All language subtitles for 2. Camera Raw Basics.mp4

Okay.

And our next lesson, we're going
to be covering the basics of Camera Raw.

Now, Camera Raw is a filter in Photoshop,
but it's also a pathway

or pipeline
to get camera raw files into Photoshop.

Camera Raw File is a digital negative
So if you're using a DSLR

or a mirrorless camera,
it usually has the option

to shoot a camera raw file
and a camera off file as a negative file.

So is the image that you've captured,

but all the settings that are determined

by the software of the camera,
such as the exposure to the contrast,

the vibrancy of the colors,
the warmth of the colors are all

the information is in the file
but it can be adjusted.

And that gives you a lot of power
to take a image

that's straight out of the camera
and be able to adjust it very similar

to a negative and the power that that used
to give you as a photographer.

You could go into the darkroom
and do a lot

with your exposure
to get an image that you really liked.

Now, if you use Lightroom,
you can probably skip these lessons on

camera raw because the camera

filter is essentially the engine

that Lightroom uses
to cope to correct images.

So if you're already using Lightroom
and you know how to correct

images in Lightroom, the tools in camera

are virtually identical
most of the interface is very similar to.

So if you have Lightroom already, use
Lightroom and are doing this course

specifically for Photoshop
you can skip through these.

I would go to again the Panorama

because that's where we start doing things
specifically in Photoshop

Otherwise, let's start learning camera

I'm going to show you
the basics of cameras.

Let's go to File Open.

And if you go to the folder called
Three Camera Basics,

you're going to see a whole bunch of files
here, and you'll notice

that these are DNG file that is a digital
and digital negative file.

Let's go ahead and select
all those by holding shift.

Also, quick tip,
you can do command A to select all

let's head open.

All right.

So this is the camera raw dialog.

On the left here,
you can see our filmstrip.

So those are all the images.

And we can clip through these real quick.

Click on the little icon here.

That'll show you the image.

And up here are your tools.

And on the right,
here are all your settings.

Now, this dialog,
if you're really familiar with this dialog

and know how to use it, you pretty
much know how to use Lightroom as well,

because this engine, this camera engine is

what Lightroom uses to correct images.

So if you're very familiar with Lightroom,

you're going to be able to pick this up
real easily.

If you're not hanging there
and we'll go through everything.

So first up,

let's click on this bonsai tree
and it quickly show you the tools up here.

So we've got your standard Zoom tool

that works very much like in Photoshop.

If you can do the scrubbing Zoom,

you can do the click hold option.

And next you have the hand again

that works very much like in Photoshop
and your standard spacebar

command works for the Zoom here,
just like it does in Photoshop.

And if you're on a different tool,
they hand spacebar.

A shortcut also works.

Next, you have the neutral eyedropper.

Now what the neutral eyedropper is.

Let's go to model with that here.

What the neutral eyedropper does
is it allows you to select

a portion of your image that, you know,

in the real world is a neutral color.

So, for example, this wall was painted
black and white so I know that

even though this has a gold tint in it
here, I know that it should be neutral.

So if I select that, you're going to see
that these settings here, my white balance

settings have changed across
the whole image to make this neutral.

Okay, so let's go ahead and do Command Z.

You can see undo there
and just try that again.

Select this and select
a portion of the image that should be gray

you can see it's
corrected our color balance accordingly.

All right.

Next, you have the eyedropper
with the color sample.

This allows you to place
a color sample here.

Look at the values.

You can place multiple ones.

So when you're making color corrections,
if you want a specific value,

you can get those.

Honestly, you're not going to
use this much, but it is a feature there

okay.

This allows you to do targeted
adjustments.

We're not going to get into that
quite yet.

Just know that it allows
you basically to click and start dragging.

So it allows you to target
a specific part of your curve.

So if you know that this area here
is what you want to make later,

you can click and either
drag down or drag up to adjust.

All right, let's

go here and go camera defaults.

We'll
just bring this back to the defaults.

But that's what that allows you to do.

And similar

to Photoshop, that a little triangle means
there are additional options here.

So the parametric curve,
that means it's adjusting you.

Sorry. That means it's adjusting

your lightness or darkness.

You can also adjust the hue, saturation
or luminance from this tool.

Next, you have the crop tool
that if you click on it,

you basically can draw your crop.

You can also hold down
and select a specific preset but

if you

clear crop, you
then go back to what you had originally.

In this case, it's
cropping to a five by seven

If I just go to normal,
I have the option of adjusting this

to whatever I want

And once you've made your crop

just double click
and that will do your crop.

All right, let's command Z four and do

this is the straightened tool.

And if we go down to an image,

well, let's use this image here

So that's the main Manhattan beach.

Here we have some straight lines.

I know from having taken the photograph
that these lines here should be straight

so we can grab this level tool
and just click and drag across the area.

We know it should be straight

and it's going to just

the image to have that line straight.

So it's going to kind of adjust the crop.

That's not very obvious.

Let's try another one here.

Maybe if we try this line here,

you can do this
vertically or horizontally.

Don't do anything.

That's 45 degree angle because it's
not going to be able to figure out

what it should be.

So there you can see
my actual crop is angled.

And also this works
similar to free transform and that I can

automatically rotate
and it'll adjust, compensate the crop

so that nothing is missing from the image
and you get that nice

great overlay so you can see
what part of the image is being affected.

But that's what that level tool does.

It allows you to, you know,

select a

straight line in your image, drag down it,

and it'll straighten your image
accordingly.

All right, next we have the transform,

and this allows you
to make adjust adjustments to your image.

You can do automatic.

Let's pick an image
that has a little more challenge to it.

Let's pick this old church.

So if you click on automatic, it's
going to try to figure out

based on the lines in the image,
what that image should look like.

And real quick here,

if you go here, down here, you'll see that

sorry, this one here swap before
and after settings.

That's P.

Right so if I hit P,
you can see what it looks like

before
and after without having to command Z.

So just realize shortcut.

There is P and that gives
you kind of a preview before.

After. Okay.

So there you can see
what the automatic does.

Let's turn that off.

And go to apply only level correction.

So that's not going to correct
any of the distortion.

It's just going to correct the level

and you can also make it correct
the level vertical.

So in this case, it's
correcting the vertical lines

as opposed to concentrating
on the horizontal lines.

And this kind of gives you

it's very similar to automatic,

it gives you level
horizontal and perspective.

And this allows you to do custom guides
so in this case,

you can draw some lines here.

So for example,
I want this to be a straight line

and I want this here to be a straight
line.

And I want the back

here to be a straight line.

All right.

So you can see as I add more lines, it's

using those to determine

how it's going to straighten out
that image.

All right. So this is a great tool.

If you've taken a photo and you want to
adjust and make sure that it's straight.

So that's what that tool does.

Let's go ahead and default that.

And I'm going to hit escape
to get rid of these lines.

And that'll also take me out of this tool.

Back to the default zoom tool.

All right.

Next we have the spot removal.

We're not going to get into that
in this tutorial

because that's kind of camera retouching.

Honestly, most of these tools sorry, this

the red eye and the adjustment brush.

I would rather do these things
in Photoshop,

but I will show you how to do
how to use them in our next tutorial.

In this story,
I want to concentrate on the basics,

but this is for spot removal.

So you real quick, what that does,
it works similar

to a combination of the spot

removal and clone stamp tool in Photoshop.

Basically, you paint an area
and then it's samples

another area to cover up

that now this is doing it very stupidly.

It should obviously pick an area of skin,
but you can adjust that after the fact.

Go ahead here. Pick an area of skin

and it's going to use this

texture information
and put it on top of this.

But use the original color information
from here.

All right.

And then you can keep doing that.

Through your image.

Move those around accordingly.

You can adjust
whether it's healing or cloning and

you can visualize spots here
that'll help you kind of

look at what spots might exist.

I personally have never use this.

If I can't see visually what spots
I want to clean up, then,

but what's the point of cleaning them up?

All right.

And then finally,
you can turn off the overlays.

They're making it a little bit easier
to see your final image,

although when you get out of the tool
by going back to the zoom here

or hitting escape,
you will no longer see the overlays.

All right. Right.

I, I don't have a simple red eye
by red eye if you scroll over an eyeball,

it'll figure out where the pupil is
and it'll be saturate the red out of it.

Okay.

And then a local brush adjustment
brush grade,

we graduated filter and a radio filter
we're going to get into

in another tutorial,
but it basically allows you

to take all of these basic corrections
here on the right

and applied them to a specific part
of your image rather than the whole thing.

All right.

And then finally,
we have the preferences for camera.

Realize
even though the top menu here is Photoshop

camera operates almost as an independence

little application inside Photoshop.

All right.

And then you have rotating the image

counterclockwise, clockwise.

And finally, you have marking
the whole image for deletion.

You're really never going to use that
because you're not using camera

except as a pipeline into Photoshop.

All right.

Next I want to show you the basics
panel on the right here,

which are the basic corrections
that camera allows you to do on an image

for this.

Let's go ahead and select
the image called Truckee River.

And let's go ahead and start here.

You can see this image was underexposed

so we're going to fix that.

We're going to punch up the color
and just kind of get this image

to the point where we like it as a photo
before we bring it into Photoshop

and make any additional changes
or corrections to it.

All right.

So the first thing we have here
is treatment.

We can either have it a color image
or a black and white image.

In this tutorial,
we're going to focus on color.

I have another tutorial a bit later
in this course where we're going to cover

black and white.

All right. Next, we have profile.

These are basically color treatments
that you can apply to the whole image.

We're not going to get into that
in this course.

That's a little more advanced.

Next, we have white

balance and this is kind of the

white balance in the image.

But the first thing you want to fix in

any image is the exposure right?

Because that's going
to bring out the colors that you want.

And from there,

you can see whether you want to change
the white balance or change anything else.

So let's focus first on exposure

this slider we're
just going to bring up here

till we get the color
is kind of how we want them here.

And you can see here on the histogram
that that's changing.

As I drag this over to the right,

you can see where the information
in the photo is.

Generally, you want most
of the information kind of writing across.

You don't want this little hump here
and spike here.

Obviously, this whole image is a little
too bright now.

So we're going to bring that down
right about there.

Maybe.

Let's bring up the contrast
and you're going to see that's

also helping to spread out that histogram

Next, we may want

to take the highlights down here.

Just you can see

almost all of the highlight information
is compressed into that right corner.

We're bringing that down a bit.

And let's also push the shadows out

a little bit more toward the right there.

And you can see again how that's affecting
the histogram.

Whites
will push the whites to be more more white

and the blacks will push the blacks
to be more black.

Generally, I avoid messing with the whites
and blacks.

And unless I have a really overexposed
or underexposed image,

generally you want to adjust highlights

and shadows before you mess
with your whites and blacks.

So let's leave this as this

texture, clarity
and de haze are all really kind of

contrast, but at a deeper

level of the image,
if that's the right way of saying that.

So texture will make the whole image
feel sharper

by increasing the contrast

at almost like
the grain level of the image.

So if we zoom in real close here,
you can see as I increase the texture,

it's increasing the contrast at a very

you know, the high frequency of the image

and clarity does a similar thing.

But that kind of a medium level. Right.

So here, if I increase clarity,
you can see the contrast coming up

at the detail level,
but not as fine as the texture.

And then finally, de
haze is going to do that.

But across the whole image
now, de Haze is designed for images

like this morning fog where you have fog
and you want to get rid of that haze.

If I do that, you can see that

Photoshop is trying to

work out what details behind that haze
and bring up the contrast to show that

where you don't have haze.

What it's going to do

and there's another image that's,
you know, a good example of that.

You can see the haze here.

If I bring that haze up, it's
going to get rid of that haze.

You can see it's also adding more contrast
to the rest of the image.

So it's just something to be careful out
there.

Don't overdo it.

But that's what the the haze slider does.

And then finally,
we have vibrance and saturation.

Now, those are quite similar

Let's go ahead and go
back to our Truckee River image here.

Let's take the clarity down to zero.

I'm not really going to mess with that.

Or the clarity for this image.

Kind of like it the way it is.

What Vibrance is going to do
is it's going to take the colored,

colorful areas of your image,
such as the green here

and the green here,
and make those more saturated

where a saturation is going to bring up
the color across the whole image.

So basically, vibrance is kind
of a smart version of saturation.

So let's take the vibrance up.

You can see what that's doing,
setting some nice color

so there you can see vibrance
at almost maximum.

And let's do the same thing this time.

But with the saturation

and this image,
there's not much difference.

But let's see on this image

here, let's take the exposure up on this.

Maybe take these shadows up here.

Kind of bring up that area there.

All right.

So if I take the saturation up to 75 here,

you can see that her skin looks terrible.

But it has brought up the saturation.

Now, let's do the same thing
about with vibrance.

And you can see there
it's a little bit smarter.

So it has taken up the saturation
quite a bit.

But her clothes, the blue in her clothes

and her lips have gotten
a lot more saturation.

Whereas doing it

with just the saturation slider
kind of did it across the whole image.

So that's the difference
between those two.

Vibrance is the same saturation,
but smarter.

Okay.

So those are all the basic
settings of camera.

And with any image
you're going to play with these, you're

going to adjust them as much as you can
to get the nicest image.

Generally, my workflow in

Photoshop is if I'm using a camera,

I'll either make the corrections
in Lightroom, which is basically

a duplicate of camera,
or I'll make the corrections in camera

until I have an image that I feel
is relatively neutral

color grading and fine corrections,

getting rid of things in the background,
skin color, skin retouching, and all that.

I do that mostly in Photoshop.

Just because I have the option of layers,
I can always go back if I want to.

I just have more freedom in Photoshop

to do the things that I want
and I'm faster in Photoshop.

All right,

so that's kind of a general overview
of the basic panel in the next tutorial.

We'll start
going through some of these others

So that's an overview of the basics panel.

A few of the things I want to mention here

is you do have the option of down here
looking at your image in different ways.

As I mentioned before,
my preferred way is this.

That's where

I just get a direct and before or after,
and that's by hitting P on the keyboard.

That's just the easiest way of seeing
what you've changed in your image.

All right.
So that's kind of this down here.

The other thing I do want to mention
is if you've made corrections on one image

and let's say you took three photos
that were all of something similar

you can always take those corrections
by writing the right mouse clicking.

Actually,
we didn't make any corrections on this.

But let's go ahead on this morning fog and
you can see this little icon down here.

So as you've made corrections,
I can right mouse click here

and select another image like this one.

So shift right
mouse click and say sync settings.

And what that's going to do
is it's going to take the corrections

I did to this
and apply it to this image here.

All right.

Well, we'll cover that a little more,
but I just wanted you to know that.

And then finally, we have this here's
this link.

AdobeRGB blah, blah, blah, blah, blah.

What this is,
is basically your workflow into Photoshop

So let's go ahead and select
this tricky image.

Let's give it some vibrance

see if there's

anything else I want to do to this image.

I kind of want to give it
a little more warmth there,

and then maybe haze it just a bit.

Get that nice
contrast in the background there.

And I think pump up the

shutter areas just a little more there.

We take the highlights down even more.

All right.

So I'm kind of happy with that image.

Now, what I can do if I click here,
these are my workflow options.

You're going to see that
when it goes into Photoshop,

it's opening in Photoshop
as a smart object.

And I can also resize it
if I want to change the color space,

change the bit depth, in most cases
a bit is fine.

But if you want a little more color space,
you can use 16.

But just realize when you're saving to web
or if you know,

pretty much any application,
unless you're sending it to a

photo professional photo printer
a bit, it's

going to be fine and it's going to reduce
your file size quite a bit.

So in
this case, I'm going to change a tape,

but I'm going to keep my resolution
as is meaning I'm not going to resize it.

I'm not going to add any sharpening
because I can do that in Photoshop

Adobe.

Our job is my preferred color space.

I'm going to leave it in that one
and I want it to open in Photoshop

as a smart object.

So let's head on there

and then you'll notice
that this is an open object.

I also have the option of canceling,
which will close camera

and I can say done.

And what done is going to do
is it's going to apply those settings

to my camera file, but
it's not going to actually open the image.

But if I then open this again in camera,
these settings that I've done to

the image will still be there
and applied to the image.

Also, I have the
the option here of saving images.

So if I don't even want to go

into Photoshop,
I could make all my corrections in camera.

Once I'm happy with all my photos,
I can click save images.

That's going to give me
a whole dialog here for saving the images

but because this is a Photoshop course,
we're not going to get into this.

All the photos that you're going to work
on, you're going to take the Photoshop,

but just realize that's that
that that is there.

It exists.

And if you want to create a whole workflow
out of camera, you can cancel for now.

All right.

So going back to our tricky let's hit open

object

and there you have it.

We now have our photo in Photoshop
ready to work on.

You will notice that
this has the smart object icon next to it.

And what that means is
this is a nested file

in Photoshop and in Photoshop.

The Smart Object feature
is really powerful because it allows you

to nest camera files

or layered files
into your Photoshop documents.

So in this case, I could make corrections
here,

add composite layers
or so forth into this image.

But then if I wanted to change it,
I could double click, double click

here and actually make changes
to my original camera.

So that's a very powerful feature
you can then hit.

Okay. And it's going to update it in here.

All right.

So that's your basic workflow and
those are your basic settings and camera.

Next, we're going to go into some of
the more advanced settings in camera.

All right.

You may have noticed

that there are some other tabs
aside from the basics tabs in camera.

In this lesson, we're going to cover those

All right.

Go to file open.

And for this tutorial,
you're going to go to

course assets for camera advanced.

Let's go ahead and select
all these using command day

and then hit open.

All right.

You're going to now
see four images in your camera strip.

Let's go ahead and select
that first one model corner.

And let's

go ahead and make some nice
basic corrections here.

It's already pretty well-exposed image.

I take down the exposure,
just a tiny bit here,

bring up the contrast a little bit,

and we take those highlights down.

Bring the shadows up just a little

And for females,

you really don't want to add clarity
because that's going to bring out

the faults in their skin.

So that's a good tip for female
photography.

Do not add texture or clarity

for male photography.

You actually can.

And it creates a nice kind of rugged,
manly look.

But for a female photography
don't mess with that clarity.

All right. Let's look at vibrance.

Yeah, a little bit there.

All right.

So I'm kind of happy
with the basic settings.

And now what I want to do is dove into
these other tabs here and what they do.

So let's go ahead and start
with the tone curve here.

So the tone curve

is very similar, in fact,
to these settings here.

It allows you to adjust your highlights,
shadows, whites and blacks

but you can do it with a tone curve.

So we did a previous tutorial on

how to use curves in Photoshop
It's really not much different here.

If you like adjusting with curves,
you can go to the points curve.

I never use parametric because I can do

exactly the same things here as I can do
here.

However, I will sometimes use the point

and that is because here I can change

or break out and make adjustments
to the different channels.

So for example, if here in the skin
I want to add some yellow,

I may go to blue and pull down the yellow.

Or if I want to add some cyan
to the shadows,

I could go to red
and pull down the bottom of the red there.

I just have

the ability to change

things in the color
that I don't have in my basics tab.

Let's go ahead and command Z.

Those are

good.

All right.

So that's what the tone curve is

There is one other advantage
to the tone curve,

and that's in an image like this
where I can adjust

my exposure there,

but it's still pretty dark in the shadows.

And if I go to my point curve here,

I have slightly more ability

to adjust particular points.

However,
I can also use this tool in that case

to go in here and

adjust specific points of the curve.

And you can see that's
adjusting the parametric curve.

So that's kind of, you know,

a way to do the parametric curve

without having to go and add points here,
because it'll do that for you.

So as I add a point here and adjust,

it's adjusting my
parametric curve accordingly.

All right.

Let's go back.

Default that back.

So that is one that one advantage to this.

But again,

I tend to just use these settings here
and allows me to do the same thing.

And if I do want to use a curve
for color grades,

I prefer to do that in Photoshop
or I can do it as a layer.

Have a mask

Be able to adjust the opacity
and so forth.

But that's
what the tone curve is for next.

You have sharpening and noise reduction.

So for that, let's go ahead

and select this model cat

and let's just kind of zoom in here.

I'm going to select my zoom there

and let's

increase the amount of sharpening
and you're going to see

what it's primarily doing here
is actually sharpening my film Grain

However, you can

see here that it's also sharpening
the background image.

Now, if I reduce my film grain,

you can see here

this is doing a pretty good job,
but you do get that kind of almost

painted effect where a lot of the details
coming out of her hair there

and if I push that up, I'm primarily

getting more sharpening inside the hair.

So for sharpening
I prefer to do that in Photoshop

where I have more control

of my workflow.

I never use the sharpening in here.

I just don't see the value of
using it here

where I have better tools in Photoshop
for sharpening

noise reduction.

I'm sure that camera

and Photoshop
probably use the same engine,

but I do like the noise
reduction in Lightroom,

so I will often use that in a situation
where I have a lot of noise.

This is a good
example because this was taken at night.

There is quite a lot of noise
in this image.

We zoom in here,
you can see the amount of noise is crazy.

So I take that up here

you can see that

that's cleaning up
quite a bit of that noise.

There are dots in this shirt,
so that is kind of a good gauge to see

whether minorities reduction
is getting rid of detail in the photo.

And if that's happening,
I can increase the luminance detail here.

And see if that will correct
some of the problem.

And you can see
I am losing a bit of detail in my trees.

There

but overall, it's

doing a pretty good job for

how little detail
there was in this original.

I mentioned how strong that

noise was.

And if I hit P here,
you can see them before and after

Now, in reality,

I really wouldn't take the exposure
quite so high.

I do kind of
like the nighttime aspect of this photo

probably pump up that vibrance to

it, something like that.

Also, if you take up the shadow
as opposed to the general exposure,

you're going to keep more
of the detail of your image.

All right.

So that's sharp sharpening and noise
reduction.

Next, you have a cell adjustments

and so is hue saturation in luminance.

And for that, let's pick this photo here.

I'm going to show you
what this allows you to do.

So this allows you to target
specific colors

in your image and change their hue,
meaning their color.

The how saturated there are
and how light and dark they're.

So, for example,
if I wanted to make this image

look more psychedelic,
I may want to take this gold color

and push it toward green
so I could go here,

kind of push that over this way
and this way.

And you'll notice that
because her skin tone is falls

within that orange rain orange range,
this is not affecting her.

So without any masks or anything,
I can get this cool

green effect in the background, I could
then go in here and pump up the saturation

of that

and get a really nice, cool effect.

Also, if I wanted the color in her glasses
here to be a different color,

I could go down here to the purples
and maybe

push them more toward pink

And again, if you go here

and you'll notice
that this has now changed

from my parametric curve to hue,

so if I click on this area
that I want to adjust,

you can see that
the hue is being adjusted.

There

Again,

this is something
honestly that I would do in Photoshop

where I do have more control
I can mask her out

and I have less of a chance
of something like this happening

where I just this color and you can see
her skin tones becoming to red,

or if
I bring it up too high, you can see her

cheeks are starting to get
this kind of sickly green

color to them.

So if you're not going through Photoshop

or just using Lightroom,
which also have identical tools to camera

this is a nice tool for Photoshop.

I mean, for a Photoshop workflow,
you really don't want to use these.

You can do everything in Photoshop.

Faster, easier, and with

greater control of your masks
and so forth.

So let's go ahead and default that

default that

you know.

So that is the Gisella just minutes
just quickly,

so you can see luminance again
this is going to now change to luminance.

I can go in here and, you know,
make that color brighter or darker.

See, you know,

it's there as a tool.

I don't suggest using it.

All right.

Next, we have split toning

for that let's go to this photo again.

What this allows you to do is put a color

filter
or a color hue into your highlights.

In this case, I'm going to add
kind of an gold ish color here.

You can see her and the highlights in

the background
are getting that gold hue now.

And then here I could select

kind of a bluish color,

and that's going to color
the shadow areas with that.

And I can adjust here.

How much of the area is being affected
by this shadow

or the highlight

Again, this is something
that I would rather do in Photoshop.

So if you're doing a camera

through to Photoshop Workflow or pipeline,
I suggest leaving this alone

just because there's better tools

and you have more control in Photoshop
than you do

in camera.

All right. Next we have lens correction.

And this is a really valuable tool,
actually.

If you turn on a profile correction,
what it's going to do

is it's going to take
the kind of fisheye effect that a lens

will give an image and the vignetting
that a lens will create,

and it's going to correct that based on a

profile of the lens
that you use to take the photos.

So in this case, it's a Nikon
50 millimeter with that profile, and it's

correcting the vignette and the distortion

based on its profile of that lens.

So that I find very valuable.

I do suggest doing that
if you have a portrait

or if you have an image
that has lines in it.

So if if an image has straight
lines up and down

or has any kind of squares in
it, I do suggest using this

if you find that

Photoshop can't figure out what lens

you used

like in this one,

that can figure out what lens I used.

You can go in here and help it out.

So let's say in this one I used

one and I use I used in Nikon

and it was a 200 to 400, I believe

so you would have to look up your lenses.

But, you know, unless you have

a huge collection of lenses,
you can usually remember

what photo you took
and what lens you used.

And if you go in here,
you'll find that almost

every lens in
existence has a profile in-camera, raw

so you'll be able
to find your lens in there

and then applied the correction
accordingly.

You can also go in here
and try to manually fix the distortion

and the fringing, but it's a hassle.

I don't suggest that.

And I have not run into a single lens that
doesn't have a profile already built in

All right.

Next,

we have effects.

This allows you to add grain

and add a post crop vignette.

So in this case,
I could add a nice vignette to the image,

and after I've added it,
I can adjust where the midpoint is,

how round or square it is,

and how feathered it is.

Also, you can give a somewhat bokeh

effect to the highlights.

So you can see here
the highlights are shining.

It's not a bouquet effect. Sorry.

It's showing those highlights
through the vignette

so whether the vignettes hiding or not,

those highlights

next you have grain

and we go to an image like this
that has no grain

or virtually no grain.

You can actually add photo grain.

You can adjust the size of that grain

and the roughness
or how contrast to that grain is.

I don't use this

because I would again,
a lot of these tools,

I much prefer using Photoshop

to add these effects because in Photoshop
I can make it its own layer.

I can adjust the capacity of it,
I can add a mask to it,

and I just can't do that in here.

So I am going to do all these things

I would rather do in Photoshop
and with a camera to Photoshop workflow.

That's what I recommend.

All right. Next, this calibration.

You're not going to go into this.

This allows you to adjust shadow
those red primary grain,

basically
adjust your RGV values in the image.

So if you're using a film

you know, if your digital colors
just are wrong across

across the whole image,
you can adjust those.

Never found I had to do that.

But in the rare case that you have to
that exists.

Finally, you have presets

you can create a new

preset based on the settings that you have
by clicking this little icon here.

This is not something I use much,
although if you do find yourself

putting every image through camera,

or if you don't use Lightroom
and you prefer to use camera, either

because you don't have Lightroom
or you just prefer a camera, then,

you know, having different presets
and using them can be valuable.

You'll also note
that this is a recent addition to camera

where you can actually hover
and see a preview

of that presets.

That's really handy if you just kind of
want to go through the presets

that come with camera and see
if one of those gives you a nice effect

Again,
I try to minimize what I do in camera

because I much prefer working in Photoshop
and also I

when I do any type of compositing,
I want my original image

to be as neutral as possible.

So that if I composite
different elements together,

then when I apply a color grade to it
or color saturation, it's

applying to the composited image
and not competing

with whatever
color correction has happened prior.

All right.

Snapshot is similar to your history

in Photoshop,
except for you have to add the snapshots.

So this is valuable if you're going
through making some changes.

So let's say I like this I can go look one

and then maybe I want

to try this a bit darker

and maybe I want to push that green

and make it look more sunset.

I can go here and click on Look to

and then I can kind of go

go between these,
see which one I like more.

So that's with snapshots for.

And that kind of gives you an overview
on all the tabs

and kind of all the tools that you have

available in camera
when you've made your changes.

In camera.

Again, you go here,
you can open and it's a smart object.

You can make your changes.

You don't have to click on this
every time.

When you set your workflow,
it'll retain those settings

for all your future images

Okay.

One thing I did want to show
you here is we've got this image,

and this is a perfect
example of where this haze

will really help you

in this case.

This little feature will come in handy.

And I know that the whole cloud here

should be kind of a white gray.

So if I click and drag.

It'll actually average out
all the pixels in that area.

And make those neutral.

So that's a little too blue for me.

You may go a little smaller area, maybe

pick one of those

yeah.

Even so, I kind of want
to push more yellow into that.

That looks nice. All right.

But that's a great example of where
that deep haze is going to help you a lot.

It's bringing out the contrast
in the image.

All right.

That about sums it up for this tutorial.

Okay.

So those are all the different settings
in Lightroom.

The next thing we're going to learn

is the tools that you can use
to retouch your image.

Most of these tools, if not all of them,
are also available in Photoshop,

but you should know them
in camera as well.

So let's take a look at those

All right.

Let's go to File Open.

And for this one, we're going to go

to 05 camera retouching.

And let's go ahead and do Command
eight to select all

and hit the open button.

And here we are back in

camera raw.

All right.

So now I want to talk about these up here.

So these tools
I touched on them in an earlier tutorial,

but here we're going to go into them
a little bit deeper.

So let's go ahead and start with
the first one, which is the spot removal.

So a spot removal allows you to get rid of

spots in Photoshop,
I mean, sorry, in camera.

So the simplicity is
you paint over an area

or a spot that you want to get rid of,
and you'll see that

this is getting source information
from here and putting it there.

And you can simply click
it'll usually do a good job

of picking the source information.

But if you do pick a spot
and it gets the source information

from the wrong place, you know, like here,
you can always adjust that

to a spot
that's more similar in your image to

the area where that,

you know is similar
in terms of skin pattern or what have you.

So that is what the skin tool does.

Now, let's look here
at some of the options we have.

First off, we can use Heal our Clone.

I suggest always keeping this on
Heal clone there are some situations

where you might want to use Clone,
but they're few and far between.

So as a general rule, keep this on here.

Next is the size of your brush
You can make that bigger or smaller.

When you do spot cleaning up like this,

you really want the brush
to be as small as possible

because that will leave

most of the guesswork out for Photoshop

and you get better results

you can adjust the brush with the right
and left the bracket tools.

Left bracket
for smaller, right bracket for bigger. So

generally you want the spot

to be just a bit
bigger than the spot itself.

And you can go through

and clean up your image this way.

You can also adjust the opacity.

So, for example,
if I wanted to get rid of this

or make it lighter but not get rid of it
entirely, I could do this

and then take down the opacity
on that patch.

So realize this works on a patch
by patch basis.

This one is currently selected
indicated by the red and the green dot.

I could then select this one
and change the opacity on that one.

Next, you have this visualize spots.

And what that does is it kind of shows
you an overlay in Photoshop here.

Kind of indicates
you can see some of the spots here.

You can also justice to see
which spots do I want to fix.

And if

you turn that off, you can see the spots
here.

It's just a way
if you're doing all your cleanup,

it allows you to see the spots
more easily.

You can then go here and more quickly

get rid of the spots

It's not really a tool

I use often just because
if I can visually see the spots

without that,
then neither can my final audience.

All right.

So that's spot removal.

The overlay
simply turns off those overlays.

Also, when you're on this tool,
if you hit escape

you'll go back to your default zoom tool
and those overlays

will disappear
until you select the tool again.

So that is spot removal.

Next, we have the red eye removal,

something I've honestly never had to use.

But if you do have a situation
with a red eye,

essentially what you're going to do
is just make a box around it.

It's going to look for the red in that

area and it's going
to saturate and darken it

We don't have a red eye

here,
but that's the simplicity of using it.

Here. You have red eye or a pet eye.

Both will do a similar thing.

Red eye is for humans.

Pet is for pets like cats
or what have you that have a red eye.

This you can adjust the pupil size
or how much it's

darkening yet I usually find that
it darkens it too much.

But then again, this is something
I honestly have had to use

maybe once in 20 years.

Okay.

Next we have these three
and these kind of all do the same thing,

but allow you to select areas
in different ways.

So for this,
I'm going to select the Eaton Canyon here,

and let's go first into our basics
and let's make some adjustments

So the first thing I want to do is
I want to bring up

the shadows here,
get that detail back into this area.

I also want to push the temperature
a little bit warmer

so we get rid of that strong blue cast
and take down the highlights.

We get a little more of the detail back
into this part of the image

And in this case, let's

see what happens if we bring up the black.

You know, really what I want.

So I'm going to leave that

pretty close to zero.

And let's see what happens.

Maybe a tiny bit of clarity

and vibrance.

All right.

And as you can see here,
there's still quite a bit of control

between this light
area of the image and the dark.

And this is where these come in handy.

So the first one I want to discuss
is the graduated filter

And what this does is it creates a

gradient.

So basically here it's 100%.

The red is 0%.

And you'll see here,
this creates graduated filter.

You can now make corrections in that area.

So let's go ahead and zero
this out to reset.

And let's bring this up to here.

The nice thing about having a gradient is
you don't have like that solid line,

but maybe I want it from there, too.

About there.

All right.

In here.

Now, I can adjust
the exposure of this area

and then I can do another one.

So you'll notice that my key,
my mouse shifts here.

I can

command Z that here, I can rotate it

and you can see how that's affecting

the gradient there

or I can drag it
to make it bigger or smaller

Also, if you

scroll down here,
you can turn on a range mask,

and that's not so valuable in my opinion.

When you used to grade our

graduated filter,
but it will come into play

with the brush and even the radial filter.

So we'll discuss this in a minute.

Okay.

So having done that, if I then move away

and it becomes that cross there,
that means I can create a new one

and it will use the settings
that I last used here.

Let's go ahead and zero that out,
because in this case,

I actually want to bring the opacity down

but as you can see,
we have the issue of the tree.

So what I'm going to do
is I'm going to delete this one here

and instead go to the radio filter.

And the radio filter does the same thing
except for rather than a linear gradient

it's using a

radio gradient.

So basically here it's 100%
and at the edges

it's 0% And again,
I can make this an oval shape

kind of best fitted to the area

of the image that I want to adjust

which in this case is that

then I can take that opacity down

and adjust.

And here I may want

to create a range mask on the luminance.

And now if I turn on the mask here,

let's make this a color like pink

and then visualize the luminance mask.

You can then click here and select
the areas

that you want to affect with the gradient.

So this is a helpful tool.

It kind of gives you an option
to make somewhat finer

selection areas.

And now if we turn those back off,

you can

see that it's kind of targeting the area
a little more

a little smarter
than if I had just made a gradient.

All right, let's add another one.

So now I can also go here.

So I want to add it here

but if I go here, I'm
getting the move tool for this gradient.

So what I'm going to do is click on New

and that'll allow me
to make a new one here.

And you can adjust the size

of that one and this one and then a reset.

And in this case,
I want to bring the exposure up

and let's go ahead and add

a new one to this tree as well.

And we're going to be
a little tricky here.

And I'm going to try to do
one on these black branches.

So I'm going to start
from the middle of the branch there.

And in this case, I am going
to turn on the range mask for a luminance.

And I'm going to

select visualizing
my luminance mask and select that tree.

So there you can see it's now pretty much
in just selecting that tree area.

If I turn this off,

and go here, you can see that as I slide

this exposure up, it's primarily
making that tree branch brighter.

So playing with this luminance
map, the range mask,

that's pretty valuable
when you're making these kind

of corrections
Let's go ahead and make one more new.

I'm going to reset
and then make one right in this pond area.

And in this case,
I want to target this kind of gold color.

So what I can do is change my range mask
rather than using luminance.

I'm in the use color and I'm going to
select this color range here.

And if I turn on the mask,

you can see there how

fuzzy or how feathered that selection is.

So if I take that color range down

quite a bit, I'm really just

honing in on that targeted area.

I can now turn off my mask

and turn off my sample color

and then go in here
and let's say pump up that temperature

there, maybe make the exposure
just a little less.

So we have more detail
and maybe put some clarity in there.

And there you go.

Let's head escape.

I'm going to hit it twice.

And now if we hit P,
you can see what a drastic difference

you can do using these tools.

Lastly, I want to show you the brush.

And the brush is kind of the same tool
as this, except for rather

than using a gradient, you're actually
brushing the area that you want to target.

So in this case, let's target
this specific area here.

What I'm going to do is reset this,

turn on my mask so I can see
as I'm painting and here we can adjust

the size of the brush, the feather and
the flow and the density. So.

And again, this
I can also adjust with my left and right

and I can also Justise
with control and option and then dragging.

Well, no, I cannot. Sorry.

So left and right

and let's paint this area right there

and let's target this area here
and maybe make my brush a little smaller.

And as I'm painting here, you're noticing
it's all adding it to the same tool.

If I wanted to create a new one

with different corrections,
I can click on the Create New,

but so long as you have one selected
and you're

painting, it's going to add it all to that
same correction.

Now I can go up here, turn off that mask,
and there is a shortcut for this.

If you hover over, you can see Photoshop
will tell you what that shortcut is.

In this case, it's why.

So I can hear why as I'm painting
and then once I'm done painting here,

why again, to turn that off,

I can also do the same
with the overlay here, which is V.

So if I don't want to see that red dot
while I'm making corrections, I can hit V,

all right.

And then we can start
adjusting our exposure there.

And you can see we're kind of

making those dark areas lighter.

So there you go.

Well, we've now
kind of corrected this image.

I may want to add
just a little bit to there.

So let's head V to see this,
make sure we have that selected.

And as I paint there, you can see the
correction applying right to that area.

And because my density here is 100%,

it's applying the full effect

but I could also take the density down
and paint this area.

And it's going to apply the correction,
but not as much as it's applying it

through the rest.

And if I have y there, you can see
the pink is not as opaque.

There

and let's target this area here as well.

Increase the density a little more,

target that area.

And again, we have the range mask option

that's valuable

if we have for example,

if I want to target this blue color here,

what I could do is I've got a new brush.

I'm going to reset
my local corrections here

and start painting.

I'm going to hit Y
so I can see my brush there,

target this area here

but now what I'm going to do
is turn on my range

mask to color and select

this blue color here.

And you can see it's now pulled

that whole brush selection into the blue.

Now I can hit why hit the

and then make adjustments?

So, for example,
I can make that a more turquoise Z,

maybe change the ten
some more toward a green color.

Like, so

I could also saturate that

you know, change

the texture, the clarity amounts in that.

So it gives you a way to target
specific areas of your image

without having to do a lot of fine
detail brushing.

So that's a very valuable aspect of all
three of these tools is this range mask.

And depending

on the area that you're targeting,
you can either use color or luminance.

Another thing I want to show
you real quick here is

let's go back to our Eaton Canyon image

with our radio filter.

I can also do a radio out from the middle.

Let's go ahead
and reset our local corrections here

and just do it
right from the middle of the image.

This is a nice way of doing a vignette.

I kind of prefer this over the post
vignette method.

And the reason why is I'll show you here
so here, rather than the effect

targeting the

inside of this radio filter,
I'm actually going to make a target

the outside and then I can go in here,
take down the exposure.

But maybe because this is the shadow area,
I wanted to have

a little more blue in there.

And maybe take those blacks

and kind of pull them in there

and then I can do a new one, reset
my corrections

and maybe for this one

I wanted to target the inside
and I wanted to push

some more yellow in there
and maybe make it a little brighter

So there you go.

We got that nice golden look in there
and we've got

a little more moodiness
and blueness in our shadow areas.

Just kind of overall
gives the whole thing a nicer look.

And if we hit

Let's Head Escape, oops.

Nope.

All right,
so there you go. We've made our changes.

Let's head
P. That's what I was looking for.

And you can see there using a camera file
how much versatility

that image has and how much information
we can extract out of it using the tools

and these awesome gray radiated

or brushed effects in Photoshop
or sorry in camera.

One thing you should note
is that in any of these so for example,

in this one, you have saturation
but you do not have vibrance.

So that's one thing.

Otherwise, you have most of the tools
that you want to use in camera raw.

So the whole basic panel as well as
sharpness, noise reduction, moiré,

reduction difference and even some color

changes, you do have all those in here. So

that's what those tools are in camera, raw

and that's how you use them.

And that kind of rounds out

everything for color images in camera raw.

And then next thing
I want to cover real quick

before we get into the Photoshop
pipeline is black and white.

Okay.

So now you know
all the tools and camera raw.

The last thing I want to cover
is the black and white.

The black and white little feature
at the top allows you

to make specific adjustments
for a black and white photo.

It's a little bit different than color.

So let's check this out.

Okay, let's go file open

and we're going to go to the folder called

Oaks Camera Raw, Black and White.

Let's go ahead.

Do command to select all and head open

all right.

So we have two images here.

One is of an old truck
and another one is of a young girl.

And we're going to turn these black
and white

So first,
let's start with this image here.

And the first thing we're going to do
is in our basic tab here,

we're going to change the treatment
from color to black and white.

There you can see
now our image is black and white.

So obviously, at this point,
the white balance is unimportant.

However, you will notice,
as you change this, that

it is actually changing the

black and white of the image.

And the reason for that is

it's taking this information,
this color information

and converting it to a black and white map
where it's telling at that certain

colors
such as yellow are going to be more white

than a color such as blue,
which is going to be darker

and in black and white,
if you start to change more colors

in the image toward yellow, those yellow
images are going to be lighter.

So this is just something to know,

even though white balance is irrelevant
to a black and white image,

changing this will have an effect
on your black and white photo.

Next, we have exposure
and this works pretty much

the same as color, except where you're
dealing with a black and white image.

Same with contrast

and same with the highlights
and the shadows.

And for black and white images,

I like to push the highlights down
and the shadows up

and I also like to play with the clarity
a lot more than I would in a color image.

So here, if I start pushing that clarity,
you're going

to get that strong contrast
in these images.

We can also even push up the texture
a bit.

Don't want to overdo the texture pressure
here.

That texture slider,

okay?

The tone curve is the same.

The sharpening, the noise reduction
all these are the same.

But the Excel or the hue
saturation and luminance changes

to black and white mix So here you are

adjusting the map I referred to earlier.

So where yellow colors are given a certain
lightness here, you can adjust that

so you can say,
I actually want my yellows to be darker

and I want my greens to be darker
and I want my blues to be lighter.

So this gives you the ability to kind of

play with the final results
of what you're getting.

So in this case,
if we look at our color image here,

you can

see that we've got some greens,
we've got some blues,

a little bit of reds in there,
and then we can go in here

and you can also again use the P command
just to look at your original image

and then happy again to
to bring you straight back.

You don't have to go here
and change the mode.

All right.

So here I know
I want a little more detail in that sky

so I can bring my black and white colors

down for blue
you can see what an effect that's having.

Now, you don't want to overdo it.

You are getting that kind of fringe
effect there.

So make sure you don't
push these more than

more than

cameras
will allow you or the image will allow you

but that looks pretty nice.

Next to you have split turning.

This actually applies
post your black and white.

So you'll you'll notice here
if I go like this,

it is actually giving the image
a sepia tone.

And the reason for that is split tone
happens on top of the black and white.

So this is a great way to create
a sepia toned image.

You may want your shadows
to be a little more red

and your

highlights to be more toward
a yellow color can see a little more

of a realistic sepia toned image.

But this is optional.

You don't have to.

You can also just keep it
pure black and white.

This all works the same.

If I turn on the enable
profile correction, you can see it's

getting rid of the vignette
and also straightening up the image.

Getting rid of that fisheye.

You also have the effects

and for black and white,

you may want to actually add some grain
to give it that kind of older look.

You also may want to have

a post crop vignette

calibration.

I don't do anything with that
and I don't mess

with presets snapshots we already covered.

And here again, these tools work
just the same.

So I can add a graded add filter down here

maybe make this grass

here a little bit darker.

Just a

highlight this truck.

And also
I may want to straighten out the image.

So if I go in the strainer tool
here, let's

go ahead and see what
the automatic straightening does.

Not a bad job, but

let's try just using the straightened
tool on this line.

And I think that's enough.

I don't really want to straighten
in more than that.

I like the angles of the truck

And again, we can use these other tools

as we see fit,
but no need to go through all that.

I already really like this image
the way it is, and I can click here.

In this case, it's putting the color
space of the image in Gray Gamma,

if you prefer to work with the image

as a AdobeRGB, you can adjust that here

and then hit. Okay.

And if we open object,
it will now open this file

as does a smart object in Photoshop.

And there you have it.

All right.

Now, let's go ahead and close this

and let's go back to file open

and let's open the summer camp image.

Okay. So

turning a portrait into black
and white is pretty similar,

except for you don't have as much leeway
in terms of pushing the colors around.

However, I will note that when you're
making a portrait black and white,

you can play with the clarity more
so than you can with color,

especially kids who have really nice skin

Let's push that a bit

and push up the contrast

a bit there

for black and white portraits.

I actually like the blacks
to be blacker, so I

this is 11 instance where
I really wouldn't push up those shadows.

I might even just push them down a bit
to get more volume

into the face.

That looks pretty nice.

Now let's go to our black and white mix.

And obviously if I hit P,

you can see most of our color
here is going to be skin tone.

So that's in our orange range.

If I push that down,
you can see that's not a nice look

if I had a photo of maybe a child
that I wanted

to look like it was working in my hands,
I could do that.

But I don't want that.

All right.

The green of the eyes.

I may want to push that up a little.

That might look nice.

And I know the shirt is magenta.

I may want to push that down
just a bit, get a little more detail

in that shirt.

And let's go

turn on the animal profile there.

And I want some posts crop vignetting

I also, however, want to crop the image
to get her centered up.

So let's go ahead and do that.

That looks pretty nice.

And you'll notice that our post

crop vignette
is now more centered on her face.

And this is as a quick note here.

This is one of the reasons I do like
using this for my post crop Vignetting.

So in this case, I would just do a reset

and make sure it's on outside

and do just her face area

and then take down the exposure.

And that's going to give me a vignette
that's more centered on her face

as opposed to just
the outer edge of the image

So that's pretty nice.

Like so

and also one thing

I like to do with portraits
and this applies to black and white

and color is
go ahead and select your radial filter.

Zoom in on the eyes

Select that eye.

In this case, I want it to be inside.

And let's go ahead and reset this

I want to up the exposure

and then up the contrast

and up the clarity

and what that's going to do
is it's going to give the eye.

Let's go ahead and hit y.

Sorry, v and y.

What that's going to do
is it's going to give the eyes

a stronger highlight.

And make the eyes more full body.

I guess you could say.

I just like that look a lot.

So let's go ahead and hit

V. And what we can do now is

let's go ahead and zoom in a little here,

because I can right mouse
click on this and say duplicate.

And now I can drag this one to the side

here.

And let's hit V.

Have you got that?

Looks really nice.

And what I may want to do is also just
kind of bring out some of these

nice hair highlights
so I could use a brush for that.

Let's start painting here
because it's using the settings

that I had for the eyes

those actually don't look so bad.

I probably won't go
so heavy on the clarity.

I just want to bring
a little more contrast to those

maybe bring the highlights
up a little bit on the hair.

And then if I had y, I can see

which areas that's targeting target
a little bit

more here and y again.

And then Head V.

And I really like that.

A nice thing you can do with portraits

is kind of push back of the neck
a bit, make the chin more defined.

So let's go ahead
and make a new brush adjustment reset

the local correction here,

turn on Y so we can see this

paint this hole in that area. Here

and this we're going to do a lot more
subtle.

Now, if I paint and I want to get rid
of what I've painted meaning undo,

I'm going to hold the option

or what I can do here.

Yeah.

So you'll notice that when I do y

or sorry option I can paint.

The problem is it's not showing me
my brush.

So let's hit y, adjust my brush here

whew.

Way too big

There you go.

Now it's showing me my brush

and we can paint out the areas

we don't want there.

And that looks pretty good.

All right, so let's have y again,

and then we can go up here
and just take that exposure down.

Just a tiny bit,
and that's going to make her face

pop out a little more

and that looks pretty nice.

So those are kind of some of the steps
and what I do for a black

and white portrait.

Again, a lot of the stuff
I really prefer doing in Photoshop,

and you're going to have to forgive
the sprinklers outside.

That's that noise you're hearing.

But most of these things

I prefer doing in Photoshop,
especially creating black and whites.

But if your pipeline

is primarily
fixing your images, in camera raw

and just making layered adjustments
or composites in Photoshop,

you do have a lot of power and camera raw
camera raw.

The entire camera engine
is basically the heart of Lightroom.

Lightroom is camera raw with file

organization and metadata
and that's that's what Lightroom is.

So it's kind of amazing that

Photoshop has camera raw as almost

a second application built into it.

And in it, honestly,
it is its own application.

I mean,

until I hit open object,

I'm not in Photoshop, I'm in Lightroom.

So let's head open object.

But having said that,
having said that, here's a little trick

that you may not know if I make a copy
of this smart object, right?

Mouse, click and rasp dries the layer.

I can actually go to filter.

And even on a flat layer,
not a, you know, a camera raw file,

I can use all my filters
and basically correct

the whole image in camera raw
as kind of its own engine.

Now, obviously,

I don't have the filmstrip here because
I'm using it as a Photoshop filter,

but this is pretty powerful
and when I apply this

well, I haven't made any

changes,
but it gives you quite a lot of tools.

So if you get good at using the camera

interface for making corrections and
so forth, just realize that you have it

available right here in Photoshop
as a filter

very, very handy.

All right.

With this, we can now save the file.

Let's go ahead and I don't need two layers
there.

Let's go ahead and save.

And we can call this summer camp

in black and white portrait

and there you have it,
black and white in camera.