Click on any phrase to play the video from that point.
[CS6]
Hi and welcome.
My name is Julieanne Kost, and I'm excited today to show you all of the new features
in Adobe Camera Raw in Photoshop CS6.
I'm starting here in Bridge,
and I'm simply going to select this range of images.
The first one is selected.
I hold down the Shift key and I'll select to here,
and then I'll use the keyboard shortcut Command R or Control R on Windows
in order to display the Camera Raw dialog box.
The first thing that you'll probably notice is right down here in the lower right-hand corner
I have a little warning icon,
and that's telling me that this image has been touched by a previous version of Photoshop
or even a previous version of Lightroom,
and so it's using the older process version.
And in fact, if we want to see which process version it's using,
we can click here on the Camera Calibration tab
and you can see that it's using the 2010.
I want to update this to the 2012 so that we can use all of the new sliders.
But before I change it here, what I want to do is I want to go to the Basic panel
so that you can see what actually happens to the sliders.
While I'm in this older process version, you'll see the familiar set of sliders
that are associated with the older versions of Photoshop.
But when I click on the exclamation mark right here to update it,
you can see that we have all of our new sliders.
So probably the first thing that you'll notice is that they're all set right in the center,
which I think makes this so much easier to use.
No matter which slider I choose to change,
if I move it to the right, it's going to either lighten it or add more of that,
and if I move it to the left, it will darken it or decrease it.
You'll also notice that some of the sliders have changed.
For example, you won't see the Recovery slider, and you won't see the Fill Light slider
because we've actually enhanced the math behind those,
because what was happening is sometimes if people moved the Fill Light slider up too much
and they moved the Recovery slider down too much,
you got kind of this flat area in the middle of your image, and we don't want to do that.
So let's take a look at what each one of these does.
The Exposure is really going to change the middle values of your image.
I'm going to leave that alone for right now.
The Contrast slider, that's going to add contrast to your image,
kind of like an S curve in the Curves dialog box or over here in the Curve panel.
What that does is it makes kind of the darker areas of your image darker
and the lighter areas of your image lighter.
What I want to focus on to start with here are the Blacks and Whites,
because those are going to affect the very far ends of my histogram.
So for example, the Whites. If I move it to the right, you'll notice that my image gets brighter.
If I move it to the left, they're going to get darker.
Same with the Blacks. If I move it to the left, we're going to be adding more black.
It's going to get darker.
If I move to the right, we're going to lighten those black areas.
But I want to use these to set the black and white point,
but I'd really like a visual clue as to when I start clipping my pixels
to either pure black or pure white,
so I'm going to use 2 keyboard shortcuts.
I'm going to tap the O key and I'm going to tap the U key.
And what that just did was it toggled on my black clipping and my white clipping.
You can remember those 2 keyboard shortcuts.
The O is for overexpose, and the U is underexpose.
Now watch what happens when I move my whites too far to the right.
You can see that all that red area in my image,
those are the values that are going to be clipped.
So obviously, I've moved it too far.
I just want to back off until I don't see any more red.
Now, moving the Blacks slider you can see if I move it to the left too far,
everywhere that you see overlaid with that blue color is going to go to pure black.
So I definitely want to back off here.
Of course, keep in mind with the Blacks slider there might be areas in your image
that you actually want to print as pure black, all right?
So now that I've got my white point and my black point defined
using the Whites and Blacks sliders, I'll move up to the Highlights and Shadows.
And you can see now that if I wanted to darken down the very brighter areas of my image--
basically we're talking about this tone or this tonal range here in my histogram--
then I would move my Highlights slider to the left, and you can see that darken down.
If I wanted to brighten up that area, I simply move it to the right.
So let's bring that down a bit because I would like to see a little bit more detail
here around this window.
And then my Shadows slider, it's going to be focused really down here
on this part of the histogram.
And again, if I move it to the left, it's going to get darker.
That's not what I want, so I'll move it to the right,
and now it's acting very similar to what the Fill Light did,
but it's a much better algorithm, meaning the math behind it is much better,
and we're actually going to be able to pull out values and tones and details
in those shadow areas without creating that kind of flat area
that you might have gotten in previous versions.
I think that's a little too much, so let's just back that off a little.
We might want to add a little bit of clarity to this image as well.
That's going to add a little bit of midtone contrast to our image,
and it's just going to make the image look a little bit sharper.
Again, in previous versions, in that 2010 process version,
one of the problems was if you went too high on Clarity
you would get a sort of halo around some of the edges.
And you'll notice that now even if I bring this up to 100%,
we won't get those halos.
But I am going to back off because that's just a little bit too much.
All right. So those are all of the new features right here in the Basic panel.
Let's go ahead and move to this next image
because I want to point out a few other things that we've done.
Again, I could go through here and we could move up the Shadows
if I thought maybe I needed to see a little bit more detail in here,
and I could actually move up the Highlights in this case
and make the entire image a little brighter and maybe add a little bit of clarity
to give it a little bit more contrast there in those midtones.
But what I'd really like to do is I'd like to zoom in to this top area here.
And in fact, I'm going to zoom in as close as I can get,
which I think is about 400% there,
and then I'm going to move over to our Lens Correction panel.
You'll notice that I have enabled the Lens Profile Correction,
but there's a difference between this version and the previous version.
In the previous version, when you enabled the Lens Profile Correction,
that enabled 3 things.
It corrected distortion, it removed vignetting, and it also removed chromatic aberration.
The chromatic aberration was actually a part of the profile.
But we've learned since then that we can actually do this better on the fly.
I'm hoping you can see it.
What chromatic aberration is is it's kind of a misalignment of pixels,
and it happens a lot when you're shooting with a wider angle lens,
and it will happen along the edges of your image.
You can see here that we've kind of got this little bit of magenta
and then cyan misalignment.
So when I turn on the Remove Chromatic Aberration,
that actually goes away.
So I'll toggle that off and on again.
I really hope that when we compress this you'll still be able to see that difference.
If not, just go ahead and give it a try in one of your own images.
All right. Let's go ahead and back out again.
I'm just going to use the keyboard shortcut Command 0 to fit in screen here
because I do want to show you one other thing,
and that happens to be right here underneath our Tone Curve panel.
We have the parametric curve as we did before,
and we also have the point curve,
but the new feature in the point curve is the ability to actually go in on a per channel basis
and make color corrections.
So for example, if I wanted to add a little bit of yellow, a little bit of warmth to this image,
I would go down here to the Blue channel.
And then because I want to make it more yellow,
I would actually remove blue by dragging down on the curve.
And you can see the image is getting warmer.
You might be thinking, "Well, why don't I do that with Temperature and Tint?"
You can absolutely use the Temperature and Tint sliders,
but there's a lot more control when you're working with channels
because, for example, what if I only wanted to add the warmth
in the highlight areas but not in the shadow areas?
Then I would drag the point down in the highlights,
but I can set another point on my curve in the shadows
so that nothing is being affected in the shadow areas
and the color shift is only happening here in my more highlight areas.
So not only can I use this for color correction,
but I can also get some great just kind of more creative effects.
In fact, let's do this.
Let's go here to HSL, and I'm simply going to drag down all of the sliders here.
I'm not actually converting my image to grayscale
because I do want to add in some color.
So instead, by dragging out all of the saturation
in all of the different tonal ranges
and then going back here to Tone Curve,
first of all, you can just see right now that this image doesn't look black and white,
and that's because of this curve.
See, if I click and drag these points off the curve,
you can see that it appears to be black and white.
But again, because I didn't actually convert it to black and white, I can add back in color.
So if I wanted to get a cool kind of maybe cross process look,
I can go ahead and, let's say, maybe add a little bit of blue in my shadows,
and we'll just pin down the highlights there.
And then I can go to any of the other channels, so I could go here to Red,
and maybe I want to add a little bit of red in my highlights.
Or maybe I want to subtract a little bit of red,
but that's going to make it more kind of that cyan color,
which is a little too similar to the blue.
But again, if I don't like that adjustment, we can cross over with any color.
So I can go here with green.
We know the opposite of green is magenta,
so I could get a little bit of magenta in my highlights.
But again, I could take that out of the lower area there.
So not only can we use the Tone Curve in order to do color correction,
we can also create some really nice kind of more creative effects.
All right, excellent. I'm going to scoot down here to another image that we're going to look at.
Here we've got a really, really high contrast situation
where we've got a really dark hallway
and then we've got the sun obviously hitting this back wall.
So let's see what we can do with the Basic panel.
First of all, I want to gain back some of this detail here.
That's not my Whites, right?
That's going to be my Highlights area, and I'm just going to drag that to the left
in order to darken that down.
I'm not going to go too far even though all of these adjustments are nondestructive
because I'm also going to lighten this area.
And if I go too far with bringing the highlights down
and then I lighten the foreground, it's just going to get kind of mushy.
There won't be enough contrast in the overall image.
The other problem that this image is suffering from
is that there is different colored lighting in it.
So let's switch at this point over to our Selective Adjustments.
We have 2 of those: the Adjustment Brush and the Graduated Filter.
I'm going to start with the Adjustment Brush,
and you'll notice that when I selected that, this set of controls
or sliders that I have to make my adjustments is identical almost to the Basic panel.
So we've added, for example, now I can paint in with Temperature and Tint.
I can also paint in with Noise Reduction, which we'll show in a minute.
For now let's go ahead and just warm this up.
I'm going to increase the temperature.
You can go as far as you want here
because all of this is nondestructive.
I want to make sure that I can see this change,
so I'm going to bring the Temperature really far to the right.
Let's scroll down a little bit.
I just want to make sure that my Auto Mask is off. All right.
And then I'm just going to paint here.
That was a pretty bold stroke and it made a big change,
so let me undo that for a minute.
I'm going to bring my Flow down just a little bit more,
and this way it can take multiple strokes to paint it in
because there wasn't as much of a color cast at the top as there was at the bottom,
so now I can do a double paint or a double paint stroke down there to change that.
But it really did warm it up a little bit too much.
Not a problem since they're all nondestructive.
And because this pin is selected, all I need to do now is bring down the Temperature
until I get it at the exact point where I like it.
All right. Let's add a new adjustment.
Here what I want to do is I actually want to bring up my Shadows,
and at the same time I'm going to bring up the Noise Reduction.
So what that will do is as I lighten an area that might have been really noisy,
it's going to also reduce the noise in those shadow areas
that I'm basically bringing up to midtones.
It's also added that weird color cast, so let's just reset that.
I'm sure you guys all know that if you just double click on the little slider
it will reset any of these sliders here.
So now we don't have that yellow cast.
Let's also zoom in. I really want to zoom in.
Otherwise we're never going to be able to see this once it's been compressed.
Let's actually go up to, like, maybe 300%.
I know that's a little bit of a splotchy area there,
but look what happens if I take off the Noise Reduction.
See how noisy it is there, because remember, those were really dark values
in my image before I set down this pin and made this adjustment to lighten it.
As I lightened those values, we saw more and more of that noise.
So all I need to do is move over my Noise Reduction,
and we can actually remove that noise
at the same time that we are lightening those shadow areas.
All right. There's one more thing that I do want to mention for those of you who use presets.
We'll just go right over here, I'll tap the Z key--
that just kind of sets that tool back and it gives me the Zoom tool--
and then I'm going to click right here for my presets.
I don't necessarily want to save a preset right now,
but what I do want to do is click on the little New Preset icon
just to show you right down here that you can save the process version
as part of your preset.
So for example, moving forward, if you want to save what we've done here
with the blacks and the whites and the shadows and the highlights,
or if you wanted to do something with the white balance,
my point is just that you can save that with the process version
so that you can use different process versions and different presets together.
That was a quick overview of all of the new features in Camera Raw in Photoshop CS6.
My name is Julieanne Kost. Thanks for watching.
[Adobe]
