Photoshop for Lunch - From Ho Hum to WOW - Everyday Photo-editing Made Easy | Helen Bradley | Skillshare

Photoshop for Lunch - From Ho Hum to WOW - Everyday Photo-editing Made Easy

Helen Bradley, Illustrator for Lunch™ & Photoshop for Lunch™

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7 Lessons (37m)
    • 1. Photoshop for Lunch™ - Everyday Photo Editing Made Simple - Introduction

      1:47
    • 2. Photoshop for Lunch™ - Pt 1 - Open your File

      4:40
    • 3. Photoshop for Lunch™ - Pt 2 - Edit a cityscape

      7:07
    • 4. Photoshop for Lunch™ - Pt 3 - Edit a landscape

      4:52
    • 5. Photoshop for Lunch™ - Pt 4 - Portrait fixes

      9:37
    • 6. Photoshop for Lunch™ - Pt 5 - Edits from inside Photoshop

      5:28
    • 7. Photoshop for Lunch™ - Pt 6 - Final Thoughts Project WrapUp

      3:12

About This Class

Photoshop for Lunch™ is a series of short video courses you can study in bite size pieces such as at lunchtime. In this course you'll learn to fix every day photos quickly and easily. We will use Adobe Camera Raw to fix the images - this is a professional photographers' tool but the best kept secret is that it rocks for everyday use when you know how to use it. You will find it is an awesome and easy tool to use and you may be surprised to see how great your photos look in just a few easy edits. 

More in the Photoshop for Lunch™ series:

Photoshop for Lunch™ - Create a Color Scheme Graphic

Photoshop for Lunch™ - More Patterns - Diagonal Stripes, Chevrons, Plaid, Colorful Polkadots 

Photoshop for Lunch™ - Create Text on a Path - Paths, Type, Pen tool

Photoshop for Lunch™ - Create an Award Badge and Ribbon - Shapes, Warp, Rotate  

Photoshop for Lunch™ - Color a Sketch with a Texture - Masks, Dodge/Burn, Hue/Saturation 

Photoshop for Lunch™ - Create Mockups to Use and Sell - Blends, Smart Objects, Effects

Photoshop for Lunch™ - Create the Droste Effect with Photoshop and an Online Tool 

Photoshop for Lunch™ - Layered Paper Collage Effect - Layers, Layer Styles, Gradients,

Photoshop for Lunch™ - Cutout & Frame Photos - Clipping Mask, Layer Mask, Rotation, Shapes

Photoshop for Lunch™ - Get Your File Size Right Every Time - Size Images for Web & Print 

Photoshop for Lunch™ - Seamlessly Blend Two Images - Masks, Content Aware Fill

Photoshop for Lunch™ - Set up Colors, Tints and Shades for Working Smarter in Photoshop

Photoshop for Lunch™ - Folded Photo Effect - Gradients, Guides, Stroke, Drop Shadow 

Photoshop for Lunch™ - Surreal Collage Effect - Paths, Cloning, Warp, Blend 

Photoshop for Lunch™ - Make Custom Shapes - Combine, Exclude, Intersect & Subtract

Photoshop for Lunch™ - Pattern Bombing Effect - Patterns, Selections, Mask, Warp, Vanishing Point

Photoshop for Lunch™ - 10 in 10 - 10 Brush Tips in 10 Minutes or Less 

Photoshop for Lunch™ - 10 Blend Tips in 10 minutes 

Photoshop for Lunch™ - Patterns as Photo Overlays for Social Media 

Photoshop for Lunch™ - Whimsical Rotated Patterns 

Photoshop for Lunch™ - From Ho Hum to WOW - Everyday Photo-editing Made Easy

Photoshop for Lunch™ - Pattern Making - Seamless Repeating Patterns

Photoshop for Lunch™ - Draw a Fantasy Map - Brushes, Patterns, Strokes & Masks

Photoshop for Lunch™ - Clean & Color Scanned Line Art

Photoshop for Lunch™ - Create HiTech HUD Rings - Repeat transform, Filters & Textures

Photoshop for Lunch™ - Text Over Image Effects - Type, Glyphs & Layers

Photoshop for Lunch™ - Hi-tech Mosaic Effect - Brushes, Patterns & Pixelization 

Photoshop for Lunch™ - Make a Photo Collage for Social Media - Masks, Selections & Patterns

Photoshop for Lunch™ - Making Kaleidoscopes - Rotation, Reflection & Smart Objects

Photoshop for Lunch™ - B&W, Tints & Isolated Color Effects - Adjustment Layers, Masks & Opacity

Photoshop for Lunch™ - Pattern Bombing Effect - Patterns, Selections, Mask, Warp, Vanishing Point

Photoshop for Lunch™ - Photo Texture Collage - Gradient Map, Blending & Textures

Photoshop for Lunch™ - Grid Collage for Social Media - Clipping masks, Shapes & Layer Styles

Photoshop for Lunch™ - Vintage Image Cutout Effect - Selections, Drop Shadows, Transparency

Photoshop for Lunch™ - Snapshot to Art - 3 Photo Effects - Faux Orton, Gradient Map, Tritone

Photoshop for Lunch™ - Paint a Photo in Photoshop - Art History, Color, Texture

Photoshop for Lunch™ - 4 Most Important File Formats - Choose & Save As: jpg, png, pdf, psd

Photoshop for Lunch™ - Turn a Photo into a Pattern - Selection, Filter, Pattern Swatch

Photoshop for Lunch™ - 3 Exotic Patterns - Shapes, Paths, Patterns

Photoshop for Lunch™ - Complex Pattern Swatches

Photoshop for Lunch™ - Using Illustrator Objects in Photoshop - Files, Smart Objects, Shapes

Photoshop for Lunch™ - Make & Use Photo Brushes - Brushes, Masks, Watercolors

Photoshop for Lunch™ - Make and Sell Geometric Overlays for Social Media - Shape, Transform, Fills

Photoshop for Lunch™ - Create Backgrounds for Projects - Halftones, Sunburst, Patterns

Photoshop for Lunch™ - Upside Down Image Effect - Masks, Selections, Flip Images

Photoshop for Lunch™ - Color a Scanned Sketch - Blends, Brushes, Layer Styles

Photoshop for Lunch™ - Curly Bracket Frames - Shapes, Paths, Strokes

Photoshop for Lunch™ - Grab Bag of Fun Text Effects - Fonts, Clipping Masks, Actions & More

Photoshop for Lunch™ - Double Exposure Effect - Masks, Blends, Styles

Photoshop for Lunch™ - Glitter Text, Shapes and Scrapbook Papers

Photoshop for Lunch™ - Make & Sell Photoshop Brushes - Brushes, Templates, Preset

Photoshop for Lunch™ - Recolor Objects without Making Selections - Master Color Change Tools

Photoshop for Lunch™ - 10 in 10 - 10 Brush Tips in 10 Minutes or Less

Photoshop for Lunch™ - Create a Mandala - Template, Rotation, Texture, Gradients, Pen, and Shapes

Photoshop for Lunch™ - Create Organic Patterns - Pen, Offset Filter, Free Transform and More

Photoshop for Lunch™ - Reusable Video Glitch Effect - Use Channels, Shear, Displacement Map & Noise

Photoshop for Lunch™ - Overlapping and Random Circles Patterns

Photoshop for Lunch™ - Metaball Patterns - Structured and Organic

Photoshop for Lunch™ - Isometric Cube Patterns - Shapes, Repeat patterns, Smart Objects

Photoshop for Lunch™ - Create Plaid (Tartan) Repeat Patterns

Photoshop for Lunch™ - Recolor Pattern Techniques

Photoshop for Lunch™ - Intro to Photoshop Actions

Photoshop for Lunch™ - Photoshop Inking Techniques

Photoshop for Lunch™ - Valentine's Day Inspired Hearts

Photoshop for Lunch™ - Layers and Layer Masks 101 for photographs and photographers

Photoshop for Lunch™ - Abstract Glowing Backgrounds

Photoshop for Lunch™ - Whimsical Textures for Drawings

Photoshop for Lunch™ - Sketches & Brushes to Whimsical Patterns

Photoshop for Lunch™ - Critters with Character - Pen Free, One Color Designs

Photoshop for Lunch™ - Create a Custom Character Font

Photoshop for Lunch™ - 10 Selection tips in 10 minutes (or less)

Photoshop for Lunch™ - Complex Selections Made Easy - Master Refine Edge & Select and Mask

Photoshop for Lunch™ - Demystifying the Histogram - Understand & Correct images with it

Photoshop for Lunch™ - Bend Objects with Puppet Warp

Photoshop for Lunch™ - Emboss and Deboss Text and Shapes

Photoshop for Lunch™ - Remove Unwanted Objects & Tourists from Photos

Photoshop for Lunch™ - Using the Scripted Patterns Tool in Photoshop

Photoshop for Lunch™ - In the Footsteps of Warhol - Create Awesome Animal Images

Photoshop for Lunch™ - Make & Sell a Shapes Collection

Photoshop for Lunch™ - Whimsical Scrapbook Paper Designs using Displacement Maps

Transcripts

1. Photoshop for Lunch™ - Everyday Photo Editing Made Simple - Introduction: Hello. I'm Helen Bradley and welcome to this episode of Photoshop for Lunch, and I'm calling this Ho Hum to WOW, Photo-editing Made Easy. Every Photoshop for Lunch class teaches a small number of Photoshop techniques, and you'll get plenty of opportunity to practice your skills when you're completing your class project. Today we're going to look at quick and easy photo editing. What I want to show you is how you can absolutely pack a punch with even casual snapshots. Sometimes you might look on Instagram or Facebook, and you might even see photos that somebody shot, and you were on the same trip as they were, and you will look at them and think, well, where were they because I didn't get photos that looked like that? Well, I'm going to show you a secret for getting photos like that and we're going to use a tool that's going to make this really easy for you, and your photos are just going to look awesome. Now as you're watching these videos, you're going to see a prompt which lets you recommend this class to others. If you're enjoying the class, please do two things for me. Firstly, answer yes when you are asked if you would recommend this class to others, and secondly, just write a few words about why you're enjoying the class. These recommendations will help other students to see that this is a class that they, too, might enjoy. Now if you'd like to leave me a comment or a question, please do so. Do it in the community area or with your class project. I read and respond to all of your comments and questions, and I look at and respond to all of your class projects. Now all the images that I'm working on here, I'm going to give to you so you'll get a link to be able to download these images and work along with me. If you're ready to turn those ho-hum snapshots into wow images, let's get started. 2. Photoshop for Lunch™ - Pt 1 - Open your File: Now the tool we're going to be using to do these photo fixes is called Adobe Camera Raw and it's a tool that's used by professional photographers and it sounds like it would be really complex. But the reason why I love it is because it's actually really simple and it's way easier to fix images using Camera Raw than it is to do it using Photoshop, and better still, the edits that you're going to make can be removed from the image. You can undo them if you don't like them. Now, how you get to this tool, however, is going to be different and it's going to depend on what version of Photoshop you are using. If you're using Photoshop CC, the Creative Cloud version of Photoshop, the most recent one, this is what you're going to do. You're going to open your photo inside Photoshop. Now, I'm assuming that you're just shooting JPEG images, just regular JPEG images that might come from a DSLR, it might come from a point-and-shoot camera, it might come from your iPhone or your Android device. You're downloading them to your computer and you're opening them in Photoshop. In Photoshop CC, you're going to choose Filter, Convert for smart filters and click "Okay," and this is the point at which you've just made it so that you could edit this. So if you don't like the changes you've made you can undo them. Then you're going to choose Filter and then Camera Raw Filter, and that's going to open this image inside Camera Raw, and Camera Raw is what we're going to be using to edit the image. If you're using Photoshop CC, then this is all you need to know and you can go on to the next video. If you're using Photoshop CC and you're using raw images however, you want to hang around because I'm going to deal with those in just a minute. I'm just going to cancel out of here, and we're going to look and see what you're going to do if you're using a different version of Photoshop. Now if you're using an earlier version of Photoshop, you don't have that Camera Raw Filter, so this is what you're going to do. You're going to choose File and then Open as, and you're going to navigate to the folder that has your pictures in it, and I'm going to choose this one here. But I'm not going to click open. What I'm going to do is click this drop down list here and I'm going to select Camera Raw. What we're saying to Photoshop here is, okay, it is a JPEG image, but we want you to pretend that it's not or we want you to pretend that it's a special photo format called Raw, which is the format that's open automatically in Adobe Camera Raw. We're going to click on the image, choose Camera Raw here and then click "Open." The upshot is that this image is going to be opened in Adobe Camera Raw, so we can do something with it. We can do this wonderful processing that is so much smarter in Adobe Camera Raw than it is in Photoshop. Now, the third possible scenario is that you're using any version of Photoshop. It doesn't matter what version it is, but you're using or you're shooting raw images. They might be DNG images, they might be any here from your Nikon camera, they might be CRW from your Canon camera, they might be PEF from your Pentax camera. It doesn't matter. If you're shooting in raw because you own a camera that shoots in raw, this is what you're going to do. You're just going to choose File and Open, and then you're going to select your raw image farms, I'm just going to click on one of these because this is a raw image file, and you're just going to click "Open." Because it's a raw image file, it's going to open in Adobe Camera Raw, it has to, it can't open automatically in Photoshop. The special things that we were doing for JPEG images is because they don't open in Adobe Camera Raw just naturally, we're trying to force them to open in Adobe Camera Raw, so that we can use this superior photo editing, this much easier photo editing tool. But if you're trying to edit a raw image then it has to come in via Adobe Camera Raw, so it's just very easy. Just go and open the file and it's going to open there automatically. Now we know how to get our image. Whatever version of Photoshop you're using, whatever type of file format you're using, open in Adobe Camera Raw. In the next video, let's go and see how much easier it is to fix your images in this tool. 3. Photoshop for Lunch™ - Pt 2 - Edit a cityscape: So regardless of what version of Photoshop you're using, you're going to start with an image open in Adobe Camera Raw, as I have here. I'm just going to zoom out of this image because this was taken on one of those tour buses around London. When you're on the top of a moving tour bus, you don't have a lot of choice about what you are shooting. You just take a shot, because that's the only opportunity you're going to get, because the bus is not stopping for you. So first thing you'll want to do is to crop your image. So I am going to the crop tool here and I'm just going to click on it, and I'm just going to drag over the portion of the image that I want to keep. Now I don't have to get this right the first time, just going to do that and let go, and I think I want to crop in from the side a little bit too, just to make the image look as if it came out of a regular camera. It's not really indifferent proportions to what came out of the camera, it's just that we've got rid of the bits that were really not helping the image at all. You can just click on the "Enter" or the "Return" key, to just confirm that crop. Now let's look at fixing the image. I'm looking up here at the histogram. This is the same thing as you have on the back of a regular camera, and it's telling me, because there's a very good range of tones here and plenty from either end of the chart to the other, that this is probably a reasonably well exposed image. It's just not very cheerful or colorful, so what I'm going to do is, I'm going to boast the contrast a little bit. That's going to make a bigger distinction between the darks and the lights in this image, and so the darks are going to get a little bit darker, the lights a little bit lighter, and everything's going to be just a little bit more contrasting. Now for the highlights, these are the next too lightest areas of the image, and there's these areas in the back here. Now, if I bring them down a little bit, I'm going to bring them back into the image. So I'm going to bring some detail in this rather pretty building back into the image. For this image, I'm not going to do anything with shadows. There's not a lot of shadow detail here. You can see there's a tree here that's in a bit of shadow and this is a bit of a shadow area, but they don't hold anything that's really of any value, so I'm going to ignore those. Now with the whites and blacks, here's the trick you're going to use. You're going to hold down on a PC, the "Alt" key. On a Mac, you're going to hold down the "Option" key, and you're just going to keep your finger on that key, and then you're going to click and drag on the slide, and what's going to happen is that the screen's going to go black. You're going to move it to the right. You're going to start seeing things come through, and what you want to do is to bring it back until those things just disappear. Now in some cases you might not be able to get them to disappear and that's fine. But if you can, do that. You can see that we've adjusted this white slide up about plus six. What that's done is to improve the whites in the image. We're going to do the exact same thing with the blacks, and we're going to go hopefully in the opposite direction. We'll just see what happens when I hold down the "Alt" key because I'm on a PC, you'll hold down the "Option" key on a Mac, and let's just see. Well, right now everything's gone white, but there's a little bit of color down here. Just have a look when I do that. What I'm going to do is drag to the left here, and you can see that there's little bits of color coming into the image, that's when the image is starting to turn black. Now with the whites, we didn't want to see any of those little colored pixels, with the blacks, we do, we want to see a smattering of those pixels through the image, and this is a pretty good range. So I'm just going to let go the Left Mouse button, and let go my Alt or Option key. Now at this point, you might be interested to see how things are going. Well, we've got a little wide button here, and I can click on it to cycle through the before and after views. This is the before view and this is the after view. You can see that the after view is a little bit darker, but it's a little bit richer too. We can have a look at them here, this is before and this is after. See how this building is just a little bit clearer here, before and after, and back to normal. Now let's have a look at some of these other sliders. Clarity is a contrast slider, but its par is in the middle tones of the image, in particular on things like the bridge here. So I'm going to increase the clarity a little bit and it's going to get a lot crisper in the mid tones. Vibrance is a saturation. What it does, is it helps us to saturate the image. Anything that's under saturated is going to become more saturated. So I'm going to kick up the vibrance here a little bit. Saturation is an adjustment that increases the colors throughout the image. It's usually a pretty heavy handed tool, so I'm just going to set it back to zero. Vibrance is a better tool because it's a little bit more protective of skin tones, in particular, but it also just reaches up the colors, but it doesn't over saturate them. Let's have a look now at our before and after. This is our before, this is our after. You can see it's a richer, more colorful image, before and after, before here, after here. Now you have another slide and that's going to help with this image because you see this a little bit of blue sky here. So what I'm going to do is go over here to what's called HSL/Grayscale, and I'm just going to click on it. I'm going to locate saturation, you have hue saturation and luminance. Well, we're going to saturation, and we're going to look at the blue. Here are the blues here, and I'm just going to boost the blue's a little bit. That's going to increase the saturation in the blues, and again, it's going to make this image look just a little bit richer. Here's our before and after. It's a much nicer image. If you're done with the image at this point, you can just click "Open Image", and that will take the image into Photoshop. Once you're in Photoshop, you can save it as a JPG out of Photoshop here, or you may want to do something to the image. You might have something in the image that you want to remove. But that's a good workflow for snapshot style images, just making it so much easier to edit them. Now that's one image we're going to work through another couple in the upcoming videos, just so you can get a really good feel of these sliders and how you're going to use them. 4. Photoshop for Lunch™ - Pt 3 - Edit a landscape: This is the second image that we're going to fix in Adobe Camera Raw. This time I open this image in Adobe Camera Raw that comes with Photoshop CS 5.1. So this is an older version of Camera Raw, but I just want to show you that it's going to work pretty much the same way. Now here I don't need to crop the image, but you might see that there are a few little dots here, these are sensor dust. Now there's a tool here in Adobe Camera Raw that allows us to fix sensor dust. So I'm going to the Spot Removal tool here and what I'm going to do is select "Heal". I'm just going to adjust the radius up so that this is a larger brush. It needs to be big enough to click over the dots that I'm seeing on the screen. So what I'm going to do is just click once to get rid of this sensor dust and this again. Now you wouldn't say sensor dust if you weren't using a digital SLR camera, a camera that has a removable lens, you shouldn't generally see sensor dust. But you know, there might be a bird there that's not very attractive or there might be something that you want to remove and so you can just use this tool to do that. Then I'm going to just click on the hand tool to go back to the general settings. So we've got rid of the mess in the sky, those dots, let's go and improve this image. Now, this image you can see up here, these colors don't extend all the way to the right. That means that this image is a little bit underexposed. So I'm going to dial up the exposure here to lighten and brighten the image. I'm not going to go all the way across but I am going to give it a bit of a lightness boost. Now in earlier versions of Photoshop, Adobe Camera Raw comes with a slightly different set of sliders. You've got a slider for recovery, one for fill light, and one for blacks. The black slider is going to work exactly as we used the black previously. But this time you're just going to drag to the right to add a little bit of black into your image. If you use fill light, you'll see that you're going to add some light to the image, but you'll see also that it flattens the color, so it destroys the contrast when you use it. So you want to use it a little bit if you need to, to lighten some areas of the image but you'll probably also want to boost the contrast as a result of using it. Otherwise you're going to lose the color and the cleanness in the image. If you use the recovery slider that's going to darken the lightest pixel, it recovers from blown out pixels. But since we didn't have any blown out pixels in this image, we're just going to leave recovery exactly where it was. We have Clarity, Vibrance, and Saturation these are the exact same tools as we had in the later version of Camera Raw. We want to add a bit of clarity, we want to boost this image quite a bit here and a bit of vibrance, a little bit of color. Having done that, we may even want to improve the exposure just a little bit, just lighten this up a little bit. Here the Hue, Saturation, and Grayscale areas. So this is the same hue, saturation, and grayscale that we had in the other version. So we could boost the blues if we wanted to. We probably don't want to do that too much, but it is possible and it always will improve beach and images that have blue skies in it. Just to give those blue, is just a little bit of a boost. Now in this version we don't have the same before and after, so I'm going to show you what you can do. You'll go across here to Snapshots and you're going to make a new snapshot. So you're going to click on this button here and you're going to call this final, so this is our edited version. So we're saving that away. Now we're going to click this dropdown list and we're going to choose Camera Raw defaults. This is the settings of the image as it was when it opened up in Camera Raw. That's what it looked like and this is what it looks like now. So you can see the difference in these two images is really quite significant. If you had this on Facebook, people would probably go, "Oh, interesting." But this is really compelling. If you're curious, these are the remarkable rocks which are along Kangaroo Island of the South Coast of Australia. Now that we're done with processing this image, we're just going to click "Open Image" to open it in Photoshop. Then we could go ahead and do other things with the image, remove imperfections with the Spot Healing Brush tool or whatever we wanted to do. But we've got a much better image at this point. 5. Photoshop for Lunch™ - Pt 4 - Portrait fixes: The next two images that we're going to have a look at processing, both have very typical snapshot problems. I've gone ahead and opened them. I'm going to give you the links to download these next two because they're coming from morgue file, but you can download them to work with them and just practice on them. Now, the problem with this image is it's been shot looking into the light, so everything is really blown out. We're going to want to bring the highlights down on this image. In the other version of Photoshop, we would use the recovery tool for this. We just want to bring the highlights down if we can, to try and stop this image from totally blowing out. Now, the other thing we can do here is use the shadow slider just to bring the shadows back a little bit. Again, trying to get some detail into this image and trying to stop this really hazy look that we've got here. Now, we can test our whites and blacks. We probably won't bother testing our whites here because we've got a lot of really exposed pixels, but the blacks definitely. I'm going to hold the Alt or Option key. I'm just going to drag back on my blacks until I start getting some pixels that are turning black. That's a pretty good range there so I'm just going to let go the key. Then I'm going to increase the clarity a little bit, trying to get a little bit of Christmas back into this image, and perhaps just a tiny bit of vibrance. Again, in this version of Adobe Camera Raw, we do have this before-after options, so I'm just going to roll through that. This is the before over here. This is the after. Let's see this one, after down here, before up here. You can see that this is a significant improvement for this very, very overexposed image. Here we have our second people image. This one's got a totally different set of problems, and it's a very typical set of problems. This is going to happen to you if you try and shoot you kids on the beach for example. It's going to happen anytime you try and shoot somebody who is close to you with a very light bright background behind them. What happens is that they get left in shadow and the camera exposes for this background. Now, more modern cameras are a little bit smarter in identifying faces, and avoiding this problem. But you'll still see people shooting and getting exactly this problem in their images. What you're going to have to do is bring down the highlights because you don't want to lose that beautiful sky. But right now, if you adjust the exposure, you're just going to make it white. Again, in that earlier version of Camera Raw, if you're using that, you'd be using the recovery slider here. We're going to increase the exposure just a little bit here. We're going to perhaps add a little bit of vibrance and a little bit of clarity. But there are a couple of tools, and one in particular in Adobe Camera Raw in Photoshop CS6, I think it is, and later is this one here. It's a Radial Filter. What I'm going to do is click on the Radial Filter and I'm just going to drag to make a circle or oval that's going to fit over their faces. I'm looking at the area of the image that has not had enough light, and I'm highlighting it here. What I'm going to do is I'm going to increase the exposure in this area, and I'm going to increase the shadows as well. That's going to bring detail out of the shadows. Now, at this point, you'll need to make sure that you've got inside selected so you can affect the outside of the image or the inside and you want to affect the inside. Now, one of the problems with things like this is you can get a little bit of a gritty effect. You may want to bring your clarity down just a little bit. You just don't want it to get too gritty, particularly not with a young child in the shot. But let's just go back and let's see how far we've come with this particular image. This is the original and this is the fixed image. You can see the sky is much better here, as well as the people are much better lit. Again, original, our fixed copy, and back to the fix that we have here. Now, for this image, I would probably crop it in a little bit. I think that there's probably a fair bit of sky here that we really don't need for this image. The image is not quite drawing enough attention to the people who are in the image. They're the ones that we're most interested in seeing. Now, because we used a specialist tool on this image, I'm going back to that earlier version of Photoshop. We're going to have a look and see how we would cope with this situation in the earlier version of Adobe Camera Raw because it does not have this Radial Filter. We're going to see how we would deal with that, and it's also a handy tool to learn a little bit about even if you're using a more recent version of Adobe Camera Raw. Here we are back in that earlier version of Adobe Camera Raw. This is 6.7 and it shipped with CS5. Again, we've got problems with light. The light on this person's face in particular, and a little bit with this little girl is really quite poor. But we don't have a radial filter that we can use. We don't have that circle that we can draw over it. But we are going to fix this image. We are going to increase the exposure a little bit. We're going to add some fill light because that will help this image quite a bit by adding the kind of light that really should have been on the camera that would have lit this scene a whole lot better. Now, we're going to check our blacks again with the Alt or Option key and just make sure there are some blacks in the image, and there are. That's looking pretty good. We could increase the clarity a little bit. We don't want to overdo it because there's a little girl that's here. Clarity tends to be a bit of a crunchy look and you don't want to do it to flattering portraits of women and little girls. I'm going to add a little bit of vibrance just to make the colors a little bit better in this, maybe even a bit of saturation. Maybe it needs a little bit of color across the board here. A little bit concerned about the green here, but I can go to Hue, Saturation, Grayscale, go to the Saturation, and just drag down the Saturation on the Greens. Possibly a little bit in the Yellows as well. It might kill this building behind him a little bit more. Now, the solution to his face and her face is this tool here. It's called the Adjustment Brush. We're going to click on it to select it, and right now, it's really, really big. I'm just going to the size here and I'm going to decrease the size a little bit. But I do want quite a large feather, possibly not quite that large though. Let's see. That's looking pretty good. I've got flow at about 50 percent. I'm going to click Show Mask. I'm just going to click on him and just paint him a little bit, and click on her and paint her a little bit. I could even decrease the size and go over it a bit more. What's happening is this area where it's white, I'm actually going to make it a different color so you can set this area that's now pink because I changed the color of the mask, is the area that we're actually going to fix. We're just drawing attention to his face and her face as being the area that we want to fix. I'm going to turn Show Mask off. But what I'm going to do is to just increase the exposure just a little bit with this, and perhaps a little bit of brightness. Now, if I've gone too far, I can go and pick up this pin here and I can erase it. You can see here we've got an eraser. I'm going to make sure that my eraser brush is a little bit smaller. Again, making sure the flow is pretty low, I'm going to increase the feather a little bit. I'm just going to erase over any areas where it's obvious that the fixed has extended a little bit further than I wanted it to, so perhaps over his shirt here and into the sky here. I may not want it to be quite so obvious. But the little girl is coping with it a little bit better than dad is here. Let's go and have a look at our mask. You can see that I've limited the mass to just his face. I'm actually going to erase a little bit closer still. I've got a lot more light on his face now, the kind of light that we really would have liked to have seen in that image to start off with. I'm just going to click here on the Zoom Tools that turns that tool off. Let's go to our snapshot and let's go and create a new snapshot for final, so we can do a comparison here. Let's have a look at our Camera Raw defaults. That's the before image and this is the after image. This is a much brighter, much lighter image, and we're getting a sense of who these people are rather than his face being really in quite deep shadow. The Adjustment Brush is really handy to use if you're working with an older version of Adobe Camera Raw that does not have that Radial Filter. The radial filter is probably a better option, but you can get just as good a result with the Adjustment Brush. 6. Photoshop for Lunch™ - Pt 5 - Edits from inside Photoshop: Now there are a couple of things that I just want to cover before we finish and one of them is that if you're using Photoshop CC and you're using this camera raw filter, you won't have a crop tool there. If you need to crop the image, you'll need to crop it before you go into camera raw or crop it on the way out when you've finished doing the editing. I'm actually going to crop this image before I go into camera raw, I'm going to do filter convert for smart filters and then of course my filter camera raw filter. We're going to have a look at fixing this image. Now one of the things I wanted to draw your attention to is that in the most recent version of Photoshop under effects, you have this filter called the dehaze. Now it's a fairly new filter and what it can do is it can remove haze from images. Now this image was very hazy to start out with and it's been significantly improved by just the application of this dehaze filter. Now having done that, I'm also going to brighten it a little bit, I'm going to improve the clarity again, that's going to add to that Christmas and this is a cityscape. It will take quite a bit of clarity, a bit of vibrance just to bring up the impact here and let's just go back and add a little bit more exposure. One of the reasons why I really love Adobe camera raw as a fixing tool is if you don't like what you've done, you can just adjust it back again. You don't have to do it in any particular order and you can undo anything that you've done after you've done it. It's just a really wonderful tool for applying photo fixes and the image is just look really great when you're working with this tool, much, much easier than working in Photoshop. Now in this case, the whites really too high, so I'm just going to back them off here and bring them down so that we lose some of these overblown highlights in the buildings. I won't be able to get all of them out of here but I can get a fair bit. I'm just going to check the blacks and maybe just pull down the blacks a little bit. Now the other thing of concern is that when you're using these filters, like the radial filter and the adjustment brush is you will need to have something set here before you can use them. If I just go and reset this brush, so I'm going to reset local correction settings. There's nothing on this brush. When I go to use it on the image, it says you're unable to create a local adjustment, please set one of the adjustments. What you're going to do is, you're going to have to actually come in here and do something. I'm just going to increase exposure that's going to allow me to put down this radial filter and then if I don't like it, I can just take the exposure back off again so I can actually set it back to zero. This is what I wasn't allowed to do in the first place. All those sliders are zero. You can't put down a radial filter or an adjustment brush when the sliders are zero, but you can adjust them to zero once it's put down. It's just a weird thing with this tool, but just be aware of that. I'm just going to add a bit of clarity and a little bit of exposure to this ship here just to try and draw attention to it and maybe even a little bit of saturation. You'll see here that we don't have vibrance when we're using this radial filter. Vibrance is in the basic adjustments, but it's not an adjustment that you can apply with the radial filter, but you do have dehaze. Dehaze can be applied to a local area if you like and let's just click on the hand tool to get back out of there and this is back to the basic adjustments. These basic adjustments here are going to affect the entire image, the adjustment brush and this little radial filter here are ways that you can affect just a selected part of the image. Now again, this time I have come into the Adobe camera raw tool via Photoshop. This image is open in Photoshop. I applied smart filters to it and then I opened the Adobe camera raw filter. We don't have the before and after option up here that we had in the earlier version. We've got it down here, but there's no the presets available up here. But this is the before and after, before over here, after over here obviously and this is a half and half. This is half and half tops before, bottom is after, and we're back to the image. Having finished with the edits here, I'm just going to click "OK" and we're going to open this back up in Photoshop for this particular one, because this is Adobe Photoshop CC and we use the camera raw filter. Here's our image and here is our smart filter and so we can just turn the adjustments on and off just using the eyeball icon. This is a filter just like an artistic filter or a half tone filter. In this case, it's Adobe camera raw being run as a filter on the image. At this point, if we wanted to make further edits to the image, we could do so or we can just go and save it, just file, save as, and we can save as a JPEG if we want to, or we can save this out as a layered piece if we want to come back in later perhaps and make some edits to it. 7. Photoshop for Lunch™ - Pt 6 - Final Thoughts Project WrapUp: At first glance, it might appear that the Adobe Camera Raw tool is adding a level of complexity to your photo editing. Complexity that you might think in first instance is not here in Photoshop. But I think it's the other way round. To do this sort of an edit in Photoshop, so it could be undone, would firstly require me to be using adjustment layers. So I'd have to use adjustment layers. I'd need a brightness and contrast adjustment layer to be able to adjust contrast. I'd need a curves adjustment layer again to add a bit of contrast. I'd need exposure to be able to lighten the image. I'd need hue saturation to be able to adjust the saturation or perhaps vibrance to be able to adjust the vibrance. There's no clarity adjustment here, there's no Dehaze filter. I'm short filters that were available at Adobe Camera Raw that are simply not available inside Photoshop. I'm going to need to apply each of these stacked on top of each other. To make an edit to any one of them, I'm going to have to open up that one again and make changes to it. Whereas if I want to make edits to this Adobe Camera Raw Filter, all I'm going to do is double-click on "Adobe Camera Raw". It's open now for me and I'm going, "There's too much exposure," well, I'll just dial it down and then I'll go, "OK". It's really easy once you get familiar with the process of working from your version of Photoshop through Adobe Camera Raw to edit your images. It's way easier to get really good results in a very short period of time. I hope that you've learned something in this class. I really hope that you're inspired to go and play with the Adobe Camera Raw Filter and just see what you can do with your images. I think that you'll be astounded at how easy it is once you get over that initial hurdle of where is it and how do I get my images open in it. Your project for this class will be to take an image that you have shot or one of the images that I'm giving you, or one of the ones that you download from Morguefile, if it's one of those families shots, and go and edit it in Adobe Camera Raw. Post a picture of your completed edit as your class project. As you're watching this videos, you will have seen a prompt to recommend it to others, please, if you enjoyed the class, when you're prompted to recommend it to others, answer yes. Then say a few words, if you would, about why you enjoy the class. These recommendations really help other students to see if this is the kind of class that they would benefit from and that they would enjoy. Now, if you'd like to leave me a comment or a question, please do so. I read and respond to all of your comments and questions. You want to do that either alongside your project in the project area or post a question in the class discussion area, and I'll see that there as well. I look forward to seeing the photo edits that you do, and I look forward to seeing you in an upcoming episode of Photoshop for Lunch soon.