Learn to edit photos in Camera Raw - Photoshop

1. Introduction to Camera Raw: Hello, hello, everybody. This is Chris, and I want to welcome you to this part of the course. Camera Raw. Before we jump into it, I have to tell you a few things about it. Camera raw is a beast. It's incredibly powerful and complex. If you're into photography, this is an absolute must. But it's not reserved for power users alone. Camera raw can help you improve a photo in just a few clicks, even if you're the beginner. No fuss about it. Now, I'm more for this second part. I'm a casual user. I'm not a photographer, nor do I want to become one. Reason I got started with camera raw was out of necessity. I needed to fix some very washed out or some very dark photos, and this was the right tool for the job. So basically, I take on a relaxed approach. Now, why should you care? Well, first of all, I want to manage your expectations. In short, A, I'm not an expert in camera raw, especially when you compare my skills to a seasoned photographer who uses it all day, and B, there's always more room for improvement. Here's how I see it. I'm personally a perfectionist. I want to show my best every time I put something out. I started working on some product photos for my own website. And on the first one, I spent 1 hour. On the second photo, I spent 2 hours. Now, indeed, it was better, but I looked at my website and I saw I had 80 other photos I had to do. I mean, 2 hours for everyone was not feasible. That's when I decided I need to compromise. I need to be happy with an eight out of ten. For me, there has to be a balance between speed and the quality of the result. And that's what I'm going to show you in this section. It won't be perfect projects, but I will show you my techniques and how you can improve your photos fast. Then it's basically up to you if you want to spend 10 minutes or 10 hours per photo. Lastly, this is recorded in the latest photoshop and camera raw versions. If you have an older edition of the program, you'll have to have a whole lot of patients. Most of the slids and features are still there, but they're shown in a different fashion. It's quite different. I can't say it's going to be easy to follow along on an older version. So my advice, please upgrade. It is worth the $10 per month. And with that, that's it. Liz get started. We'll see what's what in a moment. Thank you. 2. The most important thing about editing photos: Whether it's working in camera raw or in photoshop in general, some students have asked me, Chris, how do I know when I'm done editing or Chris, how do I know if it looks good or not? Now, those are decent questions, and they bring us to the most important thing about editing photos. And that's the fact that there is no finish line. There's no set point when you know you're done. To illustrate the point, you can get any photo and use this auto feature. It does look better in just one click. Now, are you done? You could increase the sharpness a bit more, or maybe the contrast. Now, are you now done? You can also apply targeted edits, meaning you can focus on a few key areas here and there. Then you can apply a vignette and on and on it goes. When are you done? The point is you have to understand that there's no finish line with your editing. You can do as much as you want depending on your time and patience and skills. So you have to get comfortable with the fact that there is no clear end. Now, for the second question, how do you know if it looks good? That's another part. Tell me, does this look good or does this look good or how about this one? It's the same photo, and I can show you lots of other different effects and moods, different vibes. You can do just about everything you want. The whole point is to experiment and have fun with it. Sure. There are some mistakes that are quite obvious, you know, like too bright or too saturated, maybe too dark. But in general, I'm going to teach you how to avoid those issues. Beyond that, though, it's really up to you and your eye. There's no set standard that you have to reach. Now, if you want my advice, you can do this. Look at galleries that you love or stock photo websites, have a look at images that grab your attention. See how bright, how saturated, how sharp they are. Then try to do the same thing. Now, in most cases, you'll see that you need a fine touch. Less is typically more. But again, to get a sense of your edits, look at some examples that you like. Then go back in camera raw or in photoshop and do your thing. Go back and forth and see if you're going in the right direction. At the end of the day, your mindset is the most important one. Don't put pressure on yourself with these edits. The more fun you have, the better you're going to get at it. By understanding there is no finish point and no set standard. This means that you can play with your edits and see where you end up. And if you don't like it, simply try again. That's the spirit of these types of projects. So please have fun. I really mean it. 3. Most common edits in Camera Raw: Hey, there, let's dive in and start editing this photo in camera raw by using the most common techniques. I'm going to explain everything in detail as we move forward. But for now, I want you to get active. Please be aware that raw files are typically huge. So your computer may be quite slow at times. If you can't work on raw files, please use JPEGs from unsplash.com. Here, we have a dark photo that doesn't look all that great to be honest. You can always click on auto and see what photoshop things. To be honest, the result is quite good. It did a great job. But I want us to get familiar with this interface and be able to do everything ourselves. Let's get to it. Now, first of all, I want you to notice two things. The red blotch on the sky and these blue parts in the grass. Now, those are warning signs. Those tell us that there's no information in that area, no detail. It's just pure white and black. Now, if you don't see these colors, click on these two small icons. Now, they're very, very small, so if you can't tell if they're enabled, you can look at the boarder. If you see it, then they're on, you can also use your keyboard. Hit U and O. And just like that, you should be able to see these spots. Now, again, these will show you that some parts are not right. To fix them, we can use these lides here. First, I'm going to lower the highlights to -50, and that should do the track for the sky. Now, how do I know to do that? Well, we're dealing with too much light. There are three things that can help us here. Exposure, highlights, and whites. Now, let me bring this back to zero. If we're going to play with the exposure, the entire thing gets way too dark. So that's not the answer. If we go back and then we lower whites, well, it does work, but we have to use an extreme value. So that's not all that great. So by process of elimination, highlights it is -50. Now, going back to exposure, the entire scene needs more light. So let's raise this up to about 1.5 or so. Now, again, how did I get to that value? I simply went back and forth a few times. And that's exactly how you should work as well. Play with the slider and see where you end up. Next on the list is contrast. I like to click here and use my up and down nados while holding down shift. This is how you adjust the settings in ten pixel increments. Now, in general, a higher contrast will give you a better looking image. Plus 30 or so should be just fine. Now, at this point, you may have forgotten how the original image looked like. No worries. We have this symbol right here that will help us see the before and after. Click it a few times and see how far we've come in just a few minutes. Now, if you're in to hot keys, use your slash next to the enter key. Right next to this icon. There's another one that helps you see the before and after in various different modes. But to be honest, I don't really recommend it. Hit it or better yet hit Q on your keyboard, and you can cycle through various viewing modes. But again, I'm not a big fan, so I don't recommend it. Again, you can use Q to switch between these modes, but keep it simple. Okay, now, let's go back to shadows. The blue zones tell us there's a problem, so shadows will help us out. I'm going to use a positive value plus 20 or so. And just like that, the issue went away. The red and blue areas are not a huge deal, but it's best to minimize them. Okay. Now, back to the sliders, you can play with whites, but in this case, nothing is going to happen. This obviously varies from photo to photo. As for blacks, well, if we make them more intense, the blue will start coming back, and that's not ideal. So I'm going to leave it as it is. Moving down a bit, let's go to vibrance. This is what I strongly recommend. I use it all the time. I'm going to go with plus 30. Vibrance, makes your colors feel more alive. Now, saturation does somewhat the same thing, but with less refinement. You can bump it up to tendou, but here's where I'm going to repeat myself a lot of times. You can do your own versions. There's no right or wrong way. For example, I'm going to quickly drop the texture to -40, and then the clarity to minus ten, okay? Here I'm going to add a vignette. I'll make the edges white, like this is from a movie. This is a scene where you remember something from a long time ago, a dreamy, ethereal space, right? Okay, so that's one thing you could do. But then you could also drop it. For example, I could add a lot of texture and clarity, say, plus 20 and plus ten or something like that. And now you can see just about every single blade of grass. The image feels rough So this is another vibe. That's why I'm saying there's no right or wrong way. It's all about how you want to express a feeling. Here's another visit. We can raise the temperature to say 6,500 or even more than that. Now, the grass doesn't have the same freshness. It's more towards fall than spring, right? So let's do a quick recap. Number one, there's no right or wrong way to go about it. The second thing, if you see red and blue zones, this means that all potential problems that you might want to address. You can enable those warnings by using these two icons or by hitting U and O on your keyboard. The most common edits are done from the basic panel. You have lots of other ones, but most of your time is going to be spent right here. When you want to see before and after, use the slash or this icon here. Assuming you're happy with your edits, and you want to share this work, please open it in photoshop. I like to open it as a smart object, a good habit to have. Okay, now, when you're in photoshop, you can export it. Please remember that the image is huge. So have patients, and you might want to use the scale feature to shrink it to 30 or 40% or something more manageable. That's how you'll be able to share it more easily. And with that, this has been a first journey in camera raw. Please upload your own version. Sad with happy, spring or fall, cold or warm, use whatever you want. Just play with it and have fun. 4. How to adjust parts of a photo in Camera Raw 2023: Come back. We just saw how we can use the sliders from the basic section to edit the entire photo. But what if you only want to adjust a certain part of the image? Well, let's open up this raw file, and you'll notice some red areas on the lights. Those are over exposed, meaning that way too bright. So Photoshop lets us know we should tone them down. Now, a quick note. If you have this area here underneath the photo and you want to close it off, use the slash key, the one next to shift, not the one next to enter. So again, toggle this area by using this foward slash, the one next shift key. Okay, back to it. To adjust a certain part of a photo, you can use this area here called masking. This is only available in the latest photo shah version. Okay, this will open up a new panel that will allow you to target any area from the photo. For this lecture, we're going to keep it simple. Choose brush. Now, there's a lot going on here, but we're going to take it step by step. First, let's change the size from this part. If you're not sure about it, move your cursor over the photo. In this case, I think a size of around ten should do the trick. You can also use the square bracket keys. Okay, now, that's fine. Let's paint over these lights. As we begin to paint, the red blotches go away, and a new red comes into play. This faded red tells us where we've painted, what we've selected. Now, we can disable it, and you can do that by clicking here on show overlay. But my advice is you leave it alone. You can also change it from red to any other color. But again, it's fine as it is. Now we can move to the sliders and turn down the highlights, maybe even the exposure. Notice that as you're moving the sliders, the red goes away so you can see your result. Believe it or not, this is the entire workflow of adjusting a certain area in camera raw. You go to masking, you select any of these tools, for example, the brush tool, you paint over that area that you want to edit, and then you get to use these sliders. It's really that simple. Now, when you're done and you want to exit this masking mode, you can simply click here and you'll be brought to the general edit mode. This will affect the entire picture. Now notice that the red blotches went away. Next, we can do various types of edits like playing with the exposure, contrast, shadows, and so on. But I'd like to stick to masking and the brush tool. So I'm going to leave this part up to you, but make sure you try at least two different vibes. Make a bright and happy look like the one I've gone for here. And maybe another one a bit darker, maybe more cold, something like that, something completely different, right? Now, to practice our masking with the brush tool, please open up this second image. This is a raw file. But again, you can use a J peg, go to filter, camera raw filter. I want you to divide this image into at least five different areas and make strong edits. Here's how this goes. Go to masking and select the brush. You can also use the hot key K. Immediately, we're going to get a new mask in this small panel. Now, what I'm going to do is I'm going to go over this blue house on the left. The problem is, if I'm going to brush too fast with a large brush, I may go over the road or the orange house. Now, no worries if that happens. This is very likely. Please hold down the ult or option key on a mac, and your cursor is going to show a minus symbol. Now you can clean it up. So if you paint way too much, just remember, hold down the old key and remove the unwanted parts. Now, what I suggest is you constantly make adjustments to brush settings and work zoomed in. Hit the Z key, and I suggest you do this. Click and hold. Now move towards the left, and you're going to zoom out, or move towards the right, and you're going to zoom in. Please practice this part as it's quite essential. The final piece of the puzzle is to move around by holding down the space bar key. So this is going to be your actual workflow. Zoom in, zoom out, move around, and repeat the process. When you're done with your painting, you can make some crazy adjustments. I'm going to raise the saturation, maybe the exposure, whatever it may be. I just want to make sure that it's obvious. Now, let's assume that we're done with it. Even though it does need a lot more work. Let's move on to the next house. This is critical. Please click here on this plus symbol and choose Brush once again, because we want individual controls, each house should have its own edits. In essence, this panel right here is like your layers panel. Let me quickly brush over the house, and then we're going to go back to it. The idea here is to stay organized and understand how this is supposed to work. Please play with the sliders and do a thing. Okay. Now notice we have two masks here. To keep it clean, please double click on the first one and rename it to Blue House. Okay. Now, do the same to the second one. Now, here's the thing. Like I said, individual controls, right? Say you want to further edit the Blue House. Just click on it, and you'll notice that the brush is already selected. This means that you can start painting. It's that easy. Now, I have to say that this does take time and patience to get it right. But the actual technique is fairly simple. Now it's your turn. Please do the other buildings, maybe even the road and the sky. Only use the brush tool for this exercise. When you're done, open the image in photo shop and export it at a lower scale. Maybe 50%, maybe even less. Remember, have fun and rename your masks after you use this plus symbol. On mask per area, please. Thank you. 5. Here’s a smarter way to adjust specific parts in Camera Raw: Hello, and welcome back. Let's open this image so I can show you better tools to adjust specific parts of an image. Please go to masking, and here we've played around with a brush tool, which is one of the things you have to master. It's like learning how to chop in the kitchen. If you want to be a gray chef, you need awesome knife skills. It's the same thing in photoshop. Master the brush tool, and you'll be golden. Now, after the adult set, you can move on to these fancy tools. For example, select subject. This is awesome. Photoshop will use its magic to select the girl in just a few seconds. So instead of painting over her with a brush, photoshop does this automatically, and now we can make any edits that we want. I'll do some pretty big ones so we can really spot the differences through the recording. But my advice in general is to not exaggerate with these edits. Just like that, this is improved. Now, what about the background? Here's how you can work smarter. We know photo shop can select the girl all by itself. Well, what if we flip it around? If we exclude the girl, then that means the background is going to be selected, right? So please do this. Rename the first mask to girl or subject or anything you'd like. Next, right click and choose duplicate. Now, don't be scared by this crazy. Just rename it so we have everything organized. Now, right click again, this time on, this part here called subject one. From this list, choose invert. Now the background is selected, and we can make any types of edits. Now, let me explain again what we did. We first selected the subject, meaning the girl. You can say that we isolated her, we cut her away from the background. And then we made some edits. Next, we wanted to select the background. But the smarter way to work is to duplicate the mask, then invert it, or flip it, inverse, whatever you want to call it. Think of it this way. Let's say that we have a huge canvas and one small dot. If you want to quickly select the huge canvas, you can select the dot, then tell photoshop to invert. Invert, meaning, please select everything else except this small part. It's the same thing here. It's just faster to work this way. Now, here's another example. Let's open up this image of the sky. Choose masking, and F here, you can use select sky. Now, let's make any types of edits, pretty big ones, so they're quite obvious. Now, let's just assume that the sky is perfect, even though it's obviously not. But as you can see, at the bottom, this is way too dark. Again, instead of selecting it manually, let's invert the mask. First, make a copy because we want to keep all the edits that we just did. Now the sky has two edits on it, and it's way too much, but no worries. Move down here and right click. Now choose invert. Now I'll do something crazy like raise up the temperature by a lot. And just like that, a big part of our work is all set. Now, you might ask, why did I make you use the brush tools so much when we have these awesome tools, select subjects, select sky, and so on. And that's because you can't really rely on them. I'm using great examples here. Huge photos, raw files, chosen specifically for these lectures. But in your projects, these one click wonders may not work so well. That's why you need to know about brushing and making manual selections. And when you combine both things, brushing plus these fancy features, then you're all set. Then you're good to go. So please practice before you continue. Thank you. 6. Discover better tools to make edits in Camera Raw: Hello and welcome back. You will truly start to enjoy working with photo shop and camera raw, when you feel like you have options. When you feel like you know at least two different ways to achieve the same thing. Here's the same landscape photo. We know we can use the select ky feature, but here's another fancy track, linear gradient. Select that and your cursor is going to change. Go over the photo, click and drag. Don't let go. As we expand, you're going to see this red area, and this means we'll adjust that part of the image. If you hold shift, you're going to get a straight line. Now, let's adjust the exposure, for example. You might notice it's not the result that we're looking for, but not a problem. Go back to it and modify it in such a way where you're happy with it. But remember, don't rely on a single feature for all your edits. In this case, let's add another mask this time for the bottom part. As you can imagine, we could use the brush tool. We could select the sky and invert it, or we can add another gradient, options, choices. These give you freedom in photoshop. I'm going to go with another gradient, and I'm going to lighten up this area. The shadows are way too intense, and camera is showing those blue dots to help us out. Now, what you'll notice is that even with this second gradient, well, the left side is still not looking great. That's why I made you paint all those houses before with the brush tool, so you can get familiar with this panel here. Simply add another mask, a brush this time around, and target this specific area. The goal is to make sure that you're comfortable switching from mask to mask, from tool to tool. That's why I always suggest you take your time with it and always rename your masks. This way, you can go back and forth and make edits as needed. That's the thing. When you change something, it modifies the entire vibe of the photo. So chances are you might need to adjust other things. Now, my advice is you remember what I said at the beginning of this section. Have fun with it. There's no finish line. There's no standard of quality that you have to hit. If this looks good to you, then so be it. In time, you're going to get better and better, and you might even come up with your own style. Just make sure that you understand on which mask you're working on. And remember that a mask is used to isolate a part of an image. If you don't want that, go back to the general sliders from here. Now, let's take a short break. 7. Raw image format vs JPEG: Welcome to this lecture where we'll talk about raw files and JPEGs. As I said at the beginning of the course, most cameras will give you two files for every photo use map. A JPEG and a raw file. Now, in short, if you want to edit that image, there's no discussion about it. Use the raw file. It contains much more information, and it will respond to your edits that much better. So always work on the raw file if you have it available. Now, let's talk about file format. My camera gives me a dot CR three file. Yours might give you something else, and that's totally fine. Actually, there are loads of raw file types depending on your camera. Sony cameras will give you a dot AR W file. Panasonic, RW two, Fuji film, REF, canon, depending on how new the camera is, will give you a dot CR two or a dot CR three file. D NG is yet another very popular format, and the list goes on and on. But that really doesn't matter. The essential point is that you open it in photoshop. And that's it. Don't worry about the extension. Just go for it. Okay, let's get started. So how do you open camera raw? Well, just in case you have not seen a photoshop icon on your raw file, right click it, and then use Open W. From this list, choose photoshop. The alternative is to right click again and hit properties. There, you'll be able to see how the file will be opened when you double click it. Again, if photoshop isn't there, you'll need to select it. Now, this is bound to happen if you use programs like ACDC. But once you tell your computer that it should use photoshop, you should be good to go. Assuming you can't find photoshop in this list and you can't browse for it for whatever reason, you can just drag and drop the file into photoshop like so. Please be aware that camera raw takes a bit of time to load up. It's not exactly lightweight, so please be patient about it. Let's talk about editing a JPEG versus editing a raw file. The raw version is opened, and I'll edit it by using the auto function. The result isn't perfect, but it's a big change. I'll leave it as it is, and next, I'm going to open it. Now, this is the raw file, and if you'll ever end out, look at the file name, CR three. Okay. Now, let me drag in the JPEG into a new tab. Remember, when you drag, you have to go above the Canvas area, so the image will open in a separate tab. Okay. You can see it says JPEG right here. Now, let's go to filter, camera raw filter. This is how you're supposed to open PNGs, JPEGs, and whatnot, especially if you're using photos from unsplash.com or similar websites. Here to keep things simple, I'll apply the exact same changes as before. I won't use the auto function because that may give us something else. Instead, I'll click here on these three dots. From this list, I'll select apply previous settings. Basically, I'm copy pasting my edits, so it will be a fair fight. I'll change my viewing mode so we can compare them. I have to warn you this won't be a night and day difference, especially through the recording. But trust me, when I say it's not a great idea to work on a JPEG when you have the raw file available. Okay, have a look. The JPEG has a nasty blue tent applied to it. The raw file is much more natural. This can be refined and chiseled into a great looking photo. The other one, not so much. I'll zoom in to 100% on my hand. Now, the name of the game here is natural. Here, my nails are hilariously pink. On the other side, they're normal. Now, again, I know that this doesn't seem like a big deal to most people, but it is important when you need a good result. And while we're here, look at my shirt. This is absolutely horrible in my book. The blue seems to have been applied with a paintbrush. On the other side, it looks fine. Now, let me switch back to my normal viewing mode. I'll use consolidate all into tabs. If that didn't convince you, here's another argument, a more logical one. I'll focus on the control we have over raw files. Here with the raw file opened, I want you to have a look at the temperature slider. If you're not into photography, this may not tell you all that much, but this is an international standard. If we have a look at color temperature, we can see how these values are assigned to a certain light source. For example, anything over the 5,000 Kalvin, that's the unit of measurement, by the way, Calvin, is a cool blue light. Studio light falls into this category. If you're into cars and if you're old enough, you probably remember that most cars had yellowish headlights back in the day. But today, they're laser blue. Senns are pretty much the standard for the more expensive models. Well, in camera raw, we get to edit the actual temperature of the shot. This is fantastic. This is basically us modifying the camera settings after we take the photo. The fact that we get to edit all these things after we snap the photo to me is absolutely amazing. So that's the temperature slider in the raw file. It's in Kalvin, and it's the actual value from the image. Now, let me switch to a JPEG. Okay. Even though we're in the same place camera raw, our control is actually different. Focus on the temperature slider. It's set at zero, and it ranges from -100 to plus 100, and there's no unit of measurement. This means it's applying the effect on top of the image. In a sense, it's forcing it. It's not an actual value in Kelvin, and the result will never be as good as editing a raw file. Now, let's wrap this up. In conclusion. If you have the raw file, please work on it, not on the JPEG. If you don't have the raw file, it's perfectly okay to use the camera raw filter. You'll have to be smart about it and not exaggerate with the slide does, but all in all, that's the essence. Thank you. Let's continue. 8. How to quickly view lots of images: Hello, hello. Let's see how you can quickly preview your images. This is really helpful if you have lots and lots of photos, especially raw ones. Take this example. I have over 1,000 raw files here that I personally snapped. And I know that more than half of them, to be honest are garbage. They should be deleted. So how can we quickly sort them? How can we see which ones are great and which ones are garbage? Well, in comes Adobe bridge. This is a free program that Adobe offers that can really help us out. Now, here it is, and I'll be short and sweet. I never liked Adobe bridge because it always felt slow and complicated. But as I started taking my own photos, I realized that this is a must. And here's how I like to work. After I copy paste my photos to my computer from my camera, I like to click here and copy this address. Control C. Then I move to Adobe Bridge. Here's the address bar. Click, paste, and it enter. This is so you don't waste any time going through lots and lots of folders. Okay. Now you can customize this space by using this region here. I suggest film strip, and you can always adjust the preview as needed. And now here's the thing. You can quickly go to your photos, but the best part is this one. To begin with, you can delete the files immediately if they're blurty or low quality, or you just don't like them. Hit the delete key, and you'll see this warning. It's asking us if we really want to delete the file or just remove it from the list. I like to delete it. So in the future, I'm going to use control delete to skip this part. So that's one part taken care of. This means we can quickly clean up all the bad photos. Next, you can give star ratings to your photos so you know how to sort them. Now, here's the thing. I'm a beginner photographer. So I take lots and lots of photos. I then go back and forth, like so. I like to use my ado keys for that. And then I decide which one is better. If it's pretty good, I'm going to give it four stars, maybe five stars. For example, in this ese here, I'm going to use Control four, and you'll notice the stars have shown up. This one here, it's not as good, so three stars, control three. By the way, if you don't want to use the control key, just click here. And now you can simply use one, two, 345, and that's it. Okay, now, repeat this process, and then you can use this filter system to the left. You can see that I already have a few five stole photos in this folder. Now, check that box and you'll see them at the bottom. Now you can open them by right clicking and choosing open in camera raw. This is how I actually work when I take photos for my oatmeal products, for example. Again, I never liked adobe bridge, but in this case, this is the best way to go about it. Imagine having to open 1,000 plus photos in camera raw to check if they're usable. That would be horrible. But that's why adobe bridge is great. To be honest, this program is a beast of its own. You can customize it in every which way. You can do many other things with it, but I want us to stay focused on editing photos, so we're not going to explore the rest of its features. This is more than enough to get you along. Again, Adobe Bridge, download it if you use lots of raw files. And with that, let's continue. 9. My workflow in Camera Raw: Hello, hello. Let's talk about my workflow and camera raw. Here's the deal. I double click the raw file, and that's going to open up. In the bottom part, you'll find some information about damage. If you click it, you're going to get these preferences. Most people agree on the following settings. The cuddle space should be Adobe RGB 1998, and the depth should be set at 16 bits per channel. Having said that, 16 bits is quite taxing on my computer. If you're using an older model or even worse a laptop, you may want to stick to eight bits. In short, it's all about working with more information, and your bits are going to look nice if you're going to use 16 bits. Considering I'm recording this, I'll leave it at eight, but note that 16 is recommended. The next thing is crucial. Please check this option. O pen and photo shop as a smart object. This is the most important bit. When you enable it, have a look at the open button from the bottom. This changes to open object. Now, I'll keep this simple. Say you're not sure about these preferences, and you just skip them. I'll hit cancel. I'll then hit the auto button from the top right and say I'm done with it. What now? Well, this is what's essential. Click here on this arrow next to open. From this list, choose openness object as before. Now, why is this incredibly important? Because we get to do the following. We can double click the tumb nail, and that will allow us to continue working on the image. All the sliders are exactly as I've left them. And when I'm done, I can hit ok. Back to photo shop, I can now continue to work on the image, maybe sharpen it, maybe do some skin retouching, whatever. And when I'm done, I can export it as a PNG or a JP, so I can share it with my friends. But let's take it one at a time. If you only want to work in camera raw, do you need to save the project as a PSD? The answer is no. And that's because of this XMP file that shows up next to the raw file. You can see it has the same name as the raw file. So if we close photoshop, and then we open this image by simply double clicking it, you'll notice that all your edits are still there. So you get to continue working on it, and it's all due to this XMP file that appeals automatically when you make some edits. Now, let me close photoshop and I'll delete it. As you would imagine, when I now double click the raw file, the sliders are going to be back to the defaults. So to sum it up, if you're only going to work on your image in camera raw, make sure you take care of your XMP file that automatically appears next to your raw file. In that case, you don't need to save the project as a PSD, if you're only going to work in camera raw. On the other hand, in most cases, you will want to apply other edits to the image. For example, one of my G two techniques is applying a 50% gray layer. That's explained in another part of the course. But the idea is that once you have a few things in the layers panel, well, it's best to save it as a PSD, no matter if it's one layer or 20, save it to keep it editable. And once you do that, you don't need to worry about the XMP file. So that's my workflow. I open the raw file, I check my settings, I make my edits, and I open it in photoshop as a smart object. If I limit my edits to camera raw, I'll keep the XMP file safe. If I want to do other changes, I'll save it as a PSD. Then in both cases, no matter what, I export the image as a PNG or a JPEG, typically at a much lower size. I don't really need the 6,000 by 4,000 image. In the export window, I generally choose to scale it down. This is a generous size, but not humungous. And all in all, that's my workflow. 10. How to add optimized images to a website (gallery): Hey, there, as a designer, you may get this task. Here's a website that needs photos for all these products. And when you entered one of them, you're going to get a gallery, more photos here, right? So how should you go about it? First, you need to understand that size is crucial in two ways. A big high quality image, maybe 5 megabytes, it may be ten, even 20. This means the website is going to load very slowly. So everybody hates that, so we have to do our best to shrink that size. As a general rule, under 300 k per photo is pretty good. Under the 100 k is fantastic. So the smaller, the better, these two, three, four, 5 megabytes images are a no go. Now, the second part of the study is the actual size, the dimensions. See, people love big photos, 1,800 by 1,200. Beautiful, big, beautiful photos, where you can really see all the details. But the bigger the dimensions, the bigger the file size. Now, we could go for 900 by 600, and that would be more reasonable. Never go for something like 400 by 250 because that would be way too small. So to some of this point, you have to test and see what works best for that specific website. Your objective is to have a small file size while the actual dimensions are as big as possible. So here's how I personally work. I use adobe bridge to squad my photos. I then select all the five start ones, and I edit them in camera raw one by one. I'm not going to show you the entire process because this can take Os. Now, when I'm done in camera raw, I always open it as a smart object, and this is essential. If you don't see this option here, please hold shift. If that doesn't work, use control or command K. Then in this new window, go to work flow. From here, check this option. No, Okay, back to it. Once I'm here, I can't really use this file. We can check the Canvas size with this hot key, and you're going to see that this is huge. The most popular screen size right now is 1920 by 1080. So we have to be much smaller than that. But here's how I like to work. I don't resize this photo. Instead, I start a new project with Control N. In the width and height, I'm going to put in my final values. For this oatmeal website, I chose 960 by 540. Hit o, and this is where the magic is going to happen. First of all, drag the smart object from the other tab. This is going to be way too big, but hit control T. The problem is that we don't see the handles, but we can use this field here. Select the entire thing and replace it with another value like 100. Now we can see the handles and we can resize as needed. Now I'm going to save the PSD. This is quite important. Next, I'll add more and more smart objects in the same way. From bridge, I'll continue with my five stop photos and I'll open them in camera raw. If the image is very similar to the previous one, well, here's the track. I love using this feature here. Apply previous settings. This is how you can really be efficient. Now, every raw file is going to open up in a different tab, like so. I'll drag them inside my new project, and I'm going to resize them one by one, so they're going to fit my canvas size. This is going to take a while. Okay. Finally, when I have all my photos here, it may be even 50 or 100, I'm going to export them. To do that, go to the Layouts panel and select all of them. You can use control to select them one by one, or better yet, click on the first one, then whole shift, then click on the last one. And that's how you get them all. Now, right click and choose Export As. This is obviously going to take some time, so please be patient. I hope you have a strong computer. Now, the same shift approach works here in this new window. Select all of them, then change the format. I'd like to use JPEG with a fairly high quality. You don't need to worry about the dimensions because they're all set to 960 by 540, and you can see that right here. Okay, Export them anywhere, and then there's only one more step. Use this website called mg.com, and this will compress your images. Go to the motions, and after the few seconds, this website will make them much smaller without losing too much quality. From a 20 megabyte file that was 5,000 by 4,000. You now have a sub 300 K 960 by 540 photo that's ready to be uploaded. If the quality isn't there, you can re export as PNGs. That's going to give you a better quality, but a bigger file size. What's essential is that you play around and see what works best for your other website. Now, you may ask, Chris, why did you save the PSD with all these smart objects? Well, let's assume that you're not happy with some of the photos, not a problem. You can double click the stumb nail and your back in camera raw. This means you get the full image and you get to continue editing. After you save, you can re export and compress. This is how I actually work on an everyday basis. You don't have to copy my exact steps. I'm sure you can do it in other ways, but I hope this was helpful. Good luck. 11. One-click wonders in Camera Raw: Hello, hello. In this video, I want to talk about one click wonders. Actions that take little to no time, yet they produce great results. I'm using this website to download some raw files because I'm no photographer, and this features awesome ones. Let's open this one and we'll use it to explore presets. To activate that part of camera raw, please click here. As you can see, these are structured into several categories. In general, this would be a bad thing because the more choices you have, the harder it is to make a decision. But here's why I love this part of camera raw. As you go over each one of these options, you immediately see a preview. This is fantastic. This is beginner friendly, yet the outcome is rock solid. Well, most of the time, as you can see, some presets work better than others, but it's up to you to see what fits best. In this case, this is a fairly dark image. So obviously, certain presets are not going to work well. Let me switch to another image so we can continue to explore them. Please remember that I'm using the latest version of the program. If you don't have your interface looking like mine, then you're probably using an older photo show version. Okay, so there are tons of presets to explore here. Please go through them and see what's what, get used to them. Especially like the vignette effect, which is something a lot of people look for. This makes the edges a bit darker, and it creates a nice mood. But here's the thing. Say you click on one of these presets. There's a good chance it's not going to be perfect. But here's where the fun begins. Go back to the edit part and continue working on it. B it with a brush, whatever else you want to do. There's a lot more to be said about presets, how you can look for new ones on the Internet, load them up, disable them, and whatnot. But here's the thing. The best thing that I ever did for my website for my business was to create a preset for my product photos. Here are some of my images. Lovely jars filled with Kia pudding and various other things. By the way, we say Kia, but chia also works. Okay. If you've played with camera raw up until this point, you may know that auto is a good place to start. Trouble is, depending on the image and its background, it will give you a different result each and every time. So because of that, you may end up with a gallery that changes its mood with each photo. Otherwise I said, you may improve your images and they may look lovely, but when you scroll through them as a gallery, they'll seem disjointed. That's why I created a pre set that will ensure I have the same look and feel across tens if not hundreds of images. Just think about it. Remembering the color temperature for each one, the texture slider, the sharpening, the vibrant, all that is handled through a pre set. Click on these three dots and it save settings. This will bring up this window from which you can pick and choose just about everything you want to include. There's stuns here. So professionals will feel right at home. For the regular users, just hit save. A new window is going to show up asking you to name the preset. Notice is going to be saved as an XMP file. Call it whatever you like. But make sure you place it somewhere where it makes sense for you. Then when you want to use it, don't switch to the precess tab. Just click here and load that file. It's as easy as that. While we could work on adding more presets here, I don't really advise it. Instead, I strongly suggest you focus on developing your own presets for your own photos. The pre built ones are more than enough as a starting point. Okay, try it out and have fun with it. 12. Bonus: How I work in Camera Raw for product photos (30 minutes): Welcome back. This is Chris, and this is going to be a live session, where we're going to take all of these photos and enhance them. Here's the situation. I sent all of these photos to a photographer. Then obviously, he snapped a bunch of photos. Now, in general, what happens is the photographer fixes them. He enhances them, he does all sorts of things, and then he comes back with the final product. But I actually asked for the raw files. I asked for everything like this, so you can see some of them are quite horrible, for example, this one, it's actually quite under exposed. You could potentially fix it though, to be honest, though it's not all that great. But yeah, basically, I asked him to send everything. B of that, it's way way cheaper. That's one of the ways I can easily save a bunch of money. Instead of getting ten photos, I get about 150 for the same amount of money, and obviously, I can fix quite a lot of them. Instead of having ten final pictures, I can get maybe 30, maybe 50, maybe something like that. So this is what I have right here. And actually, I think I have another one right here. Yeah. There you go. And I need to obviously edit them. This is going to be done in camera raw, and this is how I like to work. Now, obviously, this is going to be completely live, so you may see a bit of gaps, a bit of hesitation here and there. Hopefully, you can bear with me. But this is my entire process from start to finish. And the idea is we're going to do all of these photos, so we can actually upload them here to my website. You can see that some of these are already brand new. But these ones are the old ones. We obviously have to fix that. Let's have a look and see how this goes. First of all, what I'm going to do is I'm going to copy this URL and I'm going to open bridge. I'm going to open bridge, I'm going to paste it right here. Now you may have a different layout. If that's the case, go to libraries or essential, but basically what I like to use is film strip. Basically I paste the location here, so I don't waste any time and actually finding the photo. Then obviously I can just have a look here and see what's Now, some of these are already handled. Again, you can see them right here. I've already edited a bunch of them, but for the cookies, I still have to do them. These are some of the cookies, and I'd like to handle them. I'd like to fix them and see if this is a good if these are gray photos or not. Let's see what we can begin. With, I think these ones, these black ones, let's have a quick look here and see what's what. Okay. There you go. Now, if you don't have adobe bridge, that's totally fine. What you can use is something like ACDC or something like that and simply have a look. Obviously, in windows, you can just zoom in and see what's what. I usually take the last two digits or the last three digits, and that's how I can quickly identify a photo. Now, in case you do have adobe bridge, you actually don't need to do a lot with it. Once you get into film strip mode, you should be able to simply glance at them and see which are the better ones. Then you can actually give them a star rating. And this star rating is actually quite helpful in case you have hundreds and hundreds of photos. Let's have a good look here and see where we're going to begin. Let's see if this one is pretty good or not. Again, some of them have been already edited. But no, this one hasn't been edited. This is pretty good. Now again, in general, what I would do is I would use control five and this would be five stars. Then have a look here. Five stars. Basically, that are very, very small differences here. You can actually zoom in and see mind and minor details. Probably this one would be a bit better because it's a bit higher up, so again, Control five. This one is the only one control five. Though, this is very, very wrinkled. There's a lot of problems with it. I'm not sure if we're going to use it. Obviously, we can correct absolutely everything. We can fix everything in photo shop, but it's a method of time. When you have so many files here, it's quite difficult. Let's have a look again. This is lovely. This is probably better. It's a bit zoomed out. We do have to take care of the of the labels. We should make sure there in focus this one, and I think this one. Let's do the cookies first and foremost. Then we're going to see what's what? No. Let's start with this one, the C chocolate one. Double click it and it should launch immediately in photo shop. Let's have a look. Now, immediately, I'm going to test the auto feature. Auto pretty good. It's a good starting point. Let's have a look. In terms of exposure a bit higher up, I would say temperature. Now, I'm going to copy this default one. Now, let's see. Okay. I usually like to go to the extremes and see what's what? Probably something like this. In general, what I like to do is I like to make sure that all of my photos have the same temperature, especially if there in a set. Usually that's going to look a bit better. Then I'm going to leave it as it is. Of highlight. It's this part right here, the white right here. I don't think we need that much. In terms of shadows. There's a big problem with the noise level here. You can see all the scratches and whatnot. The texture, we have to really bring it down, and this is quite nice. As you can see, this is a huge difference. Let me just quickly turn it up so you can see every single detail here, which is lovely inside the cookie, you know, but it's horrible right here. Let's do this. In terms of clarity we're going to leave it. We're going to ramp up noise reduction quite a lot. Though it's it's a bit too dreamy, so to speak. It's like in a dream, it's a bit blurry. Let's sharpen it just a bit. Obviously, this is going to get cropped, so I think this is pretty fine as it is. Let's see what else we're going to do here. In terms of color, I'm going to raise the vibrant a bit more. You can see what the difference it makes right here. So Huge. This is zero, and this is 4250, 50. Textual, let's go with clarity, just a bit in general, I really don't like clarity all that much. Clarity is great on the edges of the jar. This is a glass jar, so this is quite okay. Pretty good, pretty good. Now, let's see what we can do here. Basically, what we've done so far is the entire scene. Now we have to take care of the label. Let's hit k, and that's going to open up a brush. It's this panel right here, and we're going to shrink the brush with the left square bracket key, and now we're just going to paint over this guy right here. Let's see what we can do. It's a bit tricky, unfortunately. The left side is over the exposed, the right side, it's way too dark. Let's see exposure first and foremost. Not all that nice. Shadow doesn't really work. We might have to split it in two, which is not ideal, do something on the left and something different on the right. Let's see though let's try a bit more. The whites may be less more contrast. Quite tricky. This is why photographers charge quite a lot, because you do have to go through loads and loads of these situations. Okay. Do we not have enough coverage the blue is actually bleeding out a bit. Let's go with Zo here. Saturation is fine. Let's decrease the texture, which should help us right here. But again, it's a bit I'm not sure that I like it. Again, we should potentially split this up, but we're going to be here all day, and I'm not sure that I want to do that. Clarity. No. We can't actually use that. Let's have another look here and see if we can do something else. In terms of highlights, we can bring it down just a bit from this part right here. Mmm. Yeah, I can't say that I like it. I can't say that I like it. It's okay, but it's not great. Still Let's do another mask. I just hit once again. Let's increase it, and let's do this power right here. The actual cookie. For this one, I'm just going to increase the texture quite a lot. You can see the difference that this makes, something like this. Clady, I'm not sure. The chocolate is beginning to pop, it may be a bit too much. Let's do something like this. I think that's it, maybe a bit more contrast. You can see that it's becoming more brown, brownish, golden yellow. Yeah I think I like that quite a lot. This is quite nice. This is the top part. Ms two is basically the top part. You can call it just that top part. But yeah, this part right here, I'm not in love with it. No. It's not great. Unfortunately, it's not great. So I just deleted it, and now let's hit K once again. Whoops, Let's go with ad. Let's go with brush. Okay. Let's try this again. This time we're only going to focus on the left side. What's going on here? Show over there you go. Let's try this part right here. For the exposure. Now I don't think we can we can use the exposure all that much. Maybe increase the feather and paint just a bit more. Let's have a look here. What can we do? What can we do? It's not great to be honest. It's not great, you know. I think we're going to leave it as it is. But yeah. It's not ideal. It's not ideal. Let's go at it. I'm not too happy about it. Quite difficult. Quite difficult. What I'm going to do is I'm going to hit okay. I'm just going to open it as a smart object, and now we can continue. We can see what's what. The idea is that after we have the first one, you can see it just change right here. We could potentially just open up a second one. Then once this is loaded up, we could apply the previous settings right here. Apply boom. There we go. Now obviously, it doesn't apply the secondary mask at the top and at the bottom. But yeah, overall, this may be it quite a better starting point. Let's have another go here. Let's do the first part right here, increase the contrast, and then the texture. Maybe the clarity a bit, just a bit. I think this is pretty good. Now, could we leave it as it is? I think so. I think so. This might be a bit better to be honest. Let's have to go at the whites. Then the contrast. Open the object. Let's have a look. Yeah, this is better. It's a bit too much, though. It's a bit too much. If we have a look here, I think it's a bit too much. The vibrance is all over the place. What I'm going to do is I'm going to close this one. I don't need it. Then for this one, the vibrance is way too, I'm going to tone it down. Let's have another look here. Vibrance, let's turn it back down. Something like 20 maybe. Okay. I think this is pretty good. Now, at this point, what I'm going to do, I'm not going to save every single PSD, that wouldn't make any sense. Actually, I'm going to do the following. I'm going to open up a different PSD. Let me see where it is. Yeah, this is it. Basically what happens is, I have a certain size in mind for every single photo. This is the wide one. Sorry about that. I need the other one to portate one, the ego. Basically, I need a certain size 800 by 1,000, whatever that is. Let's have a look actually see, 800 by 1,000. What happens here is I'm going to do this. This is completely done. Let's say I'm 100% happy with it. Then I'm going to take this, I'm going to move it here, I'm going to hold down shift. Let it go, control T, and then resize it. Obviously, it's going to take a bit, but yeah, resize it, something like this. Okay, and that's it. Now, basically, what I'm going to do, I can close this off, and you're going to say, Chris, but what if we want to change anything? No a problem, simply double click. And camera is going to start and we have all of savings here. Why is that the case? Because there's an XML file that's actually saved in this particular folder. Everything is saved. There's a separate file for that, so we can continue working, but we have this PSD. Basically what we can do is we can select all of them, export, and that's that. And we get the perfect size. Actually, let me do one layer. So I know where I've left things off, we can actually change the color and that's it. So basically, what I'm going to do is I'm going to continue. I'm going to do more and more and then I'm going to drag them in. Now, the issue with this aspect ratio, let me show you the mobile version because that's the biggest thing. In terms of the mobile version, when you click on a photo, you get something like this. It's fair fairly narrow and quite tall. But how are we going to do this situation? That's the tricky bit. We're going to see, we might simply not use that because that's going to be quite difficult. Let's get back to it. We did the chocolate one. You can see that before and after right here. Quite a big difference. Let's do this one as well. We can immediately apply this one. This doesn't look as good. It's a bit too dreamy. Let's have a look. Contrast a bit more. For the texture, we might raise it up just a bit and decrease the clarity. No, this is actually good. The sharpening is high. This is good. Noise reduction. Yeah I think we need to lower this one. This one, I don't think it makes any significant difference. We're just going to leave it at 50. Let's have a good look here. The contrast is fine first. Let's get a brush. Do this part right here. I think I got a bit too much. I'm going to hold down. I'm going to remove this bed right here. Let's go for a contrast. Typically contrast is my go to choice for the most because most photos are actually washed out. Texture clay. Just for the fun of it, let's have a quick look, what would happen if we actually enable this part? No, no need for that. No need for that. Though the overlay should actually remain active. Okay. Okay. Okay. This is overall quite lovely. Again, quite a lot of scratches. That's not a problem. Open the smart object. I'm holding shift when I'm using the open feature, bring it in. And actually, let's do this. Let me hit escape. What I like to do is I like to mit the same size because obviously all the photos have the same size, and there you go, boom and boom boom and boom. Pretty good, pretty good. Again, we do have some noise here, but I'm not all that bothered by it. I think that's fine. As well, but yeah, pretty good. We have two out of four. We chose this one. Let's do the same thing. Apply previous. Now, in general, what tends to happen is you should actually spend a lot more time on every single photo. To be honest, you should spend hours on hours on end to actually make every single photo totally beautiful. What I'm doing right here is a glimpse into what it's like to be an entrepreneur and doing everything by yourself. It's not great. It's not ideal, you know, 'cause you're never going to do a great job. You're never going to do a perfect job. This is going to be a seven out of ten. Maybe an eight out of ten. If I'm lucky, and I have a and I'm in a great mood. But yeah, in general, you should delegate. You should leave a designer to do all of this stuff. A designer that's not in a rush because I have to do a lot of things right now, 20 other things. So obviously, my mind isn't 100% focused on this task alone. But yeah, it is what it is. So when you're busy, you try and do the most that you can. Hold shift, open the object. Okay. Come on. Control T. So I'm sure that you may do things a bit in a different way. But u Again, when you're in a crunch, you have to make sure that you're as efficient as possible. 20 minutes for the 34 photos isn't great, but it's a good starting point. Yeah. Again, we could use the Clone Stem tool and see what's what. We have a bump here as well. But you know what? I'm not going to do it. I'm not going to do it because I don't want to waste any time. It's a small detail, and I don't think it's worth the extra effort because I do have at least ten other photos to handle. Previously, I've done 50, and you can see in the PSD, how many, I actually did. But yeah, right now, I'm not going to record the entire thing and show you the entire process. I'm just going to do a few of them. Yeah. This is good. Shift, open the object. Let's see how many we actually have in this one. You can see actually the scroll is absolutely humongous. This is why I'm saying that, as an entrepreneur, you should delegate and you shouldn't do everything by itself. You can see this is absolutely huge. It's massive. So yeah, this is why I'm taking this approach because time is money, and you can't spend too much time you know on the very small stuff. Now, is this a clear defect? Obviously, it's a defect, and it shouldn't be here. Could we fix it? Could we fix it fairly fast? Yeah, sure. But again, I don't want to do that because I still have loads more to do. So let's have a look here. We could potentially do this. Let's have a quick look. Maybe we can use it as a category photo, 1 second. Let's do this. Okay. Let's do the texture, make a smaller dough. And here as well. You go on the big ones. Contrast. Texture. Clarity, maybe just a bit. There we go. Now, again, this is going to be a problem because we can't actually use it here. But let's give it a go and see how it is. I do have another PSD for landscape mode. This is most decent. I'm going to save it, but it's not ideal. As you can see, it's from Dal. Let's see what if we enlarge it actually? Nope. Nope. Save it. And let's do the following. Let's export these guys. Quick export a PNG. Let's save them on my desktop. It's going to take a bit. And then, yeah, I was saying that we might use the landscape one on the category side, which is here, this one right here. We may actually do that though I do like this white one. Though the labels are really washed out. We're going to have to see let's go here. Let's select the photos. There you go. They're huge, by the way, initially, that always going to be huge. As you can see, a major improvement. Now we're going to export it. Good to go. Now I'm going to open my War Press website, and we're going to go and see those specific products, and then we can obviously upload every one of them. Let's have a look. Let's go to biscuit. This is Wo commas in War Press. This is pretty standard. Let's actually upload these guys. I'm going to open them by clicking on the scroll button. Let's have a look here and see what's what. This is what I'm going to replace. You can see the actual photos here. Yeah. Let's handle it and see what's what. Let's remove this one. This is the salted version. Boom, the salted version is this one. It's black. The previous version was white. I think white was a bit better. Let's go for it, though, doesn't matter. Let's go for it. This is this one. It does take a bit of time for it to load up. That's why I'm going quite fast, and that's why I'm working on three different tabs for different tabs, because you got to keep up the pace. Again, time is money. This is what I've learned as an entrepreneur, as a business owner. You really got to make sure that you're on your a game and you keep on working. This is done. Now we can update it. This one is done as well. Date. Yeah, this is how I typically work. Now, to be honest, I do actually change something. Let me show you in this new tab. Usually I do type in something different here. This is a keyword and it usually helps for theEO purposes. Then let's just hit update, and let's have a look if this is looking okay or not. Let's reload. I do think I have some caching going on. Pretty good, but a bit too big. We might need to make them a best model so they fit better. Yeah, overall, I'm quite happy with it. I think this is on the right track. Let's have a look at the other ones. Here you can see that the jars bit better placed. This is a bit too zoomed in. We would have to make them probably something like this, something like this. A very small difference, but yeah, I think I'm going to do that. Actually, let me just say that. Okay. For now, I think I'm going to leave it as it is. But yeah, this is my actual process. I have a look at all of these photos. I give them a rating, then I sort them by rating. So I only see the five start ones. After that, I do my thing in camera raw. And then once that's done, I put them in a separate PSD, and when that's done, I'm totally good. Although, to be fair, what I tend to do is this, let me actually show you that part and then I'm going to close close the recording. So This is why it really pays off to have a strong computer. Let me do this. Then I'm going to take all of these all of these layers. We did only five. To be honest, I'll probably continue working on these for at least two more hours, but I'm going to take them. I'm going to put them here. This one fits perfectly. This is quite nice. Then I'm going to actually all of these guys are okay. Quite okay. D, I think I may actually leave them as they are. Although we could at any point, come inside here and obviously do a bit of healing here and there. As you can see, this is quite easy to do. It's a matter of just taking the time to go for it. Boom, and there we go, much better. Again, could we do a lot more? Totally, we can do loads of things here. But yeah, it's a method of time. What I'm going to do is I'm just going to save it. I'm going to close it. I'm going to continue working on the portrait mode. Once that's done, I'm going to use I IMG. Then finally, I'm going to upload them to my back end. And once this is finished, once the thumb nail is finished, I'll obviously do this part right here at the gallery. Because when you go inside the product, you obviously have a galley of photos as well. And as you can see, these are the old ones. So I do have to update them. This is the landscape one. This is not correct. So I need to make sure that everything is nice and updated, everything, every single photo. And I think I have about 45 photos per product, and I have about 30 products, 34 products. So that's over the 150 photos. So when you put it that way, you really have to make sure that you're deficient. But yeah, hope you enjoyed this process. This is how I actually work. This is how I spend my time. Hopefully this was useful, a useful glimpse into how I can obviously sort everything out and make sure that everything is nice and editable. The PSD is huge. This is 6 gigabytes, 5.6 gigabytes. The other one I think is nine nearly 9 gigabytes. But yeah, I find that this is one of the best ways to work, and I get the exact size every single time. This is Chris signing out. Thank you so much for tuning in, and hopefully this was insightful. Thanks. 13. Conclusion: There, this is Chris. We've wrapped up this session, but of course, there's loads more to learn. Camera raw is something that would require a completely separate course. But I hope these lessons gave you a glimpse into its power. As I said, experiment with the sliders and make sure you mastered the adjustment brush. As long as you do that, you'll be able to improve your photos dramatically. While we focused on raw files, please don't be shy from using camera raw on PNGs or JPEGs. Sure, it's not the same thing, but you can still make your photos pop. You don't have as much freedom, but that's fine. If you don't have the raw file, it is what it is. On a personal note, I struggled a lot with my DSLR camera when I first bought that. Everything seemed so complicated. I mean, loads of settings, loads of tutorials, and the most important thing. Automatic settings were unanimously considered terrible. And then it was all the terms, Io, aperture, lenses, shut of speed, the works, so many terms, so many things to learn. But as I allowed myself time to play with them, I grew more confident. There wasn't one specific moment where I felt, Nan, I got it. Instead, I didn't allow myself to get frustrated. I think that's the most important part. I believe it's the same thing with camera raw, or anything else in general, that seems impossible to learn. Take a step by step. Don't put too much pressure on yourself, and you'll learn it in due time. You're not on a deadline. Stay focused, and you'll get there. Good luck, and remember to have fun with it.