was saved as a J peg, one thing I'll notice is that it was done with scratches. You'll notice that when this photo was originally taken, there are aberrations in the actual photograph both physical in the street and on the negative itself, either being on the lens or the actual film being shot on 35 millimeter film as opposed to digital. Now there are several things that we can do to correct these. Now what we want to do is first isolate these. So what we see here is, for example, this area right here we see this little piece. We see this right here. We see this right here and then this what looks like a scratch on the negative, which caused it to turn red because I don't believe this was in the street. We have things that are in the street itself, which are like these little things. This is in the negative. This was in the negative, and then these little pieces in the street. Although these air actually, you know, an aesthetic thing, Let's say, for example, that's something you actually want to correct? So how would we go about doing that? Well, this is where the spot removal tool comes in, and we can just click up here or we can hit the letter B and we can select this little tool , which in this particular instances said It's max level. Now, if we look on the right hot right side here, there's to drop down. There's hell. And then there's Clone now in Clone. We're going to go on to another lecture and I will show you how to use that. For now, we're going to do he'll so the size of your brush, which in this particular case is 100 pixels. Now there's two different ways that you can actually change the size. You can click the slider and then maneuver it left and right. So, for example, if I were to move it down to 20 there it is right there, Or I can use thes small bracket are the open bracket or the close bracket on your keyboard and then go up or down. And then we have the other two options with just feather and opacity. Now, if you look at the actual icon itself. What does that actually need? Well, the size of the actual icon is 28 pixels, so it's from one end to the other. The feather is 82 you'll see that it's the small circle and the outer circle. So that's your feather range, and then the opacity is how clear it is. So let's take a look and see what that actually means. So if we put our selection over them, we can see that we don't really need a brush size that large. So what we'll do is I will tap the left bracket and I will, and I will go down. And as I'm going down, I will get about that size. Now. What will happen is I will left click on my keyboard on my mouse. And what I What will happen is it will automatically find the closest relative in relation to photograph and that area and spot he'll it automatically. But I will have the option to change that if I want to. So let's left, click and see what happens. So as you can see through an algorithm, it automatically found the closest relation that it thought would be the best to cover that almost completely so that it's practically invisible. And that location is right here. So here is the actual spot that is healed, and this line indicates where it is going and where what section it has used to actually heal. So if we look at this side here, 14 is the size feather is the distance from the edge to the center where the center is the strongest and the outside being the weakest point. That is how strong the effective. And you you'll know how this actually effects when we go into clone because, well, we'll see that, and I'll show you that. But for now, understand that the heel and the clone feather works exactly the same. And the opacity being that, for example, right now the opacity is that 100% meaning that this entire area is covering this entire area 100%. If I were to drop this down to zero, for example, then that would mean that this area is being covered. Is covering this area 1% which would kind of defeat the purpose. So we'll kind of move that back up there. So that's now at 100% so it is now 100% covered. Now, let's say, for example, that you wanted to change the size of this area. Well, if you move your mouse right towards the edge, you'll see that the arrow turns to the left and right or up and down, depending on where you select it. So now what I can do is I can select Aiken left, click and drag, and it will scale that size as big or as small as you wish. Just like that. And it will automatically re sample whatever you have here to go there. Now let's say that the sample that you that it has automatically taken, it's not something that you want. Um, let's say that it's it's it's just you can think of something better or you've spotted something better. So what we could do is if we move our mouths inside of the sample area that it has chosen, you'll see that the arrow has turned into a four way Aargh, and what we can do is we can left, click and drag, and you'll see that it actually moves and we can move this anywhere we want so to emphasize this point, I'm going to put this over here and you'll see how it automatically generates that new area , as you can see. So now it's taking this entire sample and moving it over here. And as you'll see the feather is at 82%. So watch what happens when I take feather all the way to 100%. Almost nothing but watch what happens when I take feather down to zero. As you can see, it fills the entire area that it's because everything on this sample area is being sampled and being filled within this area. So if we bump this back up, you can see that the area is being sampled with a slight feathering around it. So we'll take this back down to about 87. I believe that's what it waas. And then we will move this back here and now it will feather. I believe that was too close. There we are. Uh, and there we are. Now, there are some keyboard shortcuts that weaken, see and use to better visualize what we're looking at. So, for example, if you have a lot of these, for example, let's do another one. Um, we want to do a spot healing. So let's say we want to do this one. There's this one right here and then there's this one right here. So let's do these and this is this is pretty good size, but let's make it just a little bit smaller, cause you know, I never want to do more than what you need. Feathering is about right, so we will left click. And as you can see, it's chosen a pretty decent counter. So what you'll see now is that this one disappears and this one starts. But if we click here left click once, it'll automatically bring up this previous one, and this one will disappear. That's because if you had a bunch of these on your screen, you would have almost like a tick tack toe kind of deal, so it pretty much hides all of the ones that you have not selected. So if I click, if I go inside of the circle and I left click, then this window opens up and I just have to click once inside of that window for it to come up. So then we have this one right here. So let's go ahead and go over that and left click once. And now it's selected this area right here for that. And let's go down here. And this seems to be an aberration in the negative. So this should be interesting to see where it's going to find. It looks like it found it right here. And this one is a little larger. So well, we'll use the right right close bracket to open that up a little bit more. We left click. All right. As you can see, that one was actually a little bit bigger. So what I'm gonna do is I'm gonna make this smaller because it looks like that actually made too much of ah impression. So, as you can see, as I move its smaller it takes a smaller sampling, a re sample, and pretty much it's not a permanent. So you could see Here's another one right here. And this one looks like it's the negative itself. So I will keep going down. I will left click, and it looks like it went right in there. Here's another one. Now, another thing that you can do if you can use the command or ah, option key to in the plus or minus Key to move Teoh minus key to zoom out on, plus key to zoom in. And while you're doing that, what you can do to easily move around the layout is to hold down the space bar. And what immediately happens is, as you can see, my cursor turns into a hand. So now I can click and drag and move all the way around my shot, and that is good. For instead of having to go up here and press the hand tool or press the end key quickly, I can hold down the space bar and move, and then when I let go of it, I don't have to change to another tool. And that's for fine precision work. So now here's another one, and this definitely looks like it's the negative. So I'm going to use the close bracket again on here. I'm going to left click, and that took a sample there. Sounds like a sample here. I'm going to do a command minus to zoom out a little bit more, hold down the space bar and moved to the right. It looks like these air actually in the street in the end, in the actual photo in the streets, I'm gonna leave those there, but this looks like it's in the negative, so I'm going to leave those. But I'm going to take this out. This looks like it's in the negative, so I'll take that out of there. This is the negative, all right. And now I'm going to look at the whole picture. Now we have all of these corrections that we've made in here. Now we want to see what it looks like without all of these circles in here. So what do we need to do? Well, there's a couple things that we can do. We can hold down the V button or pressed the V button just once. And what will happen is all of those buttons all of the circles will disappear. And that essentially just hides all of the overlays. Now there's two ways to do it. Hold down your press, the V button, and that will disappear all the overlays. Or we can use this slight. This button right here, show overlay. And this item right here clear all actually removes all of the overlays, so don't hit this button unless you want to remove all of the overlays and have to start all over again. So don't do that unless you actually want to do that. So if you want to look at your picture without the overlays, you hold down the V or you click the fee button and there we are. So let's take a look at what it looks like with the way it was before and the way it is now . And we could do that by pushing the P button on your keyboard. That's a pretty good Ah, pretty good change right there. Drastic change. Okay, so now that we've done all this, let's talk about one more thing. And that is seeing if we missed any spots. If we push the y button, we get this. Wow, it looks like X ray vision. Now what we see here are items that we may have missed. Like, for example, in here is something that we may have missed. But since there's so much hes in this photo, it's kind of hard to tell. And the Y button works really good in photos that are not riddled with this much weather patterns we'll look at the Y button in ah, in another photo. Because in this photo is not terribly effective in ah, demonstrating what? I'd like to actually show you. Actually, it does. Right here, Right here. Um, as you can see, there are a couple that I have actually missed. Okay, so let's take a look at right here. Right here is a spot on the negative. Right here is a spot on the negative and right here is a spot on the negative. Now, when I hit the why button, watch what you see. Here's the spot and here's the spots. And that is what you actually see in this by hitting the y button to see spots that you've missed. As you can see these air the spots that we've corrected, you can see kind of these. But there are spots sometimes, And that one that we've missed. So we will click on that. You could see that corrected it. So now it is gone from here, and there's one more right here. This is what it looks like before it's corrected and we will correct it now and now it is gone. There's one more right here and it's it makes it easier to find them. When you hit the Y button as it, it shows you the inverted access of the image itself. It does look like I got all of them so that those are the two keys that are invaluable when you were doing that. So the why button to see the the scratches and spot marks that you can't see with the naked eye when you do it. This way to turn on and off the overlays is the V button, and then to use the heel brush right there is the B button up here, and then the change in the size of your brush. So, for example, if we want to change the size to 65 it will make it larger. The out outer ring is the end of the feather, and towards the center is the greater the feather and the feather being here in the capacity here, and you can use the open bracket and close bracket and then the other feature of holding down the space bar when you're zoomed in so you can easily move left and right or up and down when you're doing fine. detail work. So those some great things that you can do with the spot removal tool So with that said, Let's go ahead and go on to the clone tool and I will show you how to clone things. 18. L16 Clone Tool: all right. In a previous lecture, we talked about using the spot removal tool in in its capacity to use hell. Well, in this lecture, we're going to talk about using clone, and what we're going to do is want to give this little bird a few friends in the sky. So, using the same tool, select the B button or select the item itself, we go over to type, and then from the drop down menu instead of hell will select clothes. So now, as you can see, our icon is a little bit bigger than our bird. So what we'll do is we'll either use the slider to slide down. Or in this particular case, what would be easier would be to put our mouse over the bird itself and used the open bracket and use until we get to about the size of the bird itself. And that looks about right now. What we're going to do is it may seem like, you know you want to select this and then clone, but it's not actually how it works. So what we're going to do is we're actually going to click away from here instead of clicking on the bird itself. So let's say we want to put the bird about right here, so we will left click. So for example, right now I do have the bird right size. So this is the bird that the size that I want, so that that's about how much of an area I'm actually going to clone. So I will left click here. And now, as you can see, here is the area, and then this is what's being cloned. So what I'm gonna do is I'm going to left, click this area and then move it towards the bird. And as you can see now, the bird has been cloned here. So as you can see, there's the bird and you'll notice that the feather is it being affected on the outside. So let's experiment with the feather. I move that all the way to 100. And as you can see, what ends up happening is the feather makes the bird transparent around the edges. So what we'll do is we'll drop this feather maybe down to about 50%. 40%. It's good down to about 30. That looks about right, 33%. So that looks pretty good right there. So now what we can do is we can take this bird and actually move it anywhere we want. As you can see now, we'll have to keep in mind that as we do this, it will clone everything inside of this and not try to match where it's actually being relocated to. So we want to try to keep it more or less where it's position. And so if we keep the bird in kind of the position that matches the sky, it's more likely that it will look good. So we will hit the V button to hide the overlay or we can hit this button down here. But these quicker and as you can see automatically, we've got a little bit of a glow around there because the sky is different, so we'll probably want to move him over here. So let's see what that looks like. That looks a lot better. That definitely looks a lot better. So let's move him. Maybe down here. Ah, yes, you almost can't even tell that the picture was never even there. So that is, that is pretty impressive. So let's maybe put another one here. Let's say maybe about right there, Turn the overlay back on. And then here's our copy, and then we will move that over here. There's another one will turn the overlay off. There's three of them flying together in unison. Maybe move this a little bit further away. Up. Looks like it's touching that one. I don't want that to happen. It seconds clipping those birds a little bit. It might not actually be such a great idea. Uh ah. Looks like I pulled the Nicholas. Looks like and pulled the Nicholas. Okay. Flew too close to the center on this one. Yeah. Yeah, I think I flew too close to the sun on this one. I might have toe take this one and move this one up a little bit. I take this one, move this one down a little bit, just to make room. Yeah, that barely works. I definitely think I flew too close to the sun on this one. I got greedy. I wanted to many birds. That looks OK. It looks okay. I think I might have saved it. May be maybe, but there we go. Three birds. So the opacity. Let's say for example, if we were to turn on the overlay again using the V button, I select this one. I doubt the opacity would save that, because it's just going to make it shiny. Nope, I might give it. Ah, there we go. That kind of makes it look like this. It's It's in the son's eye, so that could kind of be passable. I kind of like that. Kind of looks like the camera caught the eye right there. Caught the lens. Kind of a bit of a lens flare, so I could definitely see that. So there there's the clone tool. So there, there it is. So if we do the do the Y on there, it wasn't anything to really fix in the sky. So that looks pretty good. So you can do that with pretty much anything. Um, for example, if we wanted to clone these birds, we could do that, too. Um, the background would kind of be in the way here, though we could probably do these birds. We could let's see if we we did see if we did these birds right here and we moved then over there. That's that. Definitely did not work. See, it does definitely does not work in every situation. I can tell you that that depth perception is definitely not the same as you could see. The railing here is definitely not not where you want it to be, so we will definitely have to get rid of this. But as you can see, there are many pitfalls to trying to clone things. Cloning is not good. You couldn't have lots of fun with clothing, but you can get yourself into a lot of trouble with. So I encourage you to experiment and ah, and see what kind of miraculous things you could come up with. So with that, let's move on to the next lesson. 19. L17 Getting Rid of Noise: in a previous lecture. We made some adjustments to this image to get rid of the hazing and the weather that was befuddling this entire area. Now there's still some problems here that we are trying to get rid of, and that's namely the D speckle ing or the detail. That's that's pretty much in here now because of the changes that we made. That's the noise now, this particular noises here because of the changes that we've made. But the noise is actually in here also because of the camera. Now the image itself is could be any number of reasons as to why the noises there. I mean, you could have a bad camera or or ah, inexpensive camera that has a lower quality CCD or may have been the light or any infirmity number of reasons Camera raw has the ability to help you. D noise this area right here. So what we're going to do is we're going to experiment now with this Denoix zing. So in the panel over here, these two triangles, we have a detail. Now, all of these options right here will help you D noise, everything that's in here. However, it is very much a balancing act in regards to how you are going to do it, because everybody has a different perception of what they consider noise and what they consider art. So it's really an aesthetic choice. So what we what we want to take a look at is, for example, this top area, because this is where we can really see the vast majority of the noise. So if we look over here, we can see sharpening and the noise reduction. So in the bottom area we want to start here first. So what we'll do is we'll take the loom in. It's up a little bit and as we do, we take a look and see what's actually happening in the background. So let's take this up to about 50% and see what happens. So as you can see, the noise has been subtly smooth in the background. But by doing that, as you can see, what ends up happening is you lose a little bit of detail inside of the images. So with the people, you lose detail in the hands and the face is so in order to combat that, we have to change these options here. We have to change the loom in its detail in the luminous contrast. So this is where balance comes into play, so you're you may never be able to get it perfect, but you will be able to get it to a point where it will look a lot better than it did before. So let's see what we can do here. So as you can see, we definitely lost some detail in here. So let's see what we could do to recover some of that. So if we go toe luminant detail, we tried to bump that up a little bit. You can see a little bit more detail coming up. We bumped that up a little bit more crinkles in her clothes. Let's try bumping up the Luminant contrast. It's a little bit more detail coming a little bit more, a little bit more, and it looks like we're doing a little bit better in here, and we're still losing a little bit back here. So let's see what we can do with the color on. It. Looks like we're getting a little bit more a little bit more. All right. So does look like We are losing a little bit in the area here, but we're gaining appear, so that's good. So let's move up here now to sharpening before we modify any more of this. So if we go here, this is where we can sharpen our image now and will make modifications here. And then we'll come back down here to make some more changes if we have to. So let's go to the sharpening amount. So let's go to Maybe about 20 does look like there was a small change. Sorry it was bumped that up to about 50 now and see what that does, huh? A little bit more. It does look a little better. I definitely see more detail on the hands and hair, so it's jumped that maybe a little bit more to 75. All right, We definitely Seymour here. Sure, all right. So let's bump up detail a little bit more. All right, so that's definitely looking a little better. Now let's jump down here and go to color and go up to maybe 80 and it's bumped. Luminosity up a little bit more se 75 so you can see just start to get a little bit more smoother. We don't want to lose that much, so we'll bump that back down to 50. So that's good right there. Stew, color, smoothness down. Let's see if we can move these up a little bit more, A little bit more, A little bit more. I can take those on and bump the radiance up a little bit. These air, almost surgical strikes that we need to do MM does look like we are getting a little better . So let's see what it looked like before. And we'll do that with hitting the peaky. And then we'll see what it looks like after. So that's before and then that's after that's before. And that's after. So, as you can see in this back area right here, a lot of the noise disappears. Especially up here. You can see in this area you get a lot of the red and greens in trees, almost completely wipe out. But let's take a look at this area right here where we have the individual. I want you to pay close attention to up here in her face in hand and watch what happens to the detail. See, we definitely lose a lot of detail in the hands and in the face and in the eyes, as you can see. But we do regain a lot more smooth out areas around the silhouette of the body. Now, if we go over here, we can see a much more dramatic change in regards to what's actually been taken care of and what's been taken out of the details. Take a look at this. You can see that her face has almost been completely wiped out in this particular instance . So this is an example of how much of a surgical strike you need to really balance in regards to how much you want to take out versus how much you want to come in. And that's why it's more of, ah, you know, aesthetic choice. You know, how much do you actually want and how much do you Actually, you know, what does it actually mean to, you know, how much do you want to sacrifice for smoothness and getting rid of the noise versus getting rid of the detail? So take this picture and try to see what kind of detail and what kind of results you yourself can get, and we'll go on to the next lesson and learn something new. 20. L18 Radial Tool: Okay, let's talk about the radio filter, which is located right here on your menu, or we can hit the J key on your keyboard. Now the radio filter is usually something that you would use to draw attention or to emphasize. So in this particular case, we have the clock, and what I want to do is I want to emphasize this clock from the background, so because it's radio, it'll make it a lot easier to use. So what we'll do is, as we have it selected will change something here so well pre load one of our exposures. In this case, I have minus 1.2 stops on my exposure, so we'll go ahead and in the center of the clock. I will left click and drag. And as you can see as I'm dragging the actual clock, um, starts to change. And what's end up happening is the actual green and white line starts to move around. And what this means is that it is actually creating a small little window that these settings are actually being a part of, and it's essentially the same as the gradual filter only in a radio capacity. So As you can see, the background has now become darkened, leaving the inside now to exaggerate this to give you a better idea of what's actually going on. What I'm going to do is I am going to bump this exposure all the way down to negative four to make the background look almost like night. And the center too. Be not touched it all. So, as you can see, that center is virtually untouched. Now, if we go down all the way to the bottom, you'll see Feather, which is at zero in this particular instance. Now, what this means is that the feather effect will graduate from center to out in that it will blend these two. So since I have it at zero, there is a hard edge going all the way around here. So watch what happens when I take feather all the way to 100 as you can see the outside feathers towards the center. So now it creates this blending effect, and you can you can switch those so it's actually inverted if you'd like. So if I were to take this and go in the opposite direction, it would actually be completely dark and the exposure would actually be in the negative. So you can actually do that in bi directional ways, so keep that in mind. So what we'll do is we will bump the exposure back up again. Now, if you'd like to see what this picture looks like without your overlay again, we'll tap the wiki. And as you can see, there is your image and we can actually make some changes here without the overlay being there. So as you can see, that as sexual looks pretty good now that the clock is actually being, um, shown a little bit more, we can change the contrast. The highlights. We can also change the temperature of the actual image itself, you know, make it lighter or darker. And as you can see, the background is being changed. But the center is not, and the clock itself is not. Now, if we'd like to actually add a new, uh, new one, we would go to new, and now we can add another one. So, for example, if we had one here, we could go there be best to turn the V back on. Now, if we'd like to move it we'd like to left click inside of the circle and probably best to bump that explosion back up so we can actually see what we're doing. So there we are, right here. Here we go. So again, this is and it's a pretty neat tool to use. Um, whenever you're trying to be creative or trying to, you know, make things that are unique and, you know, maybe hard to deal with that, that you're trying to cover something up or emphasize something. Um, it's highly customizable. These little four squares here on either end, you can actually manipulate to change the size of so as you can see and if you'd like to get rid of it. So, for example, if this doesn't work for you, you couldn't actually just hit the delete key and get rid of it. But if you can also maneuver it. So, for example, if I have this like this, I wanted to rotate it a little bit. If you have to see these two little arrows that kind of go left and right, right there, left, click and drag. And now I can rotate this oval around. And if I click inside of the circle with the four arrows. I can maneuver that any where I encourage you to take this photo and experiment with the clock and see what other kind of things you can come up with. With that, let's move on to the next lesson. 21. L20 Correction Brushes Setting Save: So let's say that you do something repetitive a lot, and you want to be able to get to that setting quickly without having to mess with all of these adjustments. Well, there's one thing that I do that is very easy to do. Um, and for example, I'll take the adjustment brush that we just worked on, and I'll show you that how easy this could be. So we'll take the adjustment brush and we'll change our setting. So here we have a picture of London midday or really could be any time of the day. It's always dark over there. Ah, and we'll change some things for their setting. So what we want to do is we want to bring out the shadows in here, So we want to lighten these up. So that's something that we're going to do a lot. So we have. We have a bunch of photos that are always dark and has a lot of shadows, and it we want to brighten them up. So what we're going to do is we're going to take our shadows and we're gonna bring them all the way up to 100% like I have here, right? And so what we're going to do is we're going to change our settings for our brush size. So our size it's about six, maybe bump it up to about nine. That's good and looks like that's pretty good. That might be a bit big. That's probably bumped it down to four. That looks better. There we go have a little bit more control, and we kind of just want these windows because we just want the people to stand out. We don't really want the cars to be standing out, so we will just carefully go through and brush out these people. So as you can see now, these people are starting to come out, and if we wanted to get a little bit more detail inside of there, we could. But this will do for now. So if I can get this guy who looks like he's picking his nose, that's kind of disturbing. And get in there, get a little bit more here, get some window here with the window here. We'll get in here on. We see this guy back here, all right, and that looks pretty good and probably drop the size of the brush a little bit more so I can get in here. There we go. Get that guy. Don't leave him out. All right, So let's say we're going to be doing this a lot for a bunch of pictures, and we don't wanna have to keep going back and forth, back and forth, back and forth. Now, as you can see, we have our little little spot metering here saying, OK, we've made pretty much a mask here. We don't necessarily need the same mask for all of these places. We just need the setting. Well, what we can do is we can actually change or create a custom setting for this by going to this little corner right over here, clicking on it and creating new local correction setting. We click on it and we get this setting right here, and we will type in 100%. Hi. Liar, shadows. Correction. So once we do that, now, whenever we click on the drop down, we can actually see that it will be there and weaken. Select it. So let's go ahead and cancel this and go back into bridge and open this. And now if we go to our setting here we can go to, we can select our tool, we go back to our setting and we can go 200% correct shadow correct. And now we can select that. And now we have our setting exactly the way it is and see if we uncheck that you'll notice that the you'll notice that the tool has actually defaulted to its default settings and as no longer checked. But if we select it now, now, all of our settings air back the same. In this particular case, it was just the shadows. So if we had made a bunch of changes, they would actually be changed as well. So with the tool selected, we have the adjustment brush done, and here we are. And now we can go back and do all of the same things that we've done before. So you can do this with any tool that you have that you have the option to create a setting for and you can rename it. You can delete it, you can reset it. Eso experiment with this, and if keep in mind that if you if you seem to think that you're always having to go back and change your settings and stuff. This is definitely something that you want to keep in mind because it's it's very, very convenient and will definitely work in your favor in the long run. So with that, let's move on to the next lesson. 22. L23 Film Grain: there's a feature instead of camera raw that I never used to use for various reasons. One. I I when I first saw it, I never really understood what the point of it was until I started getting creative with my black and white photography. So here we have that London photo again, and right now we're going to try to use grain. If we go to the FX tab on our adobe camera raw, we see that grain lets us choose various aspects of how we're going to apply grain to the actual photo. So there are many things that weaken Dio. So let's start off by simply just moving the slider forward a little bit, too. About 30. So, as you can see, there's not much that you can actually differentiate between the photograph. But you have to do is you have to actually zoom in a little bit, and that's when you really start to see the magic. So with that, let's start to really examine what it is that grain does. Grain is a method of distorting pixels within the photo to create the illusion of something that that Onley film can actually produce by by means of chemicals. Now, if we change the size of the grain pixels, we can see that it will further distort the pixels. If we change the roughness, we can see that the roughness is actually modified. Let's move the amount a little bit more. As you can see, it starts to actually pile up. Now. The the one thing that you should note is that you should look at the overall picture from different aspects to really get an idea of what it is that you're trying to achieve. Um, because it may look different from different viewpoints because of how misleading it might actually be. For example, it may look at one point like it's it's not really going to work out here. But as you zoom out, you'll notice that the the actual image starts to actually really crispen up, and it's starting to look pretty good. So if we take this and we look at it and go home, let me add a few more pixels of grain because I'm really looking for that old 19 seventies kind of look. So let me had a little bit more size to it. Maybe some more roughness and As you can see, it's really starting to pick up in here, and you don't want to distort it too much because you have to understand that it's going to look different on your screen than it does print it out. So if you you want to take like two or three different versions of what you think it's going to look like, and then maybe print those out on a small paper and then go from there and then choose that because what you see on your screen is almost never going to be exactly what you see printed. So you always have toe kind of look and print looking print, and then get an idea of how that works in regards to the grain versus the screen versus print. But as you can see, even with E small changes, we can make a pretty convincing looking, film camera ish type picture. So if we do a before and after by holding down or pushing the P button, we can see Here's the color original, and then here is thief film grained version of the black and white color, original black and white. So I urge you to experiment with this and see what you can come up with. So with that, let's move on to the next lesson.