Photography: How To Edit A Photo For Beginners In Adobe Camera Raw | Will Bartlett | Skillshare

Photography: How To Edit A Photo For Beginners In Adobe Camera Raw

Will Bartlett, Video Creator & Entrepreneur

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6 Lessons (19m)
    • 1. How To Edit A Raw Photo In Camera Raw PROMO

    • 2. Introduction to Editing a Raw Photo in Adobe Camera Raw

    • 3. Getting Started In Adobe Camera Raw

    • 4. Adobe Camera Raw settings Part 1

    • 5. Adobe Camera Raw settings Part 2

    • 6. Exporting from Adobe Camera Raw


About This Class

Welcome to our Photography: How To Edit A Photo For Beginners In Adobe Camera Raw Class!

All DSLR cameras and some Smart Phones offer the ability to capture images in a raw format, in this class I'll walk you through how to use those raw formats to creativity edit an image!

Adobe Camera Raw comes with Photoshop and is much easier to use than Adobe LightRoom. It can do 98% of the tasks that LightRoom can do, only I've found it can do them with fewer clicks, which ultimately will save you time!

It's best to always capture images in a raw format! This course will show you why!

In this class you will learn how to:

  • edit a raw image in Adobe Camera Raw to bring it to life
  • use the temperature/exposure/highlights/shadows/clarity and many more settings
  • edit with some of the various masking tools within Adobe Camera Raw.
  • remove grain/noise in your image
  • export your final image to a finished JPEG

and more!

If you don't have Photoshop (Which Adobe Camera Raw comes with), you can download a free trial from Adobe's website to follow along!


1. How To Edit A Raw Photo In Camera Raw PROMO: Welcome to this mini course and how to edit a raw photo in adobe camera. Raw for beginners, Adobe Camera Raw comes with photo shop and is an easier program to use than light room, but has many of the same features that light room has. In this course. You will learn how to edit a raw image in Adobe Camera to bring it to life. Use the temperature exposure highlights shadows, clarity and many more settings at it, with some of the various masking tools within adobe camera removed grain or noise in your image. Edit a photo using a technique that almost every professional uses and export your final image to have finished. JPEG to be ready to be uploaded to the Internet. All DSLR mere list and some smartphone cameras offer the ability to capture images in a raw format in this course, all walking through how to use those raw formats to creatively edit an image. So let's get started 2. Introduction to Editing a Raw Photo in Adobe Camera Raw: Adobe camera rock typically comes with photo shop, so if you have Photoshopped when you open a Roth photo, it'll automatically open camera raw. So if you don't have Photoshopped going, download that now, pause the video and then replay it once you have it installed. All right, so I will include this photo in the course. What it is is it's a raw photo of a nighttime sequence. As you can see, this is upside down. So one of the features in adobe rods, you can easily flip it while you're editing. So it's a shot of downtown Toronto, right on the lake shore with ah, long exposure, you can see the sea and towers in the background. And like I mentioned, this is at night. So this is what we're working with. And again, I've attached this with the course so you can download it and follow along if you like. So let's go ahead and right click. Gotta open with Adobe Photo Shop 3. Getting Started In Adobe Camera Raw: now that will open a photo shop. But also it will open up the camera raw. This photo was captured with the Jade five and jade five captures dot R w two photos. That's the raw format that Panasonic has chosen. All right, so let's make this a little bigger. So now we're inside Adobe Camera Rock. We have some tools of the top here. We have some more options in the side and then a whole bunch of tabs. So first off, let's rotate the image because clearly this is upside down. So you go up here and choose either one of these and you know, those will flip the image around to where it looks proper. So this is what the image looks like. As you can see. We have traffic on this side with the headlights coming towards us in the white streets, and we have the red tail lights of the brake lights going away from us. So, as I mentioned, this is Toronto seen with the CN Tower, some downtown buildings shot at night. So the first thing we're gonna do is go over here and we'll start playing around with these and I'll explain what they do. So I would always recommend capturing images raw if you can, because it holds the most amount of data and allows you to change a lot of the settings afterwards that you normally wouldn't be able to do if you shot in, let's say J Peg or a different non raw format initially. 4. Adobe Camera Raw settings Part 1: Okay, So let's, uh, go here and you can see we can drastically change the color temperature. So this was shot at about 3200. So we're gonna leave it at that because that looks best with the temperature of these lights and that the night scene we have, we have the tent next. So I think going into the magenta of the purple by plus 16 looks pretty good for this. So those two are done next will go into the exposure. Okay, I've said that upto plus 70. The contrast. We will leave for now. Next, we have highlights. And the shadows now here is one of the most drastic changes we can do for a raw image. Because this is where you really get a lot of dynamic range or essentially the contrast between the brightest spots and the darkest spots. So normally, what I do is I take the highlights and I bring them all the way down that I bring the shadows and bring them all the way up. And as you can see, this kind of gives it like a high dynamic range or hdr type of feel. And then from there we go back up to the exposure and bring it back up. Now, this does introduce a little bit of noise, as you see, but we can play around with that and reduce it later. Okay, Next, we will play with the white levels. Okay, so I think about plus 11 or so is a good, uh range for this. It's going to the blacks. I think minus nine would be good for this photo. And the next section we have is clarity, vibrance and saturation. So I normally boost the clarity quite a bit. And again in a lot of professional photos, you'll see that they've brought the highlights down. They've pumped the shadows and they've bumped up the clarity. Pay attention to all the detail in all the areas, especially fine detail spots like the trees for, you know, the lights over here, the grass. They will really start to pop in the image as we adjust the clarity to ah, higher level So you can see this at plus 100. Right now, this is definitely too much, in my opinion. But you can see what it's doing. So let's roll that back of it to something old a little more natural. Okay, Next we have the vibrance that's boosting all of the colors and the illuminates in each color. Next we have the saturation, which is similar to the vibrance. It makes them a little more defined right now. Let's go back up to our contrast. All right. Next, let's go to the tone curve, which is the next one here. And what I like to do with this is make three points. So I click their there and they're basically right on each of the intersecting lines here. And then I play with the photo based on that. So this brings up just the lows. So it's a just a hair. I think we're gonna leave that roughly in the middle, and I would bring the high is just a slight bit down as well. All right, now let's go over to the detail tab on this tab. This is where you can reduce the noise. Now you won't notice it fully zoomed out like this, seeing the full image. So as you can see down here, it says for a more accurate preview, zoom the preview size to 100%. So if we go over down here and resume that in and then hold space bar and move the image up . You can see quite a lot of noise or grain in this image, and that's because we pumped a lot of the colors and the brightness, so we need to clean this up. Noise reduction. The luminous does a really great job, so if we take this slider and move it to about 50% you'll see a big difference already. But it's still a little bit grainy. So I would say for this image, around 80% will do a very good job. Now keep in mind again. If you zoom out, you can see that it hasn't done anything. But when you zoom in, it will work. And on the final export, it also will be included. It's just, ah, heavy processing effect. Okay, so it's set this back to fit to view. In some cases, this is reducing too much noise and smoothing too much of the image. But I find for night scenes like this where you have a lot of dark in this guy. This does a great job, so I think we'll leave it about 80% All right, let's go to the next tab. This is where we can play around with the hue, saturation and limits. So in this image there's lots of blue in the sky. So let's go to the blue tab of the saturation and just bring that down just a bit. Same with the loom in its If we wanted to change the actual color of the sky, for example, we can also do that in the hue. So if we go to the blue, you make a more purple. So it's kind of a cool effect in some cases. For now, I think we're just going to pump the color of the greens. Let's go to saturation. Let's find the greens. You can kind of see quickly what that's doing. Let's go to the loo minutes and do the same thing. Okay, so I think for this image, that's about all we will do. The next time is split toning. I really don't play out a lot around with this. I find it takes away too much of the natural parts of the image. But you can experiment to this if you're into that. Okay, The next tab is lens corrections. I typically just check both these off and sometimes you might need to pick the camera. So the lens profile was This was, I believe, shot with the Toki no ends. And it was about I think a 11 16 get the next said we have is the effects tab. If we want to add some de hazing or more haze into the image, we could play around with it there. I think zero is fine. If we wanted to add some green, we could This would be great if you want to give your images and older look and then the next time we have camera calibration. I also don't really play around with these too much as I find the other tabs do a better job. 5. Adobe Camera Raw settings Part 2: So now we've gone through all these settings up here. We have a whole bunch of other settings, so there's the color sampler. This is if you just wanted to, you know, sample one of the colors and then paint with it somewhere else. Next, we have the crop tool. If you wanted to crop a different size or composition in your image. Now, if you click it, you'll notice that there's actually a lot more that they came were captured. This is the full size of the Judge five sensor, but it auto cropped to about there, so I kind of like bringing the image down just a bit, making a little more widescreen. But if you're gonna go to Instagram than you might want to do more of a more vertical image than in that case, you can post something more like that. Okay, let's go back to the zoom in tool. If your image was a little crooked than you could click this and it would straighten out the image. Next we have the transform tool. If you want to distort your image and let's say, for example, go from here to here down the road, then you could go to the sides here, you'll get more options and you can bring the image warp it way over there. So there's definitely a lot of cool effects you could do. We could do. The horizontal can rotate along those points, so it's quite a lot of options with those. Let's clear the guides there to reset it. Next, we have the spot removal, so essentially you can adjust the size here. And the idea here is you click a spot and then it picks another area and it'll paste it there. Now, after you click the spot you'd like to fix, you can drag this around and then it'll copy and paste whatever is there. Let's go down here and clear all next we have the red eye removal. If you're shooting a portrait next, you could use the red eye removal if you're getting read this show up in their eyes. Next, we have the adjustment brush, which is one of my favorite tools to use. You can see it has a whole bunch of auctions here in the Adjustment brush panel section, so you go down and size the brush toe. What you want to will make it a little smaller. And then what you do is you paint along the area that you want to effect, so it's turn on the mask and you'll see the area that we're painting. And this is just the mask you're painting. Essentially, you're selecting the area that you want to effect. So now that we have the area properly painted on, let's turn off the mask. And then over here we can start adjusting the settings and it'll only affect the masked area. So you get some really cool results of this. I find this is essentially the focal point, so I think boosting up the brightness or exposure in that area will make it look better. We can also take a step further and really play a lot with the highlights and shadows as well as the clarity in this one as well. And because we've adjusted a lot more of the settings in the adjustment brush, let's bring up the noise reduction so you get the idea of how to play with that. Next, we have a Grady int filter. Essentially, what you do is this would be a great way to adjust just the sky and again you have the same type of options you can play around with just the color of the sky. But the difference here is because it's a great Ian filter. It's making the changes as a Grady in, So it starts with full and then by the bottom. It's nothing. So there's a nice transition ingredients into the image. You can get an example of that by bumping this up to see how the top is being affected. Quite a quite a bit. And then the bottom not so much. That's because it's ingredient filter. Okay, so for us, I think I'm just gonna leave it as it was, something to clear all. And then I'm gonna go to the lines up here and go to reset, and then those will bring them all to zero. Next, we have a radio filter. So with this one, for example, we can select just there And then again, this is more or less a mask, and you can see what it's doing. If you wanted it reversed, you can click on inside instead. So this would be a cool way toe had some sort of dreamlike element in your image Okay, let's go to clear all and then reset. And I think that's everything for the photo. Now again, that you can see there is some grain up here. But once we export because we do have this loom in, it's a noise reduction way up. It will be affected once it exports. So now, just before we export, I'll show you the difference between this and the original unedited raw image. So on your keyboard, if you hit P, you can cycle between the unedited and this newly edited, so you can see how much detail we've brought back into the image. This came from not much information very dark, under exposed to very bright and natural to very, very bright. And it looks like an HDR image, you know, high dynamic range image and lots of great colors, lots information. And this looks like a lively mate seen 6. Exporting from Adobe Camera Raw: Okay, so now let's export the image. Could you save image at the bottom? There, you can choose your destination in the folder I typically export to J. Peg, although you can select any image you want if you export to D and G. This is another raw type of format, and this will in fact save some of the raw data like I believe, the temperature and the exposure settings. But it's not gonna export any of the mask options you implemented into your photo. But that is another option. If you want to continue editing with the raw at a later date, so I typically save it to J. Peg. I make sure the quality is set up here to maximum. You can resize the image if you'd like, but again, I keep it as high as I can, and then once that's all set up the way you'd like it. Click on Save and you can see down here one remaining and that is done. Let's cycle over to our folder and here's the raw and here's the final edited photo. As you can see, it has smoothed out quite a lot of the grain, and that looks really good now. As I mentioned, it might be a little too much for your liking. So because we haven't closed it, it's still open here. We could go back and reduce that to, let's say 57 and save it again. And then we have this And in the slightly more grainy one has this one okay, That brings us to the end of this mini course on editing a raw photo in Adobe camera will see you next time.