Adobe Camera Raw - Absolute Basics for Quick Editing | Tony Bramley | Skillshare

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Adobe Camera Raw - Absolute Basics for Quick Editing

teacher avatar Tony Bramley, Create Great Pictures & Love Your Photos

Watch this class and thousands more

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Overview of Lessons & Project Introduction


    • 3.

      Adobe Camera Raw, The Basics Panel


    • 4.

      Basic Adjustments - 1st Image


    • 5.

      Dodging & Burning - 1st Image


    • 6.

      Basic Adjustments B&W - 2nd Image


    • 7.

      Dodging & Burning - 2nd Image


    • 8.

      Final Images & Review


    • 9.

      Projects Welcome


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About This Class

In this class, you'll learn how to use the very basics in Adobe Camera Raw to produce the best from your camera’s images, simply. Using just the Basics panel we will enhance with subtle changes, two images straight from the camera, finishing with simple dodging & burning skills.

Even with no knowledge of Adobe Camera Raw, with this simple introduction, I will take you through the four basic adjustments needed for most images. Finishing with the basics of dodging and burning.

These few adjustments will provide you with most of the requirements to finish off the images from your camera with most subjects, as was produced in the days of the darkroom.

This lesson will help you to spend less time editing and more time shooting.

Adobe Camera Raw is required and comes with Adobe Bridge/Photoshop/Elements.

Meet Your Teacher

Teacher Profile Image

Tony Bramley

Create Great Pictures & Love Your Photos


I am a professional photographer & trainer based in Colchester, near London in the UK. I run London workshops throughout the year. Days are about real support for those who attend.

I am a Fellow of The Royal Photographic Society (inc Fellowship of the Year), a club judge & speaker. I am also a Permajet Envoy.

Many years back I qualified as a trainer and with my broad professional & club photography experience it places me strongly to pass on the skills and techniques I have learnt over the years.

I retired early in 2019 and now work part-time with photography training as well as shooting personally with my love of street photography, architecture and abstract photography.

Personal passions are, of course, photography, as well as modern art and flyin... See full profile

Level: Beginner

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1. Introduction: Hi, I'm Tony Brumley. I've been a professional photographer for over 25 years. I help people just like you with my one-to-one training and group workshops, I provide charging for camera clubs and also like you, I shoot just for fun. Join me as I pass on a few wise words and probably the occasional unwise fun in a creative world called photography. With this lesson, I will teach you to get to grips with Adobe Camera Roll quite simply, and also dodging and burning without spending and lots and lots of time editing your images. This is always my first when I bring my images in from camera. This is something that a beginner and hobbyists or even an early pro and quiet easily do and get very effective results with their images. It was certainly reduce your time in editing and give you some very basic dark from skills from the old days of film. Most of the time, this is a good starting point and an end point, but there are times we do need to work further. So do remember that if you have got some further work needed on any particular image, hopefully in food share your images will show much more detail for very little work, as well as the control of lighting with simple dodging and burning. 2. Overview of Lessons & Project Introduction: We'll start here in bridge trope, not Adobe Camera roar, but it can also be opened up within Photoshop or Photoshop Elements. I'm using a couple of raw files, but Adobe Camera Raw will open up jpegs and other files as well. To open up the files, we'll just click and drag over the two images. And then right-click in any one of the two images. And that will open up a dropdown menu and we can select opening camera roar. We can also go up to file and go down there to open and camera roar. And also the shortcut of command or control ours there as well. 3. Adobe Camera Raw, The Basics Panel: Here we are in Adobe Camera R4. Here we have all of the panels from basic going all the way through down to geometry, effects and so on. A lot here, but we're only going to cover this top Basic panel. And I spend 99% of my time just in this panel for general work on photographs. Most of the time that color that comes out of the camera I'm quite happy with. But you can tweak that with the sliders here. And you also have the drop-down menu for the different color balances as well. If you're getting good images out of camera, these four sliders at the top are generally all you need. Hopefully you have good detail, but if not, you do have the texture and clarity and D Hayes available as well as vibrance and saturation. 4. Basic Adjustments - 1st Image: Always start with an assessment of the image before you start moving anything. So we can see with this image is a little on the brighter side. So we can take look at getting that coming down. Also, the mountains are a little bit brighter on those peaks. There's a little bit of shadow detail on the left-hand side of the barn. And maybe that front just needs to be taken down towards the bottom there. And then there's a deep shadow plus a highlight at the base there. So we will take a look at those as well. So that's roughly where we need to be with the assessment. Going over to exposure, less drag that slider back and then just get the tones coming down a little bit darker. Moving down to the highlights, we're just going to fix that snow on the peaks there. Sometimes the highlights will change the exposure. So sometimes you have to come back and just give other Lu, tweak. It is necessary. I go down to contrast. So it's early morning here and there's a little bit of haze. I'm just going to pop the contrast up rather than use high-use and then bring those shadows are. With all of these sliders. Don't worry about putting too much in and out. Just get it where you think it needs to go and then start fine tuning it. Also, don't forget that we are going to be looking at dodging and burning. So we'll look at this further now over to the brush tool here. This opens up the brush dialog box at the top. And coming over to the top, we've got all the icons when aid for brushing. And we have the brush tool. Add another brush. And the arrays are for when we want to cut back on any brushing that we've done. Coming down size we have here, but I generally use the bracket keys for speed. Rather archives keep it a 100 and flow 50. This allows me to brush over more than once. And density I like to keep it a 100. We also have down here auto mask, but I generally leave that off because it can leave hard edges further down overlay which I leave on so I can see where I've got active overlays. And there's a mask option as well. If you want to use the mouse. 5. Dodging & Burning - 1st Image: So dodging and burning is all about exposure. So we'll take a look at the Exposure slider, and we're just gonna pull up back just a little bit to get some burning going on. We'll just change the brush size with a bracket gaze. And then slowly just burning in along these peaks here on the mountains. If it's too dark because it's always a bit of a guest. The first one you can adjust that slider and we'll carry on gone along here. Now I can see there's a bit of over brushing onto the sky. This will turn that mass bone will go up to the Eurasia. And with a smaller brush, we're just gonna work around those edges so we don't get any glowing or over painting coming through. You can see welcome with a brush that stops any harsh lines coming. So we go back up to add another brush and we'll look at the front of this bone here. Gain change in the size of the brackets and we're just gonna burn in along there that's a little bit heavy. That will doubtless up a little bit. And back up again for another brush. And we'll take a look at this shadow down here in the foreground. The gain change matter, brush size with a bracket thes, and then just read and along there. And I've got some negative exposure showing, so that's coming into dark and all you need to do if you do that is just push it up and then you can see those shadows and the full grandstand to brighten up. Just going along that top edge, slightly smaller brush Nasser's feathered, you're not gonna see any toto signs of lines. So another pressure gain. So negative exposure in its fixed, that little bright spot down in the corner there. Helpless strokes. And that's done when it's just going to adjust that as we needed it. And a guy in up to another brush. And we're just going to open up this side of the bomb here. All these different brushes means we can fine tune each section individually and that's good practice. So did over the brush that bone a little bit so I will erase and we're gonna go down and just lead along the h there. Another brush again, just a little bit bigger. And we're gonna work along these edges. Just hold in the bottom area there. So it's almost like a half in yet coming in and we can adjust that down as we need it. Now really thus all as needed on this image unless you wanted to go into anything more fancy. But that's the basic adjustments that I generally do when I'm working on images. You can check a before and after down here just to see what you've worked on and how it looked from before and how it looks now. And if you're not entirely happy, you can always go back and readjust these brushes. 6. Basic Adjustments B&W - 2nd Image: Now let's go over to these thumbnails and work on this other image, very different image from the landscapes as worth looking at this one. Again, have an assessment of the image. First of all, to see what's possibly needed, that we've got a very bright area along here and also on the spot light by the fate. And also along the bottom, everything we need to hold that in might be darkened down the street in the distance there as well. Some deep shadow on that code. So we'll work on that one as well. Back now to the basics panel. Again unhappy with the color because I'm going to make this a black and white who work on those highlights and bring those highlights down. We can see those starting to improve on the ground and ozone that sign above the door there over to exposure. And we're just going to feed that back bearing in mind that we're going to start dodging in sunlight as well. Shadows. With shadows, I'm going to leave those as they are because we are dodging and burning on this one. And it is a low key image. Moving up to the edit menu of more, just change this to black and white. Again, just assessing the area to what we need to do. I think we'll start on this coat area here. Two, over to the brush tool. 7. Dodging & Burning - 2nd Image: And began to come down to exposure and just put some positive exposure in there so we can dodge him some of that shadow area. Getting that brush smaller and just working down that dark age. So just to just for us to either get that tone where you need it, check on the mosque. With that mosque, we're going to just get the eraser tool and cut back along those edges where we need it. Should do it. Now with a new brush. And we're gonna get some negative exposure. Just gonna come down that highlight along the edge of the body there. Point a small brush, this time. Another New Brush. During larger with a brush and began to darken down some of these brighter areas. You feel you needed a little spots here and there. Another new brush. And we're going to come down on this left-hand side with a large brush and just bring this down a little bit further, almost like a vignette coming in. Just tricking the level there of the darkness. Guy in another new brush. And we're gonna work on this bottom edge here. Remember, flow isn't a 100%, so we can go back and darkness, we'd need to justify brushing over the top. We'll just go and check the mosque and safe if brushed over too far anywhere. And on that one in particular, we're just gonna get the eraser. Check that mask again. And I'm just going to take this a little bit. I think that's gone a little bit to gray in the whites there, which can sometimes happen with dodging and burning or certainly burning. As before, we can come down to the bottom here and just preview before and afterwards and just check what we've done and that we're happy with the result. Once you're all done, we can go back over to the thumbnail or select the thumbnails that you've worked on. And then we can come up and go to the saved dialog box and work through whatever you need to do with your saving there. So save as you would normally do. But also remember once you've saved, do come down to the bottom right here to make sure you click on done so that all your work is remembered. 8. Final Images & Review: Now that's how I work on my roar images coming straight out of camera, like I said right at the beginning. It's all about getting it as close as you can in camera, first of all, then when you come into Adobe Camera Raw, you really don't have a lot to do. And certainly with the sliders has very little to do. Maybe those of you that don't do any dodging and burning. This is the time now to start looking at that. And you can see from these two images that does just help enhance the image and can produce some very dramatic results as seen in that second one. 9. Projects Welcome: So you now know how to work the fundamentals of Adobe Camera roar, assessing those images when they come in and then adjusting as accordingly. And not forgetting to do some enhancing with light through dodging and burning. It really is the case, mostly the images, Hopefully that's all you need to do. So now why don't you try bringing in a good image from your camera into Adobe Camera roar and doing some enhancing using these basics. Once finished, say how simple dodging and burning can really lift that image. And Moreno as a project posted before and after of your own image, you've done some simple manipulation and some dodging and burning Just to finish that off. Certainly I hope in future your images will show much, much more detail for very little work, as well as some good controlled light in which some dodging and burning.