Videos uploaded by user “Shutter Buggs”
Photoshop Tutorials for Beginners - Camera Raw Workflow Tips & Tricks
https://www.shutterbuggs.com/ - Here is a 7 minute Photoshop tutorial for beginners, showing 3 quick and easy workflow tips and tricks to transform a relatively basic image into something spectacular using Adobe's Camera Raw in Photoshop CS5. Here are the steps we’ll walk through in this tutorial: STEP 1 - Open Raw File In Adobe Bridge STEP 2 - Add Graduated Filter STEP 3 - Make Lens Correction STEP 4 - Add Lens Vignetting STEP 5 - Make Basic Adjustments To The Overall Saturation & Vibrance STEP 6 - Adjust Hue, Saturation & Luminance (HSL) Panel I would LOVE to get your feedback, so please go ahead and let me know what you would like to see in my next Photoshop tutorial by leaving a comment. Continue reading here: https://www.shutterbuggs.com/how-to-edit-raw-images-in-photoshop/
Views: 83204 Shutter Buggs
Camera Raw Histogram: How To Accurately Edit & Process Images
https://www.shutterbuggs.com/ - In this video, I’d like to talk about the importance the histogram plays when editing your photos. So, as you can see, I’ve opened up an unedited image of a beautiful swan. Now, it’s basically got all the defaults given to it by Camera Raw by itself. I haven’t made any actual adjustments whatsoever. It was shot at F11 at one 2/50 of a second at ISO 400. And as you can see, here are the current distributions of values across the histogram. Now, the histogram itself is basically a graphical representation of the data, or information that is distributed across your entire photograph. Now, the main importance that the histogram plays for you in editing your photographs is it will tell you whether or not you have blown out your highlights or clip your shadows, which is quite important and especially important in this particular shot where I’ve got some very distinct highlights in the swan’s feathers. Now, as you can see in the histogram, you’ve got a range of different colors that are displayed and presented to you. The histogram itself displays additive and subtractive colors-additive being red, green, and blue; and subtractive being cyan, magenta, and yellow. The histogram also displays luminance values, which is essentially all the colors combined into one value that is called luminance, or brightness for some of those out there, and it’s actually displayed in the histogram as white, as you can clearly see just here. You’ll also notice in the top left-hand and top right-hand corner of the histogram, there are two arrows. Each one of these is basically clipping warnings. So, the histogram itself goes from shadows, on the left-hand side, right the way through to highlights on the right. So, on the left-hand top corner, you’ve got the Shadows Clipping Warning, which we’re going to click on, and turn that on. And what you’ll notice is in the shadows just above the bill of the swan, is that all of this blue has just come in. And that’s showing you that the shadows are actually being clipped, especially in the blue area. Now, if we go across, and turn on the Highlight Clipping Warning, you’ll notice that the highlights in the feathers, particularly in the reds, have been blown out. So, what you want to do with this type of clipping information is make your adjustments so that you actually avoid blowing out, or clipping, your shadows or highlights. So, what I would do is make your settings, playing with your sliders, and adjusting them so the actual highlight information is not clipped, like so. And if we go to the blacks, we can reduce the black import here. And you’ll notice that actually removes the highlighted blue for the clipping of the shadows. There is also another way to look at this information that is actually a bit more simplified, and a bit easier to distinguish, as opposed to viewing the clipping information directly over your image, with all the other color information that you’d actually have present. And to do that, we’ll jump back to Default as those values are blown out. And if we hold down Alt on a PC, or the Option key on a Mac, and do the same thing that I did before by dragging the exposure slider, you’ll notice that the screen has gone black, and it’s now displaying all the areas on the image that are actually blown out in the highlights. And as we slowly adjust the slider in the opposite direction, you’ll notice that they’ll actually disappear. And what you want to do is you want to get to the point where just they disappear without going too far past that point. Now, we can do the same also for the shadows. If we jump down to black, and hold down the Alt key or Option key once again, you’ll notice that the screen is actually white, and it’s actually displaying the shadows that are clipped in your image. So, once again, if we just reduce the black value you’ll notice that these will slightly decrease in the amount of areas that are actually clipped in your shot. So, hopefully that gives you a reasonable overview of how you can use the histogram when editing your raw files. Now, please take into account that the histogram is a starting point, and a guide when editing your photos. I mean, sometimes you may have a perfect histogram, but your photo may not be punchy enough, or may not stand out off the canvas enough, or it may not be what you originally visualized. So, what you sometimes need to do is make a compromise between the histogram and your image in order to get what you want. But, at least you have that starting point, and that guide, to help you along the way. For more information visit us online at https://www.shutterbuggs.com/
Views: 4462 Shutter Buggs
Camera Raw Graduated Filter Tool: Selective Adjustments
https://www.shutterbuggs.com/ - In this video, we’re going to take a look at the graduated tool and the selections that can be made using the adjustment brush. To begin with, let’s first go to the Tools menu up in the top left-hand corner of Camera Raw, where you’ll notice you’ll have the graduated tool icon. Now, you can either click on it or hit G on the keyboard to select the graduated filter. Now, the first thing you’ll notice with the graduated filter panel is that a lot of the features or sliders that are available there come from the Basic panel, which is really quite neat. Now, to use this tool, it’s very similar to the gradient tool in Photoshop. You need to select one point on your image, and then drag your mouse and stop at another point on your image. Now, in this case, as you can see here, we’ve got some dotted lines that indicate the areas that we’re actually selecting on our image. So for this particular photograph, what I want to do is primarily only adjust the sky, just down to the sea in the right-hand corner of the image. So I’m going to get that just to sit about there in the height adjustment. You can either… If you want to, you can have this parallel with your image or the horizon line of your actual photograph, or you can actually adjust it at a particular angle that you actually want it to sit at. In this case, I’m just going to leave it parallel to my image. So now that we have the area selected that we actually want to make adjustments to, we can begin to use the sliders in the panel. Now, the sliders are going to be affected the same way as if you had a graduated selection in Photoshop. Only certain areas of the selection are actually going to show the changes. So for example, as we make an exposure adjustment, you’ll notice that the top of the image is actually being adjusted, but the bottom half of the selection isn’t really being affected that much. So as you can see, it’s graduated. Now, a couple neat things that you can actually do with this. First off is you’ve obviously got brightness, contrast, and saturation settings, but you’ve also got clarity, which is really quite neat. So you can actually make certain areas that you actually select stand out from the image, which I find really quite useful, especially when you’re adding a graduated color filter to the image. So in this case, I’ve actually got orange selected here. Now, that actually, to me, doesn’t quite look right, and it looks a bit muddy. So what I’m going to do is click on that, and I’m going to go to my color picker, and I’m going to choose a different color. So you can actually essentially add any color to your graduated filter as you want. So in this particular case, I’d like sort of a darker orange to match the orange hues of the sunlight that are on these pancake rocks that I photographed in New Zealand. Now, that’s slightly a little bit too much. No, that’s not too bad to begin with. So once I’ve selected a color here, you can either choose to fine-tune your hue selection in increments of one, or you can actually change the amount of saturation by using this slider. So I’m going to leave it just set to 100, and I’m going to click Okay. So as you can see, it’s quite an interesting effect that you can actually add to your image, especially if your highlights in your sky are very light. You can bring back a lot of detail back into your image that predominantly wasn’t visually there originally. So that’s how we essentially use the graduated filter. Down on the bottom, you’ll notice there’s a Show Overlay check box. So you can actually turn off that overlay. So you don’t notice it now. If I go up to the preview icon at the top, you can see the adjustment that I’ve made to the image, which is pretty neat. I’m going to increase the clarity because that’s also… I think that helps the mountains stand out a little bit more as well. I’ve lost a little blue in the sea itself, but for this particular example, I’m not really going to worry about it. So that’s pretty neat. Next, what we can do is actually… To get off the graduated filter, you actually need to change tools, for starters, because it can be a little bit iffy if you are trying to jump back and forth, and you haven’t actually used this tool before. So what I’m going to do now is I’m going to jump across to the adjustment brush. You can either click on it, once again, or press K on your keyboard to bring up the Adjustment Brush panel. What you’ll notice is you’ll have quite a reasonable size radius for your actual brush itself, which can be changed using the bracket keys on your keyboard. So you can actually change the size, or you can use the size slider that appears in the actual panel itself. For more information visit us online at https://www.shutterbuggs.com/
Views: 4517 Shutter Buggs
Camera Raw: How To Effectively Sharpen & Reduce Noise
https://www.shutterbuggs.com/ - In this video, we’re going to take a look at Photoshop raw sharpening and noise removal adjustments in Camera Raw, which are two settings that some people have a lot of trouble with, but I hope to sort of simplify them for you in this video. So to begin with, let’s go up to the Panels Options at the top here, and you’ll notice two little triangles. So this is a Detail Panel, and if you click on that, you’ll notice you have Sharpening and Noise Reduction options available to you. And you’ll also have this little warning here that says if you want a more accurate preview of your sharpening to zoom in at 100%, which is entirely accurate. So to begin with, before we start playing around with any settings, let’s zoom in to 100% on our image. And as you can see to start off with, there is a fair bit of color noise there in my image, because it is quite a colorful image, and it is reasonably in focus, I should say, from my original shot. Now when sharpening, you have the amount, radius, detail, and masking values. Now the amount is simply the amount of sharpening that you want to apply to your image. So as you increase that, the sharpening increases to your image, and it can look quite hideous once you get to about 150. When making adjustments to sharpening, you have some really neat ways of viewing sharpening now that just weren’t available in Camera Raw previously. If you were to hold down the Alt Key on a PC or the Option Key on a Mac, you’d notice now when you click on Amount, you can view just your luminance or detail from your photograph without any color information. Now this is really good because it allows you to be able to make more accurate sharpening adjustments without being affected by the colors that are in your images. Because sometimes that can distract you and put you off how much sharpening you actually want to apply to your image. Now you can also hold down the Alt or Option key for the radius, and this will actually show you the radius of the sharpening that’s being applied to your image. So as you increase it, the radius increases and it increases in your actual preview, which is quite neat, and that only goes up to 3.0. Now in most cases, I like to keep that around, in Camera Raw specifically, I like to keep that at one, just because I think it gives it a more natural appearance when sharpening. Now you also have the detail settings. This is the amount of detail that you want to preserve when you’re actually making your sharpening adjustment. So with this, you can also hold down your Alt or Option key, and it will show you the areas that it’s going to retain. As you increase that, you’ll notice that your detail in the sharpening increases. So you really want to keep that around 25% if you can. I probably wouldn’t recommend going too far over, but it also depends on what you’ve actually shot your image at in terms of ISO. So if you shot at a really high ISO, you can have a really noisy and grainy image. So you want to sort of take that into account. But if you shot at 100, then you can probably increase the amount of detail in your image accordingly. On any detail we have masking. Now this is a feature of sharpening that I love, because it allows you to exclude sharpening from areas of your image. And the way it works is it creates a mask similar to a layer mask in Photoshop, but excludes where the actual sharpening is applied. Now the easiest way to see how this is actually implemented is by holding down your Alt key on a PC or Option key on your Mac while you’re actually making adjustments to the slider. So as you can see here, now we’ve got a white screen. Now as I start to increase the value, you start to see some grays, dark grays, and blacks come into the shot. Now these are the areas that are actually going to be excluded from sharpening. Now if you start off with value 0, you’re going to go from sort of the shadows and as you increase it right the way to 100, you’re actually into the highlights. So the areas in white are the areas that are getting sharpening applied to. The areas in black are being excluded. So it’s extremely useful if you ISO the image, and you’ve got a lot noise in the shadows, and you don’t want to apply additional sharpening to the shadows and emphasize that noise. For more information visit us online at https://www.shutterbuggs.com/
Views: 3303 Shutter Buggs
Camera Raw White Balance Correction Using Color Sampler Tool
https://www.shutterbuggs.com/ - Two of the most useful tools and Camera Raw are the white balance and color sampler eyedroppers. Now, each of these tools assist in establishing a sound foundation from which you can accurately make color balance adjustments to your photographs. Now, if we go to the top left-hand corner, you’ll notice you have the tools menu, and the third one in from the left is the white balance tool. You can either click on it or press “i” on your keyboard to bring it up. Now, the white balance tool allows you to pick or choose an area in your photo that you believe to be neutral. So neutral values simply representative of things like, say, a white shirt, or a white cloud, or if you’re looking for something closer to an 18% gray, that could be something similar to a rock, or concrete, or in this case you’ve got headstones and statues that you can choose as being your neutral values. Once you actually go and start playing around with this tool, you’ll notice as you click on different areas, the tool itself will actually automatically correct the white balance adjustments in the basic power cross here on the right-hand side. You’ll notice that the actual temperature and tint sliders will actually start to change, so if I just start clicking around here for some different values, you’ll notice that those are automatically changing every time I click on a certain area. Now, for this particular image, I believe that just up here around the sort of darker areas or mid tone areas of this actual statue, are going to be representative of a nice sort of white balance. And what you’ll notice is, now if you go up to the right-hand top corner where you’ve got the histogram, just underneath that where you have the RGB values that are associated with where the eyedropper is being hovered over. So you can see now that the adjustment that’s been made to the temperature and the tint slider has now balanced all three colors so they’re almost identical. The red is out by one unit so that it’s almost a perfect neutral value that it’s actually gone and created for us so it’s really quite neat in that respect. And If I go around and just click on a couple of different areas, you’ll notice, so at the moment, up the top here it’s going to 123, 123, 124. Now if I just scroll over to a different value, you’ll notice that, so this one is sitting at 159, 160, 152, and if I click on it, now it becomes 160, 159, 158, so it becomes very close to being accurate and neutral in value once again. So that’s essentially what the white balance tool does. Beside the white balance tool is the color sampler tool which is identical to that that is found in Photoshop. Now, if we go up to the tools menu, you’ll notice that it’s the fourth in from the left. So if we click on the color sampler tool or just press “s” on the keyboard, it’ll bring it up. Now, unlike the white balance tool, it won’t actually make corrections to images, instead it allows you to sample multiple areas within your image and monitor those values as you make changes to your image in real-time. So this is extremely useful if you’d like to make sure that your highlights, grays, and blacks remain neutral and free of any color casts throughout the editing process. So you’re allowed to add up to nine color samplers to your image. So to start off with, let’s add one to the neutral area here that I like, and we’ll add one to the blacks, and let’s say, for example, I’m not going to add one to the autumn foliage because that’s going to be a little bit hard to judge, but we could add one to the pole that sort of goes around the actual headstone and the actual grave itself. So there, I’ve added three color samplers and as you can see at the top here, I’ve got one, two, and three. Now the values that actually are being sampled by those color samplers. So what you would essentially want to do as you’re making your adjustments, you’d like to sort of make sure that those values are all quite similar in order to avoid color casts. For example, in the shadows at the moment, you see that the red is a lot higher than the green and the blue, so you try and balance those out as you’re making your adjustments. Or even if you use the white balance tool to begin with and you get a neutral white balance, as you make further corrections, you may actually throw that white balance off again, so it gives you something to sort of judge and monitor the actual corrections that you’re making to your images so it is extremely useful. For more information visit us online at https://www.shutterbuggs.com/
Views: 2809 Shutter Buggs
How To Create, Save & Load Adobe Camera Raw Presets
https://www.shutterbuggs.com/ - In this video we're going to take a look at Camera Raw's preset panel. Now if we open up a raw file and we go across to the Preset panel and click on it, you'll notice that there's nothing there. And that's because we haven't actually saved any presets yet. For example, if I go here down in the bottom icon to Create A New Preset, and I'm going to enable every single adjustment that I've made for this image thus far, and I'm going to call it "Standard" just for the sake of it. I'm going to click Okay. Now I have a saved preset. Now presets are a global setting, meaning that presets that you create for this particular image can be used for other images. Now, if I was to go and make a couple other adjustments to this image, make it slightly darker just to show you and make it obviously different, as you can see there, and now we'll jump back to the Presets panel, what you'll notice is we shall go and save all of these settings. And now we'll just say "Dark Standard" this can be. Click Okay. And now we've got two presets. We've got the Dark Standard, which is this one. Now, if I click on preset, it will jump back to my original settings that I saved in Presets. So you can jump between the two. If I was to go and say Done, and go open up a different image, what you'll notice when we go back to Presets is there are those presets that I just saved. They're both there. I have my standard one, which is obviously not correct for this particular image, and I'll have the dark one that I created for that previous image. You can use presets globally across any images that you open up in Camera Raw. For more information visit us online at https://www.shutterbuggs.com/
Views: 3334 Shutter Buggs
Camera Raw Target Adjustment Tool
https://www.shutterbuggs.com/ - In this video, I’d like to show you the Target Adjustment tool. If you go in the tools menu up in the top left-hand corner you’ll notice that the fifth one in from the left has a little target icon, and it’s the Target Adjustment tool. You need to click on it or press T on your keyboard. Now once you do that, you’ll notice that you’ve got a little crosshair that will appear as your mouse cursor. This tool is actually quite special because it actually doesn’t do anything new that can’t already be done using the existing features and tools that are already in Camera Raw. What it does do is quite special, because it allows you to select a point on your image, a value on your image, and click and drag your mouse in a certain direction and actually make a correction to your image using the existing features of Camera Raw. So to give you an example, if we go back up to the little icon and just hold down on it, you’ll notice you have parametric curve, hue saturation and luminance, and also grayscale mix. So let’s just test out the parametric curve, to begin with. Once you click on that, you’ll notice that the actual parametric curve panel on the right-hand side here shows up. When I go and choose a particular value on the image itself… for example, let’s choose this sort of blue-y gray area on the front of this little Chinese hut that’s located in a little Chinese village in New Zealand, as it happens. They’re actually Chinese miners. Once I click on it, you’ll notice that whatever this value is on the parametric curve, it’s going to start adjusting. It’s actually adjusting the light value, accordingly. So as I move to the left, it’s actually minus-ing the light value and adding density to that area, and it actually looks quite awful. But as I move to the right, it’s beginning to lighten those areas, as you can see there. You can do multiple adjustments. For example, I’ve made one adjustment there, but I may like to adjust, say the blacks, for instance. I’m going to click on the blacks, and say I want to lighten them, just by dragging my mouse, you’ll notice I’ve now lightened the blacks. It’s made further adjustments to the parametric curve. It looks pretty awful, but it just shows you what is capable with this particular tool. I don’t really like using the actual parametric curve with this tool because I find it a little bit not user friendly. But what I do happen to like is if I just go and hold down the Alt or Option key on a Mac and hit the reset… If we go back up to the Target Adjustment tool here and we go, say for example, the hue… What I do like is if I want to change the colors of these autumn leaves, foliage, say I find these a bit too yellow so I want to make them redder, I can click on that value and drag it to the left and it’s actually making it a lot redder and it’s actually adding magenta. So as you can see here on the right-hand side, once again the panels change to the HSL/grayscale panel, and it’s made these adjustments to the orange and yellow hue sliders. It does do some quite unique adjustments that change those color values. So if I was to do this myself, I might play around with, say for example, the yellows. But I might not actually have changed the orange. But this has said in order to change this value it’s going to have to change the yellow and the orange in the [satchel] adjustment, so that’s really quite useful. Now, for instance, I’d like to change, say, the green of this grass. I can go in here now. I want to make it greener, so now I’ve made that greener just by making a couple of slight tweaks using the Target Adjustment tool. That is really quite fancy. If we go to the preview and just turn that on and off, as you can see there, it’s quite an improvement from the original image. Let’s test out a couple of others. If you go to the saturation now, I’d like to increase the saturation of say the greens, just to be crazy. If we go in the right-hand direction, you can see there, the greens have gone really quite saturated. Let’s say I want to reduce the blue tone that’s showing through these gray areas here. I’m just going to go to the left-hand side. As you can see there, it’s now reduced the blue tone, although the green looks really oversaturated. It just shows you what it’s capable of doing, just by making a couple of clicks and slight drags on your actual image. There are a couple other useful things. You can also do luminance, which I’ve showed you in a previous video. Another neat one is the grayscale mix. This is where it actually converts it to grayscale, and this is where you’ll find it really useful for adjusting the density of different color values. That’s the target adjustment tool in Camera Raw. For more information visit us online at https://www.shutterbuggs.com/
Views: 2021 Shutter Buggs
How To Configure Camera Raw’s Workflow Options
https://www.shutterbuggs.com/ - In this video, I’d like to go to some of the work flow options that you can configure directly in Camera Raw for how you would like your photos output. Now, you’ll notice in the bottom of your image is displayed your cart workforce settings. To edit these, all we have to do is click on this link and your workflow options should appear. Now, there are quite a few settings here that you need to pay particular attention to. The first of which is your color working space. Now, I prefer to work in Adobe RGB, which is a well-rounded profile that’s not too large and not too small. There are some other options that are available to you, and two other profiles that are recommend you take a look at are ProPhoto RGB, which is a much larger working space, and SRGB, which is actually a slightly smaller color working space than Adobe RGB, especially in the greens. Now, in a future video, I intend on doing a comparison on different color working spaces and showing you some of the benefits and disadvantages of each. From here, we can choose to set the bit depth we’d like our files outputted as. So, I prefer to work in 16 bits per channel, primarily because I’d like to retain as much information from the original Raw file as possible. You can choose to set it to 8 bits per channel, but just remember that 8 bits only contains 256 levels of information to work with, as opposed to what a standard Raw file shooting in, say, 12 bit, would contain 4,096 levels of information. Now, that information all gets retained when you leave it on a higher bit-depth level, such as 16 bits. You can then choose to size your photos. Now, I tend to ignore this setting, primarily because these don’t actually relate to anything for me because I like to size my photos directly to the final print size that I like to get printed. And in my case that’s 36 X 24 inches for a 3:2 ratio photo. And in this case, the largest size that this actually goes up to is 6144 pixels wide, which is actually a lot smaller than what I need to get my files sized at. So, the way to get around this is to use the crop tool and set up a custom crop size, in which you enter the size of the final print that you’d like to get it sized to and then you crop your file. That way, there’s no fuss and it all gets interpolated in Camera Raw, which I think is quite a good thing in the end. From here, you can choose to set the resolution of your files. I tend to leave this just as 300 pixels per inch. You also have options available to you, whether you would like to add additional sharpening tools to your file. There are a couple of settings here from screen sharpening, glossy paper sharpening, and matte paper sharpening, each of which allows you to set an amount. And you can actually choose to increase or decrease the amount of sharpening that is applied. And finally, you have an option here where you can choose whether you’d like your photos to be output into Photoshop as Smart objects. I like to leave this checked. Smart Objects are an amazing feature of Photoshop, and in a future video, I’m going to go into some depth of actually how to use Smart Objects and how they actually tie back into your Camera Raw files. You can do some really neat things that just weren’t possible before Smart Objects were introduced into Photoshop and Camera Raw. For more information visit us online at https://www.shutterbuggs.com/
Views: 3483 Shutter Buggs
Correct White Balance Within Camera Raw
https://www.shutterbuggs.com/ - White balance is one of the most important settings in Camera Raw, right up there with the exposure slider. Simple adjustments to the white balance can have a dramatic effect on how your images loom, so you want to make sure that you’re getting it right and avoid any unnecessary color casts that detract from your photographs. Now, the first thing that you’ll notice when looking at the white balance options is that there is a pre-set dropdown menu, which gives you a variety of different presets based on different lighting conditions. Now, the first you’ll notice is As Shot. Now, this is determined in camera when you actually took the photograph. Second is Auto, where basically camera roll will try and determine what it believes the correct white balance of your photographs should be. From here, you have a range of different lighting conditions: Daylight, Cloudy, and Shade. Each one of these adds a bit extra warmth as you progress further down the line. From here, you now have Tungsten, Fluorescent and Flash. Now, Tungsten will try to remove all the yellow from your image. And Fluorescent will attempt to remove all green from your image. The last and final setting is Custom, and this is primarily where I work, but I tend to use As Shot as the starting point for all of my photographs. So, I’ll actually set it on As Shot and then start to work on the temperature and tint sliders. Now, the temperature slider tries to mimic degrees kelvin, and that’s where you have a cool and a warmth. So, on the left-hand side you have blue, and on the right-hand side you have yellow. So, as you move your temperature slider from the left, you’ll have blue, and as you move it to the right hand side, you’ll actually be adding yellow to your image. Now, the tint slider is different. It actually adds green or magenta to your image by moving your slider to the left-hand side or the right hand side. Now, this just helps trying to balance out your image, because obviously you cannot correctly color correct your image just with one color setting. There is, however, another way to set the white balance of your image without actually touching these sliders, and that’s by going to the Tools up in the top left hand corner and selecting the White Balance Tool, or pressing the “I” key on your keyboard Now, this will allow you to sample an area within your photograph that you believe should be neutral. And in this example of this swan, I believe that the feathers on the back of this swan should be a neutral white. So, I’m gong to go and click on those, and as you can see, it’s reset the white balance to make the highlights on the back of this swan neutral. In the next video, we’re gong to take a look at the exposure and the recovery slider. For more information visit us online at https://www.shutterbuggs.com/
Views: 1641 Shutter Buggs
How To Assign & Convert Images To Alternative Color Profiles In Photoshop
https://www.shutterbuggs.com/ - There are essentially two options when it comes to working with color profiles inside of Photoshop. You have the choice of either assigning a color profile to an image, or converting to a color profile. Both of which are two entirely different processes that you really need to understand before utilizing them. So in front of me, currently I have what is called a granger rainbow. Now this essentially includes all the colors that you’d find in the RGB spectrum: the red, green, and blue color gamut. Right from the highlights at the top of the image, graduated down to the blacks at the bottom of the image. Now this is really quite useful for essentially comparing color profiles. So I’m going to utilize it for a little bit of this actual tutorial. And then I’m going to show you some of the different gamut sizes of the color working space profiles that you’re gonna come in contact with. And then we’ll actually look at one specific technique of using color profiles to increase or decrease your chroma or saturation of an image. So, to start out with, if we go up to edit, you’ll actually find assign and convert to profile right down the bottom of this particular drop-down menu. So what essentially is the difference between assigning a profile and converting to a profile? So let’s take a look at assign profile. Now, assigning a profile lets you tag an image with a specific profile, or un-tag an image by removing its profile. So it doesn’t actually change any of the color values of an image. But instead, it actually changes how those color values are interpreted through a color profile. Now a great analogy of assigning a profile is to think about it in terms of a looking glass. Now if you were to look at an identical image with ten different looking glasses, and each of the looking glasses had a different color gamut, you’d essentially see ten different color variations of the same photograph. So that’s sort of a simplified version of thinking about how assigning a profile works. For more information visit us online at https://www.shutterbuggs.com/
Views: 1156 Shutter Buggs
How To Correctly Adjust Color Settings In Photoshop
https://www.shutterbuggs.com/ - So the first thing that you want to do with regards to color management inside of Photoshop is go ahead and configure color settings, which is located underneath edit and we’ll just scroll to the bottom here, and you’ll find color settings. Now if you’ve never played around with Photoshop’s color settings before they may look quite daunting at first, but really there are only a few things that you need to know in order to get started. The first thing that I want you to do is go to the right-hand side of your actual window, and click on the more options button just to reveal all of the available options with regards to the color settings. Now if we work our way down from the top, the first option you’ll see is the settings drop-down menu, which has several presets from which you can choose, but essentially we’re going to set up your own custom configuration, so we don’t need to touch any of these at this moment. Underneath we have working spaces and this is where you specify a default color profile for each color mode. We have RGB, CMYK, Grayscale, and Spot. Now a working scale as such, is usually considered as a color profile that you use when editing and adjusting your images. It’s not device specific, but it has a large enough color gamut that it can actually contain all of the colors that are present in your digital image. The most common working spaces that you’ve probably already heard of: are SRGB, Adobe RGB, and Pro photo RGB. I’m going to leave this set to Adobe RGB. Once you’ve chosen your preferred working spaces we can then proceed to configure Photoshop’s color management policies which determine how Photoshop handles color profiles when opening and working with images. Once again you have the color modes you’ll have RGB, CMYK, and Grayscale. Essentially for these three drop downs you’ll actually select whether you want to turn them off, whether you want to preserve existing profiles which are embedded profiles that are existed and embedded in a digital file, or whether you want to convert your working RGB space. Essentially, whatever you put up here in the RGB space will be what your image is converted if you choose to convert to working RGB space, if your image is actually in a different color profile to begin with. Underneath these particular color modes we have a couple of check boxes, and they’re primarily for profile mismatches, so when you actually open up your documents it’ll ask you whether you want to use the embedded profile, or convert to your existing default working space, and you also have missing profiles. For more information visit us online at https://www.shutterbuggs.com/
Views: 73200 Shutter Buggs
Camera Raw: How To Easily Crop & Straighten Images
https://www.shutterbuggs.com/ - In this video, we’re going to explore the Crop and Straighten tool in Camera Raw. So to begin with, first let’s go to the tools manual up in the top left-hand corner where you’ll notice the little crop icon. Now, you can either select it using your mouse or press C on your keyboard. The crop tool itself allows you to crop your image however you would like it to be cropped and in any particular format or size. Now what you’ll notice is if you click on the crop tool icon and hold it down that there is a drop-down menu that is available with several different options. You can also get to this menu by right-clicking on your actual crop itself and what you will notice is that you’ll have a normal setting. Now the normal setting is not constrained by any means so you can actually crop your image however you’d like. Underneath normal you have some predefined ratios that you can use to crop your image. You have one- to- one which is square, two-to-three which is a 35 mil format, three-to-four, four-to-five, etcetera. So if you were to select one of these you’ll notice that it will automatically change the aspect ratio to three-to-two, which is what I selected, or you can actually go and make adjustments to your actual crop however you see fit. Now the next thing you’ll notice in that drop down menu is that you have custom. Custom allows you to predefine a set ratio or a set size in pixels, inches or centimeters. Now I like to use this to set the final print size of my files. So I like to size my photographs to the largest size that they’ll actually ever get printed, which for example, would be say 36″X24″. So I like to use inches and in this particular case I’d actually like to see this image as a panoramic so I’m going to set that to 36″X12″ which is a three-to-one ratio and if I click OK, there you go, there’s your three-to-one ratio. Now I’m just going to change that up a little bit and open it up a bit more, so there’s my panorama image. Now you’ll also notice that there are a couple other options. You have constrained to image. This just means that you crop stays within the boundaries of your actual image and doesn’t go outside of them. You also have show overlay, which if you’re familiar with the rule of thirds, it actually breaks your image up into thirds and just gives you some guides that enable you to adjust your crop according to those guides. So with the rule of thirds, it’s just the human eye likes to see things in thirds, so you tend to position elements within your shot in relation to breaking them up into thirds just so it looks visually more pleasing to the human eye. You also have a couple of other options. You have clear crop as well. Now if you don’t want to have to right-click on your mouse to go clear crop, you can also just click outside on the grey area and that will also remove your crop. Now if you’re ever cropping your image and you’re finding it a little bit difficult to sort of get the horizon to sit straight in your actual crop, because in this example you can actually rotate it, and so for example if you wanted to know whether the horizon was parallel within your image instead of having to go and look at the top here and go, Oh, it’s not quite parallel, make an adjustment, then I’ll move it back, or etcetera, like that. You’ve actually got available to you the straighten tool. Now the straighten tool is quite neat. If you select the straighten tool by either using your mouse or holding down A on your keyboard, you can actually go and select one point, so select the horizon and drag it across to the otherwise of the horizon, make sure you have it parallel and it will adjust the crop accordingly so that it is parallel with the straighten tool that you’ve just made then. And that wasn’t very obvious, but if I do it again and we’ll just adjust it at a weird angle, you’ll notice there it’s adjusted at the actual crop so it’s parallel with the straighten tool adjustment that I just made. So that is quite neat, especially if your horizon is skewed in your image and you’re just not quite sure whether it’s sitting right for you or not. Now what you’ll also notice, now that I’ve actually predefined a size for my crop which is 36″X12″ in size… do that again it’s just… there we go. So now that I’ve actually predefined a crop size, once I hit enter on that, it automatically updates the image. You’ll notice down at the bottom here that the actual size is now 36″X12″ in size and you also notice that the histogram has also updated, which is quite interesting. For more information visit us online at https://www.shutterbuggs.com/
Views: 3539 Shutter Buggs
How To Restore Old Faded Photographs To Their Former Glory
https://www.shutterbuggs.com/ - If you’re like most people, hidden in the back of your closet or wardrobe is a box filled with old family photographs that you’ve been meaning to scan and restore. Some of the most common issues that you’ll find with older photographs over time are the fading of colors, density and even contrast. Well, in this video, I’m going to walk you through such an example and show you exactly how to get your photos looking great with just a few simple techniques. So the first step in color correcting all the photos is to briefly scan over the image with your eyes to assess exactly what specific areas in the photograph need correcting. So in this particular photograph, you’ll notice that it’s quite warm and there’s a lot of yellow in the highlights, and if you look at the mid tones and shadows, they’re actually quite red, and overall the image is actually quite flat. Now, there isn’t a pure white and there isn’t a pure black. So those are things that first come across to me when I look at this image. Now, if you find that difficult to do just by visually looking at the image, there are a few tips and techniques that you can use to analyze an image prior to actually editing it. The first being is actually to bring up your info palette. Once you have you information palette, what you can do is go across to your tools menu and find your little eyedropper icon which you can click on or press “I” in order to bring up. Now by hovering over your image, you can actually analyze the color information in the red, green and blue channels. So if you have a look at the moment for this wall, I would suspect that in the original photograph it would have been sort of a highlight or a shade of light gray. So if you look at example here, and you look up in the top right hand corner for RGB values, you notice that your red’s sitting at 201, the green value’s sitting at 203, so those are almost identical in value, and then your blue is sitting at 178. Now, that tells me essentially because the blue is lower than the other values that there is more yellow content in this particular area of the image. So just by analyzing that and using the eyedropper, you can sort of get an idea on what you’re actually going to need to adjust in order to correct this image. So these are sort of up around the highlights so you need to essentially remove the yellow from the highlights in order to fix that. Now, along with looking at the information panel for color values and information, what you can also do is actually scan across to your histogram and have a quick look at that. Now, the reason I say to have a look at your histogram is because the first thing you’ll notice with this histogram is that there is no pure black and there no is pure white. So, as you can see by where the histogram actually stops here, you’ve got no information up to the highlights and no information from here down to the blacks. For more information visit us online at https://www.shutterbuggs.com/
Views: 1462 Shutter Buggs
Camera Raw: How To Balance Hue, Saturation & Luminance Values
https://www.shutterbuggs.com/ - One of my favourite panels in Camera Raw has to be the HSL/Grayscale Panel. Now, HSL stands for hue, saturation, and luminance. If we go up to our Panel Options at the top here, you’ll notice that it’s fourth in from the left. If you click on it, you’ll see that you have three different tabs available to you. You have Hue, Saturation, and Luminance. Now, these panels essentially allow you to make adjustments to specific color ranges. So you can potentially boost levels of one color relative to others and increase or decrease the saturation and luminance of different hues. Now, Hue tab itself allows you to change colors within a limited color range. So for instance, you can’t change blue to red, but you can change blue to sort of a cyan or to a purple, as you can see there. So it sort of allows you to change a specific color or hue to colors that sit either side of it in the color spectrum, whereas red would sit on the complete other end of the spectrum. So that’s why it’s not actually relative or just wouldn’t be right to be able to change that to a particular color. So with that in mind, you can make fine adjustments to all the different colors in your images, which is really quite useful. For example, in this image, I find that I’d like to make my red sort of more orange. You can go in this direction, or you can go and actually make it sort of more magenta/pinky. So it does give you the ultimate control over your colors. Now, saturation allows you to adjust the vividness of a color. So you could take a low, subdued color and make it more intense, or you could reduce the intensity of colors that just look unnatural. So in this particular example, I say the red may be too vivid for me. So I’d like to reduce the saturation of the red. You can see that it ends up looking quite washed out. So you need to be quite careful of the amount that you dial into these types of sliders. Because in some cases, you may want to just make slight adjustments, as opposed to huge adjustments, which can look obvious and unnatural. So I tend to stick around a range of, say… never go over 50. Usually stick around half that, about 25. So minus 25, plus 25, either way. It just depends on your image and what you’re actually trying to achieve. Now, from saturation, we also have the Luminance tab. Now, this allows you to adjust the brightness of a color itself, which essentially allows you to adjust the density. So what you can do is . . . Once again, if we wanted to adjust the red, we could actually darken the red off, which actually makes it look quite vivid just by darkening it off. It really does make it look more intense. Or you can lighten off a color. If I didn’t want the sky to be so dark, I could lighten it off. As you can see, it’s starting to clip there. So it does give you the ultimate control. It sort of reminds me very similar to the selective color settings in Photoshop. It does give you… Although, you actually have saturation in this, where you don’t in the other one. So it does give you that extra control that just wasn’t originally in, say for example, the selective color in Photoshop. Now, you have the option, when making your adjustments, to use all three tabs. So you could actually go through and walk through each if you wanted to. So you could make slight adjustments to the hues first, to get them to the exact sort of color that you’re after. You can go in and make an adjustment to the hue itself… saturation, sorry… and actually boost that. Then you could go in and make a slight adjustment to the luminance or brightness of that particular color. So you could use it like that, where you’re actually using all three at once, just to adjust one particular color, just to get it right. Or in other cases, you may only need to adjust on one tab and one particular slider to end up with the desired results that you’re actually trying to achieve. So it does give you a creative potential that is sort of nearly unlimited. You can almost do anything that you wanted to your images with this particular panel. That’s why I find it so fascinating and so useful when I’m adjusting my photographs. So it is worth spending time experimenting with the sliders and sort of getting to know or coming to terms with just how color is affected by adding and subtracting different hues to a particular color and also how color is affected by the intensity and also the brightness of a color. So by adding more density to a color, it tends to pop a bit more than if you were to lighten the color off, which tends to make it look less intense. For more information visit us online at https://www.shutterbuggs.com/
Views: 2295 Shutter Buggs
Camera Raw: Clarity, Vibrance & Saturation Sliders
https://www.shutterbuggs.com/ - The remaining three sliders in the basic panel are clarity, vibrance and saturation. Clarity is a total adjustment for the mid tones. And the way it works is by creating a mask, which isolates just the mid tones, to which contrast is then applied. So, as you can see, as I increase the clarity slider to 100% and then we go take a look the preview before, after, before and after, what you’ll notice is that clarity adds a distinct depth to the image, and a crispness. So, it does make the image look like it is sharper and also lifts it sort of off the canvas. I highly recommend utilizing the clarity slider, especially if you intend on printing your photographs as this effect really makes your images pop and stand out off the page. Now, if you want to add more clarity than plus 100, the other way of doing this is to go to the adjustment brush and click on that, or hit K on the keyboard. And what you’ll be able to do is actually use the adjustment brush to add clarity. So, in this example, if I wanted to add additional clarity to an already sharp and crisp image, you could actually go and create a mask. For this particular example, I’m just going to select the couple. And as you can see here, there’s just a mask around them. What I’m going to do now is just grab the clarity slider and increase that. If we go and actually turn the preview on and off, you can see it’s also increased the saturation, which is really, really weird. But that’s primarily because I’ve got the color set here, which I don’t want to. I want the saturation to be zero. My bad. So, as you can see, now that I’ve actually increased the clarity on the adjustment brush to 100%, not I’ve increased it from the original basic panel setting. I’ve increased it by using the adjustment brush, which is a really neat way if you ever have trouble…or I should say, if you ever would like to add more than what the basic panel allows you to add, you can always come in and use the adjustment brush, just to get that little extra amount of clarity, saturation, contrast, brightness etc. to add to your image. So, that’s quite a neat tip and technique. Now I’m going to clear that. The other thing that the clarity slider does is it actually mimics a technique in Photoshop often referred to as “local contrast,” which utilizes the unsharp mask to create a similar effect. Now, if you’d like to have a go at creating this effect in Photoshop, set your unsharp mask amount between 10 to 25%. And set the radius to about 100 pixels. But make sure, though, to keep an eye on your highlights, because if you’re not careful, they may blow out, which is normally what tends to happen primarily because you haven’t actually created a mid-tone mask. What I usually do is create a layer mask in Photoshop to exclude the highlights when making these adjustments using the unsharp mask. Underneath the clarity slider is vibrance and saturation. Now, these two sliders both control the amount of saturation in your image. Now, the saturation slider itself is very similar to the hue and saturation adjustment in Photoshop, except it does have some limitations. It’s primarily an overall adjustment of saturation to your image, which you may not always want. You may particularly only want to add saturation to certain areas of your image, as opposed to all of your image. One way around this is to use the saturation tab in the hue saturation and luminance panel, which is up the top here. And we click on that one. You’ll notice this saturation tab. This tab itself is broken down into eight separate hues, so you can adjust individual colors based on your image, and what you actually want to achieve. In this example, although I’ve totally gone overboard with the saturation, if I wanted to knock back the skin tones I could grab the orange slider and just decrease the amount of saturation there until it looks quite normal again. So, that’s one way around getting that additional fine control that you sometimes want when you’re actually adjusting your images. Now, if we jump back to the basic panel, let’s take a look at the difference between saturation and vibrance. Vibrance actually excludes the skin tones from the addition of saturation. To prove this, what I’m going to do is, we’re going to leave the saturation at 100. And I’m just going to blow out the skin tones, just to show you an obvious example of what I’m talking about. So, we can see some clipping there is entering around the facial area. We’ve got it highlighted in red, and it looks quite hideous. And there’s quite a bit of noise in the hair. For more information visit us online at https://www.shutterbuggs.com/
Views: 1618 Shutter Buggs
How To Save Images For Web In Photoshop
https://www.shutterbuggs.com/ - One of the most challenging aspects of displaying photographs on the web is accurately resizing, compressing and saving images in a format that is small and fast loading without compromising on the quality. In this video tutorial I’ll show you which file formats and settings you should consider using in photoshop to create high quality images that display quickly on your website. With this particular file that I'm currently using, it's 444 meg in file size. We're going to run into some issues when we're actually trying to save this for the web when using Photoshop's built-in Save for Web and Devices setting that's here. As you can see, if I was to click on this I'd get an error message. It basically says that my image exceeds the size that's safe for the web and devices that it's designed for. You want to make sure when you're actually saving for the web that you actually reduce your file sizes in order improve the performance of using the Save for the Web window. If I go to Image and just go to Image Size, we'll just drop this down to say 2,000 pixels in width and click OK. What you'll notice is, I'll just fit to screen again, we'll now go to the Save for Web and Devices and the Save for Web window shall appear. The first thing you'll probably notice is there are quite a lot of different options here. Don't get overwhelmed when first looking at this. The ones that you are really going to pay particular attention to are located in the top right-hand corner, up here. They allow you to choose the particular format that you want to save in to. In this case they give you gif, jpeg, png 8-bit, and png 24-bit color. They also give you bitmap. You really want to avoid using bitmap, and to stick to the top four that are listed here, and predominately probably just the jpeg and the png 24, especially for color photographs. With jpeg, you'll notice here you have a compression quality setting. You can actually choose what compression setting you want to use when actually compressing your photos for the web. The one I recommend sticking to is a quality of 60%, which is a high setting. I wouldn't go anything under 60% because then you're actually going to start to see compression artifacts. That's something you want to avoid with your images when they go onto the web otherwise they start to look really hideous and really unsightly. Anything under 60% I would avoid using. Anything over, you're more than welcome to use, but just remember that it's also going to increase the file size. When I actually set the compression size, you'll notice that down in the bottom left hand corner here, you'll actually see the file size that's actually going to save to. In this case it's going to be 770.5 kilobytes. It also gives you an example of the type of Internet connection speed here. If we had an Internet connection speed of 56.6 kilobytes per second, you'd notice that it would take 140 second download time in order to download this particular image. In this particular case, that is actually quite large. It's 2,000 pixels, and that is larger than any website that you are ever going to be viewing. You really actually want to reduce the size. We're going to keep it at a compression of 60%. We're going to leave it at Optimize. We're also going to, you have the option of embedding a color profile. If you don't know what color profiles are, don't particularly worry about it at this particular stage in the process. I've got a whole section on understanding color management and we'll actually go into what color profiles are, and what they can actually do for your photographs. You've also got some color management settings here. Don't particularly worry about then at this point in time. We'll go over these again later in a future video. The area that you really want to sort of pay attention to here is the image size. In this particular example it's obviously too large to actually go out to the web. You want something sort of a least under 1,000 pixels. In most cases for a website or a blog you want to save around 600 pixels. Within this window it will allow you to actually resize the image. As you can see there it's resized it, and that would be the actual size of the photograph when it's actually saved, which is 30% of the original size. It also allows you to choose an interpolation that you actually want to use when resizing this. Don't worry about that at this particular stage because once again, we're going to go into image sizing, and I'll explain all the different variations of interpolation and which ones you should really use, and for what particular purposes. For more photoshop tutorials visit our website: https://www.shutterbuggs.com/
Views: 1600 Shutter Buggs
Camera Raw: How To Use The Parametric & Point Curves
https://www.shutterbuggs.com/ - In this video, we’re going to dive in and explore the Tone Curve Panel. So if we go to our Panel Options at the top here, you’ll notice that it’s the second in from the left. If we click on it, you should see two different tabs, the first being parametric and the second being point. So these are two curve editors. Now, they both have similar capabilities although their usability is vastly different. And when choosing which one to use, your decision will primarily come down to two things: the ease of use or the precision and accuracy of your adjustments. So let’s now dive in and take a look at the advantages and disadvantages of each. Now the parametric curve has a simple interface to allow for quick adjustments to your highlights, lights, darks, and shadows. Now the effectiveness of each one of these controls is further enhanced by the range slider, which is located at the bottom of the curve itself. And you’ll notice there are three there. There’s one at 25, one at level 50, and one at level 75. Now the range sliders themselves allow you to be able to expand and track the adjustments that you made to the individual sliders that are below. Now when making these adjustments, you need to learn to associate the highlights, lights, darks, and shadows with its particular range slider. Now if you don’t, the range sliders won’t actually work until you have actually entered a value into one of these sliders here. So, for example, if I was to go and actually make an adjustment to the range sliders at the moment, you’ll notice nothing will actually happen, and that’s primarily because they make adjustments to the values you enter into the highlights, lights, darks, and shadows. So now if I just reset these back to where they were, let’s take a look at exactly what I’m talking about. So to start off with, first you’ll notice that the curve itself is broken up into 16 grids. The easiest way to understand which one of these range sliders is associated to the adjustments below is to break up the grid into four columns, like so. So on the left-hand side, you have the shadows, and that is primarily affected by the first slider on the left and the mid-tone slider. Next you have the darks, so this would be the darks column, and that is only affected by the mid-tone slider. Next you have the lights in this column, and that is only affected by the mid-tone slider. And finally, you have the highlights column, which is affected by the highlights slider and the mid-tone slider. So to give you an example of what I’m talking about, if I were to add balance and values into the highlights, you’ll notice up here that the actual curve has been adjusted and changed. And now if I were to grab the range slider that is in between the highlights and the lights, you’ll notice that as I go across to the right, it pulls in that curve adjustment. And as I go across the left, it pushes out that adjustment. Now what I mentioned before, you can actually also use the mid-tone slider for the highlights. As you can see here, it’s making an adjustment to sort of the lighter areas of your highlights and mid-tone areas. So that will also make an adjustment. The actual shadows, dark and mid-tone areas won’t actually have any affects on the highlights whatsoever. Now in comparison, if we were to add an adjustment to the lights, for example, as you can see there, only the mid-tone range slider will actually affect that adjustment by expanding and contracting the actual curve that you’ve set. It won’t actually be affected by the highlights. As you can see here, when I move the range slider, nothing is happening, and it won’t be affected when I move the shadows range slider as you can see here. So both the lights and the darks are the same. So because they’re sitting in the actual mid-tone range of the actual curve and histogram values that you can see here, they’re only affected by the mid-tone slider. And finally, we have the shadows. The shadows themselves, they’re actually going to be affected by both the shadows range slider, as you can see here, expand and contract, and also the mid-tone slider once again here. And also you’ll notice, if you push the sliders across, they’ll actually push each other which is quite funny. So that’s primarily the parametric curve. It is quite useful if you’ve never used curves before, and you’re not quite sure how to make your adjustments to your image. It is actually quite limiting, though, because you don’t have as fine control as the point curve adjustment, which I am about to get into now. But it is extremely quick if you did want to make adjustments, and you’ve just got to get use to using those range sliders and how they actually affect the values that you’ve entered into the highlights, lights, darks, and shadows. For more information visit us online at https://www.shutterbuggs.com/
Views: 1382 Shutter Buggs
Color Management For Photographers
https://www.shutterbuggs.com/ - Everything we have discussed thus far in this course, color management is perhaps the most important and technical topic in digital photography today. But before I delve into the advantages and disadvantages of implementing color management for very own digital workflow. First, let me explain what is color management? Color management is the controlled conversion of color values between various devices. Such as digital cameras, image scanners, monitors and photographic printers through the use of color profiles as demonstrated in this diagram. The primary goal is to obtain colors that visually match across each device, which in return then gives you, the photographer, consistent results. So that what you see in your camera and on your computer monitor is a close match to that which is displayed in a photographic print. Of course, there are a lot of variables and technical aspects to take into consideration, but the important thing is to remember that there are different levels or degrees of implementing color management into your editing workflow. Now some photographers may disagree with this statement. But in reality, you may not need an entire color management system in order to get the results that you desire. The degree of color management you choose to apply to your own digital photography is entirely up to you. And the amount of time and commitment you are prepared to devote to this topic. Because at the end of the day, photography is an art and color management is simply a means to achieving consistent results that we can rely upon time and time again. So, what are the advantages of color management? Well the two biggest benefits of having a color management workflow is first establishing an accurate color and tone representation of the original scene photographed. This is achieved by including a color chart in a test photograph from which you can actually set your white balance, density and other color values. This process essentially gives you a really great starting point to being post processing. The second biggest benefit with color management is being able to trust in your computer monitor and output profiles to deliver a print that closely matches what you see on screen. So, what are the disadvantages of color management? It’s technically challenging. It’s very time consuming at first especially when you are actually configuring it and setting everything up. And to do color management properly you need to invest in a certain amount of equipment and software which can be very expensive. For more information visit us online at https://www.shutterbuggs.com/
Views: 764 Shutter Buggs
How To Add Borders Around Images Using Canvas Size In Photoshop
https://www.shutterbuggs.com/ - Often when working with images in Photoshop, you’ll come across certain situations that require additional canvas area outside that of the actual image. Now, one such situation would be for example, if you were printing your images and you wanted to add a lovely white border around them so then you can actually sign underneath your image. You could do that using canvas size. So, let’s go and actually implement that. If you go up to your main navigational menu and click on Image and then just scroll down, you’ll find canvas size. Now, what you’ll notice with canvas size is, it will actually give you your current size of your document which is the file size. At the moment, I’ve got a 48.5 megabyte file. Then we have the actual width size, and that’s actually documented in pixels here. But if I was actually to change it to say centimeters, then that will actually change to centimeters. That will tell you where your current image is at. And then underneath that, we have the new size. Now, the new size is going to be the new size of the entire file, which is determined by the additional canvas that you’re going to be adding to the image that’s already there. So, essentially you have a couple of options. You have basically the pre-designed size that’s here. You can actually add to that by just going and adding, say I want that to be 25 instead of 24 cm in size, you can choose that just by adding to it here. Or you can choose to check relative. Now, relative is much easier to understand, because it’s actually telling you how much you are adding to your outside edge of your image without having to actually calculate that in your head, based on the existing document size. So, in most cases, I usually leave relative set, and that’s what I’ll actually utilize. In this example, say I wanted to add an entire white border to the outside edges of my image. What I could do is say, let’s add 1 cm border but in order to add a 1 cm border right the way around, I’ll have to put in 2 cm for the width, and 2 cm for the height. For more information visit us online at https://www.shutterbuggs.com/
Views: 929 Shutter Buggs
Seven Different Types Of Layers In Photoshop Explained
https://www.shutterbuggs.com/ - In the following video tutorial you’ll learn the difference between each of the seven available layer types within Photoshop. Each layer type has been designed to perform a unique task and by understanding exactly which adjustment layer you should use when editing your images will help you produce better results. For more information visit us online at https://www.shutterbuggs.com/
Views: 3861 Shutter Buggs
How To Create A Channel Based Selection In Photoshop
https://www.shutterbuggs.com/ - Isolating elements with Photoshop to extract or replace isn’t easy especially when it comes to extremely fine detail, but in this tutorial I’m going to reveal an intermediate technique that uses “Channels” to form the foundation for creating an accurate selection. Channel based selections aren’t used as often as they used to be now with the introduction of refined edges. But what channel based selections are really good for is making selections around really fine detail such as the hair around the bride here and the groom against the background of the sky. Also, say, trees as well, with their leaves and their intricate detail. What you can do in order to actually make a selection is you can sort of walk backwards. Instead of starting out with the selection and actually refining, what we can do is start with a channel that we use in order to create a selection from. Now if we go the channels panel here, what you can see is that you’ll have the RGB version of the actual image that we’re working on. But there’s also the red, green and blue channels that actually make up this image. You’ll notice that as you click through them that each one has a different contrast and a different set of tonal values for the individual colors that are throughout the image. For more information visit us online at https://www.shutterbuggs.com/
Views: 1469 Shutter Buggs
Camera Raw: How To Use Split Toning Panel
https://www.shutterbuggs.com/ - In the previous video, we took an in-depth look at the HSL/Grayscale Panel and how you can utilize it to control Color within your images. In this video, I’d like to take a slightly different direction and show you how to convert your images to grayscale using the HSL/Grayscale Panel and then use the split toning feature to create some unique effects, such as sepia tones for your images. So to begin with, you can see that I have one of my images open. Now, I actually have done a fair amount of work to this image. And to begin with, what I first want to do is go to the HSL/Grayscale Panel and I want to convert my image to grayscale. Then, I want to go to the Split Toning Panel. And what you’ll notice is I have a highlight section and a shadow section. Now this will effectively allow me to add individual colors to the highlights, or an individual colorcast, I should say, to the highlights, and an individual colorcast to the shadows. So, for example, if you had a sepia tone, you’d have a very yellow highlight and you’d have a very sort of copper, bronze, slightly redder shadow area. As you can see here, you can choose the hue you’d like to add to the highlights. Now I am going to choose a warm yellow, and you can see nothing is effectively happening. And you might also notice, if you’ve got a really good eye, is I already actually have a colorcast in my image. Now I’m just going to point this out to you, because it’s actually quite interesting, you can see by looking at the red, green, and blue values that are up near the histogram, that it’s not a perfect black and white. Now this is primarily because I’ve actually done some work with the adjustment brush, which we’ll just take a quick look at. It’s a slight detour, but I just wanted to point this out, because the image doesn’t quite have that black and white appearance to it. If I click on that, what you’ll notice is I’ve actually got a couple of different selections here, and one of them is on the actual cliff wall. Now when I select that, you’ll actually see I’ve actually got a colorcast here, I’ve got sort of a low intensity red that I’m actually filling out through that selection right there. So that’s primarily why there’s actually a colorcast in the black and white. So, ordinarily, if I didn’t have this selection there, you wouldn’t actually have that colorcast, and it’d be more like this tone here, it’d be much more black and white, as you can see. But that’s a quick detour. What I’m going to do now is jump back to the split toning panel, as you can see here, and we’ll go back to adding, changing the hue value to sort of a warm yellow, around 50. There we go. Now, what I’m going to do, as you can see here, just adjusting the hue itself doesn’t actually change the color in the highlights. What you need to do then is actually increase the saturation in order to add that color to the highlight. So, as you can see now, the more saturation I add, the image starts to take on quite the yellow sort of tone. So we’ll just drop that back a little bit. Now what I’ll do is I’m going to go to the shadows. Now the shadows I’m going to keep very high up in the red areas, because I’d really like to have an orangey-red feel to it. Just like a sepia tone image, but that’s probably slightly more towards the orange. Now, I’ll increase the saturation here. Now it’s adding that saturation to, adding that hue to the darker areas of the image, as you can see there. And that actually looks quite nice. I really quite like that effect. It’s very close to a sepia, but you can see throughout the highlights up the top, it’s not quite as yellow as I’d probably like, but it is quite nice. So that’s what you can do with split toning. And you also have the balance slider in the middle here, and this allows you to balance the two hues that you are using within your image, and actually choose to have them weighted in your image. So, for example, if I wanted the yellow that is in the highlights, if I wanted that to come throughout the image a bit more, as opposed to, and come into more of the mid-tone, darker areas in the mid-tones, what I can do then is actually just make some adjustments to the slider. And you can see that if I go-sorry, wrong direction-if I go across to the right hand side, into the highlights, you’ll notice that the yellow starts to take dominance over that orangey-red that I added to the shadows. And vice versa, if I go to the darker areas of the balance, you’ll notice that that more redder, copper color sort of comes through into the overall side of that image. For more information visit us online at https://www.shutterbuggs.com/
Views: 1111 Shutter Buggs
How To Make Quick Selections Using The Magnetic Lasso Tool
https://www.shutterbuggs.com/ - In the last lesson, I gave you a quick demonstration on selections and layer masks, in which I used a marquis tool. And whilst the marquis tool is useful under certain situations, it’s not really a tool that I use a lot, when editing my photos. However, one tool that does come in quite handy when editing photos is the magnetic lasso tool, which has a unique ability of being able to create selections by automatically clinging to the edges of objects, where there is a distinct outline and difference in contrast relationships. Now, this tool can save you a lot of time isolating elements and then refining your selections using tools like refine edge and quick mask afterwards. But the magnetic lasso tool can sometimes be a little bit temperamental, especially if you aren’t aware of its qualms and quirks. There are a variety of different options that cover it across all the different selection tools in Photoshop, so you’ll find that most of them have similar options available to control the performance of the tool that you’re using, and also the degree of the actual selection that you’re making. For more information visit us online at https://www.shutterbuggs.com/
Views: 666 Shutter Buggs
How To Organize & Group Layers In Photoshop
https://www.shutterbuggs.com/ - There’s nothing worse than spending hours working on an image in Photoshop only to find that you have created a considerable number of layers with little or no recollection as to the reason behind why each layer was created. Understandably this then makes any editing in the future extremely complicated. In this video tutorial we’re going to discuss how to effectively manage and organise layers in a format that is easily identifiable, improving your day to day editing workflow. For more information visit us online at https://www.shutterbuggs.com/
Views: 1805 Shutter Buggs
Camera Raw Snapshots: Saving Your Workflow Settings
https://www.shutterbuggs.com/ - Let's now talk about Adobe Camera Raw Snapshots, which is the last panel on the right. So if you click on "Snapshots," once again, you'll notice there isn't any snapshots listed currently. So what you want to do is you want to go and actually create a snapshot by clicking on the little "Create Snapshot" icon. We want to give it a name. So for this example, I'm going to call it "Snapshot Standard." Go "OK." Now I'm going to go back to some of my settings. I'm going to make some color balance adjustments. I'm going to make some exposure adjustments just to sort of make it obvious that the image itself has actually changed. Maybe a little bit more saturation just to make it quite hideous. Add a bit more magenta. So there we go. That's quite an obvious change to the image itself. I'm going to go back to "Snapshots," and I'm going to save that. So this is going to be, let's call it "Snapshot Code Standard" and click "OK." So what you'll notice now is if we jump between the two different snapshots, you can see the difference in the actual adjustments to the images and you can swap between the two. Now, "Snapshots" is an individual preset or adjustment to an image. The adjustments that we have here with these snapshots that we've created cannot be used for another image. So if I go "Done," for example, and let's go back to use this example once again. Double click on that. Now we go to the "Snapshots" panel in this particular image. You'll notice there are no snapshots here, and that's because the snapshots I created on the last image are specifically for that image. It's not like "Presets" where preset is a global correction. We can actually go and apply those presets to any other images that you ever open up in Camera Raw. It doesn't work like that. It's an individual correction specifically for the image that you're working on at the time. So it is quite useful for seeing the progression of your editing workflow, and to be able to jump back in sort of a history that you've created yourself by creating those individual snapshots as you work through your image. Now, especially when you've actually made large adjustments to your image, it's really useful to be able to jump back through all those different stages and actually see how far your adjustments have actually gone. Sometimes you can really blow out certain aspects of the image that you just don't notice when you're actually making those edits until you look at the original file and actually compare the two to see what you've actually done. So, in that respect, it is quite useful. For more information visit us online at https://www.shutterbuggs.com/
Views: 309 Shutter Buggs
Camera Raw Preferences: How To Configure Them Correctly
https://www.shutterbuggs.com/ - In this video, I’d like to discuss some of the preferences that are available to you in Camera Raw. If you go up to the top left-hand corner where the tools are located, you’ll notice that there’s an Open Preference dialogue box. If you click on that, you’ll see that Camera Raw preferences will appear. We have some general settings. The first one allows you to choose where you’d like to store any changes to images on your computer. You can choose whether you’d like to store those image settings in SideCar XMP files, or if whether you’d like to store them directly in Camera Raw’s database. I prefer to use Camera Raw’s database, but it’s entirely up to you. Next, you can choose, whether you’d like to apply sharpening to all images, or just preview images. From here, you’ll notice you’ll have some default image settings. This is where you can set whether you’d like to apply auto-tone adjustments, auto-gray scale mixes directly to images as soon as they’re opened up in Camera Raw. Now, I prefer to leave these off, especially if I’ve made changes to a Raw file that I’m quite happy with, and then I open it up again. Because if you open it up again with these settings set, Camera Raw will make it’s own mind up on how the image should look and actually change all those settings on you, which can be quite annoying. From here, you’ve got options whether or not you’d like to specify defaults specific to camera serial numbers. So, if you have multiple cameras that you’re shooting with and picked one of those is your preferred camera, you can set the defaults so they’re only applied to that specific serial number. You also have the option just to apply defaults that set up in Camera Raw to specific ISO settings. So, for example, if you mainly shoot in ISO 100, then you can have all the defaults and the sharpening and the lens corrections all set up for ISO 100. But when you open up a file that’s set to ISO 1600, you can choose that those settings aren’t applied to that file. Because for instance, that file may be a lot more noisy, and you don’t want the same sharpening applied to that ISO setting. From here, we have Camera Raw cache, and this is where you can decide how much memory you want to allocate to Camera Raw. So, for example, if Camera Raw’s running quite slow and you have some quite large raw files that you’re working on, you can choose to allocate a specific amount of hard drive space to Camera Raw. The more you allocate, the faster and the better Camera Raw will perform for you when you’re working on larger files. You’ll also notice that this purge cache, just here as well. Sometimes if the cache gets a bit clogged up, you can choose to purge the cache and you can also choose to select a location on where that cache is actually stored. I work a lot on DNG files, so this is where you can choose where those files are handled. I prefer to ignore SideCar XMP files because, obviously, with DNG files, that information is already included in a single DNG file. I also like to update my embedded JPEG previews, so that they’re actually set to medium size. This is because I prefer to reduce the size of my DNG files. And if I have it set to a full size, then obviously the size of the file is going to be quite larger than if it was set to medium size. Now, as I’m sure you’re aware, Camera Raw can open JPEG in two files, so you can choose how those files are handled in Camera Raw preferences. Now, we’ve got some automatic settings here, but you can also choose whether you’d actually like to disable JPEG and TIFF support if you’d like. In the next video, I’d like to talk about some of the workflow options that are available to you. For more information visit us online at https://www.shutterbuggs.com/
Views: 3478 Shutter Buggs
Camera Raw: How To Use The Fill Light & Black Sliders
https://www.shutterbuggs.com/ - In the previous video, we discussed how important the exposure and recovery sliders were with regards to preserving highlight detail. And in this video, we’re going to focus on how to control shadow detail using the fill light and black slider. So, if you’ve ever used Photoshop before, you may have come across a filter called shadow and highlights, which is comparable in some respects to the recovery and fill light sliders in Camera Raw. Now, the fill light attempts to recover details from the shadows without affecting the black. So, you can see as I move the fill light slider across to the right hand side of the image, the darker areas of the seal’s fur coat begin to lighten. Now, with that said, there’s only so much detail that can be recovered, and if you attempt to push things too far you risk the introduction of fringing, noise, and other digital artifacts. So, as we can see here, for purposes of showing you the effects of this slider, I’m going to set it to 100. And we’re going to go and zoom in at 100% on the seal’s flipper, and what you’ll notice is along the line of the flipper is fringing, and also continues along the actual rock face there. And that becomes quite obvious the more you actually increase the amount of the fill light. Now, you’ll also notice that this is actually extremely noisy. I did shoot this at ISO 1,000, because it was quite low lighting conditions on the morning that I actually took this photograph. But, with that said, when you do increase the fill light it does tend to actually reveal a lot of aspects of the photo that you normally wouldn’t actually see. If this were actually set to a density that was sort of where it’s actually supposed to be, you’d actually notice that those noise aspects actually wouldn’t show themselves. So, it’s just something to pay particular attention to, that if you do sort of push it beyond the realms of what is actually visually pleasing to the eye that those things tend to show up. Now, you’ll also notice just here, that it is, like I was just saying, it’s quite noisy. You can actually see the color noise in here as well. You can see here it’s sort of a very red-y color around where my mouse is, and then it goes to sort of a green-yellow, and over here to a sort of a blue-y/black color. Now, I just recommend for you when you’re actually using this tool, just use it with caution, because, as I say, I tend not to add too much fill light to my images. In a future video, I’ll actually show you a really cool technique of combining two raw files, or two files of the same raw file I should say, where you actually adjust the exposure to two different settings, and then combine them in Photoshop using smart objects. It’s a pretty cool technique, but I’ll leave that for a future video. But, as I was saying for the fill light, just be cautious when you actually use it. If the fill light concentrates on recovering shadow detail without affecting the blacks, then the black slider can be used to increase contrast in the shadows and blacks of your image without affecting the mid-tones. Now, this adjustment is very similar to the black point adjustment in your Photoshop levels. Now, the key to using this slider is to adjust the black point of your image until it just touches the edge of your histogram. So, if you notice at the top here in my histogram, there’s a space between the left-hand side of the histogram, and the actual information in the image. So, there’s basically empty space there. So, what you want to do is you want to make adjustments to your black slider until it sort of just reaches the edge of your histogram. What you’ll notice I’m doing here is if you select the amount of any of these sliders, and use the up and down keys on your keyboard, you can increase the values by increments of one. Now, if you want to increase the increments in 10, just hold down shift whilst you’re actually pressing the up and down keys, and you’ll notice that they jump up in increments of 10. So, by making that slight adjustment, you can see now that the histogram is sitting right on the left-hand edge of its threshold, as it were. Now, with all this said, keep in mind that this is just a guide. The look and feel of your image must come first. So, you really want to monitor your blacks, but you must also sort of use personal preference, and actually decide whether you want to push your blacks further than what is visible in your actual histogram. For more information visit us online at https://www.shutterbuggs.com/
Views: 822 Shutter Buggs
How To Achieve Perfect Color Using Hue & Saturation In Photoshop
https://www.shutterbuggs.com/ - Now, as you’ve seen with Camera Raw with regard to the hue, saturation, and luminance panel, it’s no surprise that in Photoshop you’ll actually find a similar feature set called hue and saturation. Now hue and saturation has been around for years, and it can do some pretty fancy things. Now with that said, you just need to be careful when you using it as I’m about to show you. So hue and saturation is located under Layers, under New Adjustment Layer, and it’s about halfway down. So I’m just going add that as a new layer. And the first thing you’ll notice, as with all of the adjustments in Photoshop CS5 is that you have a set of presets that you can utilize by basically clicking on this little icon and displaying a drop-down menu. And as you can see here you have a variety of different options from increasing the saturation to different types of effects from sienna-types to sepia images, so you have some degree of creative license by utilizing the presets in hue and saturation. Now for most of the time you’re probably going to use your own custom settings, though. So in this case we’ll just go back to default so it zeroes everything off. And what you’ll see is that you have a series of different sliders. Now these are very similar to the sliders in hue, saturation, and luminance in Camera Raw. You have hue slider which basically determines the hue or the color of what you’re actually adjusting, so in this case if I wanted to change the color of the entire image, I can basically adjust the hue and that will start to change the hue of all the colors in the image as you can see there. So you can some really psychedelic colors. Now along with that we have saturation settings which are pretty self-evident where you can either decrease the saturation and end up with a black or white image or you can increase the saturation and really get some vivid colors. And finally you have the lightness slider. Now the lightness slider simply lightens off the colors and it can be useful on some occasions, but most of the time I don’t generally use the lightness slider. But have a play around with it and see what you personally prefer. For more information visit us online at https://www.shutterbuggs.com/
Views: 651 Shutter Buggs
How To Easily Correct Color Balance Within Photoshop
https://www.shutterbuggs.com/ - If you’re looking for a simple way to correct color imbalances in your photographs, then you can’t really go past color balance as the solution. Now, color balance itself is located underneath layer, new adjustment layer, and it sits just underneath hue and saturation. Now, the first thing you’ll notice when you open up color balance is that you have a set of tone options. Now essentially, the tone options allow you to specify areas in your photographs that you actually want to apply color corrections to. You have to choose from shadows, mid tones, and highlights. Underneath the tone settings we have the color sliders, and beside each of the color sliders we have a value which you can input if you really want to be specific with a number value. And underneath that, we have preserve luminosity. To quickly explain, if you’ve ever looked at color theory in general, you have additive and subtractive colors; additive being red, green and blue and subtractive being cyan, magenta and yellow. As you can see here, these are the opposites. So, cyan is the opposite to red, magenta the opposite to green, and yellow the opposite to blue. If I add yellow to a specific area, it’s going to remove blue which if you have a blue color cast, that’s essentially what you want. Now with additive and subtractive colors, if you’ve ever done any traditional color printing, when adding or applying an additive color to color printing as a filtration, what you’ll notice is that you’ll actually start to lighten the print, or lighten the color values that you’re apply those color corrections to. For more information visit us online at https://www.shutterbuggs.com/
Views: 331 Shutter Buggs
How To Change Depth Of Field Using Photoshop's Gaussian Blur
https://www.shutterbuggs.com/ - There’s lots of different filters in photoshop for creating all sorts of different effects but the one that stands out as being the most well-known is gaussian blur. Now at this stage you might be asking yourself why on earth would I want to blur my photos. Well the reality is that there are many circumstances when working in photoshop that you may need the assistance of gaussian blur. Some examples off the top of my head could be to change the focus in an image by blurring specific areas that aren’t important in order to draw attention to those that are so it’s very similar to just changing the depth of field in your camera you can actually do that in photoshop. If you’re working with masks for example gaussian blur comes in very handy for softening the effects of the actual mask itself or if you’d like to take the edge off, really cause film grain, or noise for that matter in a photograph applying gaussian blur works like a treat. Let’s now take some of the examples that I mentioned about and put them into practice so here’s the photograph that I captured that quite clearly has a large depth of field where the entire image is in focus. Now what I want to do is essentially reduce the depth of field just so that it’s specific to the car. Now this was shot with a wide angle lens so it’s going to work quite nicely and also so that just along the plane of focus which will be sort of along this area here will be the only area that’s in focus and actually I think it will come up quite nice. So the first thing I need to do, in order to actually create this effect is to duplicate the background because essentially that’s where I’m going to be applying the gaussian blur too. So gaussian blur is located up underneath “filter / blur / gaussian blur” now you’ll also notice there’s a variety of other blur filters here that you can play around with there’s some really good ones for creating some specific types of effects such as motion blur but for this particular tutorial were just going to stick to gaussian blur. So I’m going to click on that and that will bring up gaussian blur. Now when you first open up the gaussian blur dialogue box you’ll notice that you only have one option and that is specific to adjusting the amount of pixels for the radius of the blur. Now gaussian refers to a bell shape curve that is generated when photoshop applies a weighted average to the pixels and as you start to actually reduce the amount of pixels and then increase them you’ll notice that the amount of blur changes quite dramatically. So for this particular tutorial I think I’m going to set my gaussian blur to about fifty pixels and I think that will work quite well for this image, you’ll also notice that you have a preview window here if you click on it with your mouse it will actually show you at a 100 percent or your chosen magnification by changing the minus and plus icons here how much blur you are actually applying to the image you can also use the preview check box as well just to sort of give you some indication. For more information visit us online at https://www.shutterbuggs.com/
Views: 226 Shutter Buggs
Raw vs Jpeg Comparison - What's the difference?
https://www.shutterbuggs.com/ - I’d like to talk to you about the difference between RAW and JPEG which are the file formats your digital camera will use to capture and save your images. These two file formats along with TIFF are all able to be opened and edited using Camera Raw. And I think it’s fair to say that this cost would be incomplete without first explaining the pros and cons of each format and why you would choose to shoot with one as opposed to another. So what actually is a Raw file format? Well, Raw files simply contain large amounts of unprocessed data recorded directly from your camera’s center. In this sense, it is the digital equivalent to a film negative that has been exposed but has yet to be processed. So the primary advantage of shooting in Raw is that it gives the photographer complete control over how they would like their photos processed. Essentially this means any aspect or nuance of an image the photographer will have control over. There are many characteristics passed on from the digital camera sensor that give Raw files this control. And before making your mind up as to which one you prefer, let’s first take a look at both characteristics. Raw files have a high bit depth of 12, 14, and in some cases even 16 bits of information. Now, this is just a fancy way of saying how many levels of tonal information can be captured and stored in each Raw file straight from the sensor of your digital camera. An example of this would be a standard 12-bit camera and when you times 2 bits to the power of 12 you end up with a camera that is capable of capturing 4096 levels of tonal information for you to work with whereas the 14 bits has 16,384 levels, and 16 bits has 65,536 levels of tonal information. A higher bit depth results in being able to capture high dynamic range scenes where the contrast ratios are extremely high and an example of this would be say a nighttime scene or shooting during the middle of a sunny day for example. Another added benefit of shooting with a high dynamic range is flexibility. And what I mean by flexibility is that if you were to incorrectly over or under expose your photos when shooting in Raw, you can recover and restore your photos without any further deterioration far greater than that with any other image file format. Because Raw files are completely unprocessed they still retain the full resolution of the digital camera sensor which enables you to produce higher quality enlargements and prints without risking the introduction of compression artifacts that can be associated with JPEGS. But one of the drawbacks of shooting in Raw with a full resolution is the associated larger file sizes which can take up more room on your memory card and reduce the amount of photos you can store at any one time. The bigger file sizes also means that your camera requires more processing power and time to be able to save your photos to the memory card. Because the Raw files are linear and no processing has occurred yet, they still need post processing before being able to view or print your photos on any other type of media and it’s at this stage where Raw files come to life with the photographer’s visualization and interpretation of the original scene is realized using Raw converters like Adobe’s Camera Raw and Lightroom. Now larger file sizes, once again, require more computer processing power when editing which can be a drawback or hassle if you have a really slow computer. For more information visit us online at https://www.shutterbuggs.com/
Views: 1321 Shutter Buggs
How To Use The Dodge And Burn Tool In Photoshop
https://www.shutterbuggs.com/ - To those of you out there, that have the pleasure of working in a traditional darkroom and printing your own photographs, would be familiar with the terms “Dodge” and “Burn”. But for those of you who have never had this opportunity, let me quickly explain what they terms are in reference to. The terms “Dodge” and “Burn” reference techniques that we used in a traditional darkroom, where a photographer would control the amount of light being projected onto light sensitive photographic paper from an enlarger, which carried the negative. Now, this would allow the photographer to target areas in their photograph, and control the density, by reducing or increasing the amount of light, that was exposed onto the paper. The Dodge and Burn tools in Photoshop were designed with this in mind, and act very much so in a similar manner, but with all the added benefits that come with working in Photoshop. Now, if you navigate to the left-hand side of your working space, you’ll find the Dodge and Burn tools located just over halfway down your Tools Menu. For a shortcut, you can press “O” on your keyboard, in order to bring up these tools. Now, if you click and hold down on your mouse, that’ll actually bring up the Tools Menu, which will allow you to switch between the Dodge tool and the Burn tool. Now, before I get started actually making any adjustments, it’s important to remember that these tools are applied directly to an image layer, and therefore, I’d like to duplicate my background layer from which I can then work from. So I’m going to go across the layers, and I’m just going to drag the background layer onto a new layer, in order to duplicate it. In the Options bar, we have the main controls for the Dodge and Burn tools. The first one, you specifically want to adjust, is the Brush Tip Size. Now, the size is going to be determined primarily by the size of the area that you actually want to adjust. From there, you actually want to set the Hardness Value. And in most cases, this is going to be under 25%. You really want a small amount, in order to not emphasize the outside outline of your Dodge and Burn adjustments. So to show you a quick example of what I’m talking about, is if I just quickly increase the Hardness to 100%, and we make one quick adjustment to this image, you notice just with one click there, I can see a really coarse outline around my brush. Now, if I was to go back into the Brush Tip Hardness settings, and we just reduce that to 0%, what you’ll find, is that you won’t actually be able to see the outside outline of my adjustments, which is essentially what you want, when you’re burning and dodging. So, I’m just going to go to my History panel, and I’m just going to back three states. Now, from there, we have the Range option. Now Range, simply, will determine the values in your image, that’ll actually be affected by your adjustments. So you can select from the Shadows, Midtones and Highlights. So, depending on the areas that you’re actually going to be adjusting, if they’re the shadows, then you’ll want to select the shadows as being your range value. If they’re the mid-tones, the mid-tones value, etc. From Range, we actually have the Exposure percentage. Now the Exposure percentage will, simply, allow you to control the amount of dodging and burning, that is applied to your image. For more information visit us online at https://www.shutterbuggs.com/
Views: 439 Shutter Buggs
How To Resize Images In Photoshop Without Losing Quality
https://www.shutterbuggs.com/ - Resizing images in Photoshop is relatively simple, however if you want to resize images without losing quality you’ll need a basic understanding of image interpolation to ensure high quality results. Image size is located in the main navigational menu underneath Image / Image size. Now as you can see, before I get started talking about image size, I have four duplicate images here, and that’s primarily to demonstrate four different types of sizing that we’re going to actually take a look at. When you first open up the image-sizing window you’ll be presented with the pixel dimensions of your document or image, along with the actual file size. So, as you can see there, mine is 72.8 megabytes in file size, and then we have the width and the height of my current image, and that’s specified in pixels. You also see, if you actually click on pixels, you can actually change them to percent. Now, if you wish to actually resize your images for the web, then you need to especially do it in pixels because, obviously, screen sizes are based on pixels, and this is essentially where you’d do it. Now, of course, I actually prefer to use the “Save for Web” feature, it’s actually listed underneath “File” in the main navigational menu, and I believe there is a video, an entire video on it, in sub-module number one for Photoshop Magic. So this is essentially where you want to change your pixel dimensions for an image. Underneath that we have the Document Size. Now this will actually give you the exact dimensions of your image, and also the resolution. So, once again, we have the width, the height, and also the resolution here. So you can go and actually choose to change the actual measurement unit that is currently being presented to you, which, at the moment, is in centimeters. I can change that to inches or millimeters according to, you know, my personal preferences, in order to actually adjust the size of my image. And to actually do that it’s as simple as actually going in and actually changing the document size. For more information on resizing images visit: https://www.shutterbuggs.com/how-to-resize-images-in-photoshop-without-losing-quality/ https://www.shutterbuggs.com/how-to-batch-resize-in-photoshop/
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How To Stitch Photos Together In Photoshop CS5 With Photomerge
https://www.shutterbuggs.com/ - If you’re anything like me, at some point on one of your photographic adventures, you’ve come across a scene or subject that cried out to be captured as a panorama. It’s probably at this stage that you’re asking yourself, “What’s the easiest way to take multiple images and piece them together into a panoramic image using Photoshop?” Well the answer to that question is Photo Merge. Photo Merge makes it incredibly easy to stitch multiple images together to create a panorama from scratch. The best part is that Adobe Photo Shops CS5 does an amazing job that I honestly can’t fault which can be said for the older versions of the software. In fact, if does such a great job that you almost never need to actually position your lens directly over its nodal point, and that is pretty impressive. Now the process of actually capturing and creating a panorama is fairly straightforward as you’re about to find out. I’ve decided to demonstrate the process using two images to keep things simple and easy to follow. You can easily create panoramic image using as many images as you like. In a future tutorial, I’ll actually put a panorama together that has about 6, 7 or 8 images. I thought that’ll also be interesting to watch for you. Now first off, in order to actually get started, what you need to do is actually capture multiple images of a scene using a tripod. You can do it handheld, but obviously a tripod’s going to give you better results in the long run. Just make sure that all of your images actually overlap evenly and are actually photographed using the same exposure settings. This will limit the amount of editing that actually you need to do when you actually get into camera raw. The next stage is to open up everything up in Camera Raw and just make sure that everything’s identical. Now it can be difficult if you’re shooting quite a few images and you’re shooting around sunset or sunrise where the difference in lighting actually changes fairly quickly. You may need to adjust the density slightly throughout the actual series of images. In some cases it may be a third of a stop or two-thirds of a stop. It just really depends on how quickly you get those shots off and actually get them set up and taken. Once you’ve actually opened them up in Camera Raw, processed them all, done all same editing and adjustments to all the photographs so they all look consistent and identical, the next thing you want to do is essentially save your images at the same resolution using the same color profile or color working space and then also using the same file format just to ensure consistency. https://www.shutterbuggs.com/how-to-stitch-photos-together-in-photoshop/
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How To Make Tonal Adjustments Using Curves In Photoshop
https://www.shutterbuggs.com/ - The curves adjustment in Photoshop is an integral part of every photographer’s toolkit. It’s not only extremely flexible, but it’s also very powerful, especially when it comes to controlling tonal values. You’ll find curves located both underneath image, adjustments, curves, and also underneath layer, new adjustment layer, curves. For this particular tutorial I’m going to use image, adjustment curves primarily because it shows more visible options and a slightly larger adjustment window from which we can work from. We’ll open that up. The first thing you’ll notice when you open up curves is there is a preset drop down menu that has a range of presets that have been created by Photoshop. If you’re a lover of the look and feel of color negative or perhaps cross processed color transparency these presets have actually been created by Photoshop in order to save you time. They’re the more creative presets that are in curves. But, if you’re looking just for some stock standard adjustments to either the density or the contrast we also have those options available, too. We have darker, increased contrast, lighter, linear contrast, medium contrast, negative, and strong contrast. These can be very useful just for quickly adjusting your image if it needs a little bit more contrast. Or, if you need to reduce that contrast you can do that without having to actually adjust the curve itself. That can save you some time. Underneath presets we have channel. Channel will simply display all the channels for your particular image. If you’re working with an RGB image, as I currently am here, you’ll have the combined channel which is the red, green, and blue channel combined which creates your color image. Then, you also have the red, green, and blue channel so you can individually correct individual channels based on any particular image that you’re working with. For more information visit us online at https://www.shutterbuggs.com/
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Camera Raw Effects Panel: Adding Grain & Post Crop Vignetting
https://www.shutterbuggs.com/ - In the video, I want to explore the Effects panel that contains grain and post-crop vignetting. So if you up to our panels Options, you’ll see the little FX icon. If we click on that, you’ll notice this is the Effects panel, which contains grain and post-crop vignetting. Now let’s just take a look at the grain to start off with. And what I’m going to do first is I’m going to zoom into my image to 100%, which I recommend you do primarily because it’s going to give you the best sort of visualization of what you’re actually creating with the grain itself. Now, grain simulates film grain essentially, and it’s very useful for masking or hiding digital artifacts that occur when making larger prints, and actually interpolating your files up to relatively large sizes. So as you can see here, as you grab the amount slider, it controls the amount of grain that’s being applied to my image. So the higher the value goes, the more grain that is being applied. And as you see from my preview, you’ll notice it’s quite a dramatic effect. Now, underneath grain, we have size and roughness. Now, these both determine the character of grain. Now, the size slider itself controls the grain particle size. So as we start off at a low value on the left-hand side, you’ll notice that it is quite fine and quite detailed. But as you increase it and head across to the right-hand side of the slider, it becomes quite large and it starts to actually look a little bit blurred, as you can see. So that actually controls the particle size. So you want to have a play around with that as to what size of grain you actually want to apply to your image. Now, underneath size, you have roughness, which controls the regularity of the grain. So, for example, if I drag the slider to the left-hand side, the grain becomes more uniformed. But if I slide the slider across to the right-hand side, it actually becomes uneven. Now, as with film itself, it’s not perfectly uniformed so it’s sort of halfway between uniformed and even, so you just need to play around with that to get the character of film grain that you’re sort of looking for to apply to your image. Now, when doing this, you want to make sure that you actually view your image at several different magnifications or zoom levels just to see how it actually looks because sometimes it may look great at 100%, but it looks bloody awful at let’s say 50% or 33% when you actually jump back. And this is especially important, because if it really looks quite unsightly, then your prints are going to turn out quite awful to be honest, because the grain is going to be distracting from the actual image itself. So you just want to take note of that and make sure you look at a couple of different sizes prior to actually going and printing those images out, just to make sure you’ve got your desired result. Now, along with grain, we have post-cropping vignetting. Now, this is a new feature to Camera Raw, which was introduced primarily because of some of the limitations that we have with lens vignetting in the Lens Correction panel. Now, in the previous video, we took a look at how to actually use that, so let’s just jump back into that panel for a second, and we’ll just go over some of the limitations here. And then I can go into why post-crop vignetting is actually better in some respects. Now, what I showed you previously was how to apply lens vignetting to your image to sort of focus the attention of the viewer on the center of your image by darkening off some of the corners of your image, as you can see here. So if we do a little before and after preview, you’ll notice that the corners have darkened off, but the center is sort of still around the same density. Now, one of the limitations with lens vignetting is that it applies it to the entire image. So, for example, I happen to think this image looks fantastic as a panoramic in a 3:1 ratio. So if I were to crop this in that format, you’ll notice that the lens vignetting is still being applied to the entire image although I have actually cropped the image. So the actual adjustments are still being applied to the outside areas that are actually being cropped, which is not very good when it comes to adjusting or when it comes to trying to reproduce this type of effect on a cropped image. For more information visit us online at https://www.shutterbuggs.com/
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How To Open Jpeg In Camera Raw
https://www.shutterbuggs.com/ - Camera Raw’s interface and controls make it extremely easy to use in comparison to trying to achieve similar results using Adobe’s Photoshop. But, what if you don’t have a camera that shoots in Raw? Can you still take advantage of Camera Raw’s nondestructive editing? Well, the answer to that question is yes. Even if your camera only shoots in JPEG or TIFF, you can still open and edit these files in Camera Raw and take advantage of most of the associated benefits. Now, let me walk you through a couple of different ways of opening your JPEG and TIFF files in Camera Raw. As you can see, I have a folder open here, and it only contains JPEGs. Let’s now go and double click on one of these JPEGs. As you can see, it’s opened up in Adobe Photoshop which is not what we want. Let’s go and close that. That’s generally what happens. What you can do instead of opening it directly from your folder there, if we were to open it in Photoshop you could actually go to open and open up the same folder. You’ll see they’re all JPEGs there. I’m going to open this file here. But, instead of leaving the format set to JPEG, change that and set it to Camera Raw. We’re sort of tricking Photoshop into automatically opening up your JPEG file in Camera Raw as opposed to ordinarily opening it up in Photoshop. We set that to Camera Raw, and then we go click open. As you can see, it’s now opened up in Camera Raw. That’s how you get around opening up JPEGs or TIFFs in Camera Raw using Photoshop. Once you start making changes to your JPEG files you’ll notice that it starts to write those corrections to your JPEG’s metadata. So, it’s nondestructive. It’s not actually physically changing the file, unless you want it to. In that case you’d need to go and save it as a new file or open it as a copy of your original JPEG in order to physically change the original file information. But, in this particular example any correction that I make to this file, it’s only getting stored in the metadata which is really neat – especially if you ever want to jump back or come back directly into Camera Raw itself and make further corrections to your JPEG or TIFF files. With that said, I mean you can do the majority of all the different adjustments that are available to you in Camera Raw to your JPEGs. I mean within reason. Because, obviously, your JPEG files aren’t Raw files. So, they don’t contain as much information as a Raw file does. But, you do have available to you all of the actual panel options and all of the tools. So, you can primarily make the majority of adjustments that are available to you to your JPEG and TIFF files. So, you’re really not limited. To make simple corrections you can go through and just work your way through the panel making slight corrections here and there. It doesn’t take you that long until you’ve got a result that you’re reasonably happy with. In comparison to Photoshop you have to set up different layers, use different filters and different adjustments like levels, curves, color balance, selective color, a whole range of things like that in order to try and reproduce similar color corrections that you can do in Camera Raw within a couple of seconds to a couple of minutes. There’s a big difference in the ease of use using Camera Raw as opposed to actually trying to recreate the same results in Photoshop. That’s one of the main advantages of wanting to use Camera Raw to edit your JPEG and TIFF files. The other main advantage is to use the batch correction feature of Camera Raw. You can open up multiple JPEG files and correct them all at once, and apply similar corrections if you wanted to, and even synchronize those corrections across a range of photographs – which saves you a lot of time instead of trying to do that in Photoshop. I mean it’s very similar to using Adobe’s Lightroom, for example. That’s what you can do using Camera Raw with regards to opening up your JPEG and TIFF files. Another way to go about this, if you don’t want to actually open up Photoshop, for example, you can use just Adobe Bridge. Because Camera Raw plug-in itself is actually built into Bridge. So, you don’t need to open up Photoshop in order to open up Camera Raw. For more information visit us online at https://www.shutterbuggs.com/
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What Is Soft Proofing In Photoshop?
https://www.shutterbuggs.com/ - One of the advantages of working on files inside of Photoshop after raw conversion is the ability to be able to actually soft proof your image to your final output which in most cases for a photographer is a photographic or inkjet print. So what is soft proofing & why is it useful? Well, soft proofing is simply a technique that allows you to view on your computer monitor what your image will look like when it is printed onto photographic paper or any other medium, assuming that you have a calibrated computer monitor. The process of soft proofing happens whilst you are still able to adjust and edit your image within photoshop and your image still remains in it’s original color working space, which could be Adobe RGB (1998), sRGB or ProPhoto RGB for example. The benefits of utilising soft proofing is that you can correct any shift in color, saturation, density and contrast that may occur when converting your image to a printer/paper output profile prior to printing. In return, your print will better match what you see on screen when viewing your image in it’s original color working space. The only downside of this process is that you will need to save a copy of your unedited image prior to making any corrections for your printer and paper type. Then you want to go ahead and specifically name this file according to the printer, paper or output profile you’re using to soft proof. This is best practice, that way you’ll have two files the original and the print file. The original file can be archived and then soft proofed to any other output you may decide upon in the future without compromising its color or quality. So, Let’s Now Demonstrate How This Process Works? To get started, we need an image that has been processed and converted to a working space color profile which in most instances will happen during the raw conversion. Continue reading here: https://www.shutterbuggs.com/what-is-soft-proofing-in-photoshop/
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Batch Raw Processing Using Adobe Camera Raw
https://www.shutterbuggs.com/ - In this video, we’re going to take a look at batch raw processing using Camera Raw. Now, as you can see, I’m currently in Adobe Bridge. And what I’d like to do first is select multiple images that I’d like to open and edit in Camera Raw. Now, there are a couple of ways of going about doing this. You can either first hold down the Shift key and use the keyboard arrows to actually select your images, and you can select them in rows of multiple images if you want it to. But, in this particular example I only want to select some particular images, so I’m going to hold down the Command key on a Mac, or the actual Control key on a PC and select the individual files that I actually want to open up. Now, once I’ve selected them you want to go right-click on one of the selected files and you want to go to Open in Camera Raw. Click on that, and the first thing you’ll notice is that all the images that you’ve selected now display in the left-hand column as thumbnails. So, as you can see, you can flick through all those different images and edit them individually. Now, to start off with, if you look in the bottom right-hand corner here of the large image you’ll notice that there’s an exclamation mark. Now, this is simply stating that this file has previously been edited in an older version of Camera Raw, and it’s saying that it would like to actually update the XMP file data to the new process of Camera Raw 6.5, which I’m currently using. So, what I’m going to do is I’m going to select All and then I’m going to go and click on that. Now, what you’ll notice is all of them have just updated, so none of them have that exclamation mark there anymore. Now, if you were to make adjustments to one image, you could then apply those adjustments to multiple images. So, for example, if I wanted to say add, let’s say we add 100 clarity to this image. Now, say I would actually like to add all the adjustments that I’ve made to this image to another image or to multiple images, for that matter. What you’d need to do is you need to go across and either select an image, holding down the Command or Control once again, as to which images you actually want to apply those settings to. Now, the thing to pay particular attention to is the first image that you edit must remain selected. You then must go and select all the other images that you actually want to apply those changes to. So, in this particular case I could have just gone single like that then go and select all or you can hold down that one once again and just go and select say two images that you want it applied to. So, let’s do it just to these two images. Now, obviously these changes are going to have a dramatic impact on these two particular images themselves, but let’s just do it to actually show you how this works. So, if you click on Synchronize, you’ll notice that you’ll get a complete synchronized panel to show up. And it’ll allow you to choose which particular adjustments and features in Camera Raw that you actually want to apply those same settings to those other two images. So, in this particular example, if I were to just select Clarity, then only clarity would change, but I could also select every other feature that actually happens to be on this list. But let’s just leave it to clarity. That might actually keep some of the other settings looking relatively okay. So, now I click Okay, and what you’ll notice now is if I go to these two images, you’ll notice clarity here is updated to 100. And we go to this one, and that has also updated to 100. So, that’s a real neat feature of Camera Raw, being able to edit multiple images especially if they have been shot with the same settings. That really makes things quite easy for you, especially, say for example, if you’ve shot a wedding. It makes it really easy for you to go through, say, 50 frames and actually go, “That one’s going to be very similar to that one,” and make the same adjustments. And then once you’ve made the overall adjustments to a whole batch of images, you can then go back and slightly make tweaks to each as you go through them all. Now, once you’ve made your changes to your images, you have the option to export your files. Now, for example, you can click on Save All and then go to Save Images. This now gives you several different options for saving those files that you’ve edited. Now, in this particular example, you could actually take your existing Raw files and actually save them as DNG files. For more information visit us online at https://www.shutterbuggs.com/
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How To Create Special Effects Using Photoshop’s Filter Gallery
https://www.shutterbuggs.com/ - One of the coolest aspects of working with Photoshop is the amazing array of filters and effects that you have at your fingertips, and by far the best place to dive in and get your hands dirty is the filter gallery. Now, the filter gallery is located up in the main navigational menu underneath filter, filter gallery. Now currently you’ll notice that it’s not highlighted, and this is primarily because my actual image layer here is a smart object. So the first thing I need to do is actually go to layer, and I’m going to go flatten image. Now, second thing I need to do is because my image is also in 16 bits per channel, I need to actually go up and change that to 8 bits. So I go to image, mode, and then go to eight bits per channel. Now the filter gallery should be highlighted just underneath filter in the main navigational menu. So if I click on that you’ll notice that it’ll automatically bring up the filter gallery window. And my image is currently displayed at 100 percent, so I’m just going to quickly change that, and we’ll drop that down to fit-to-view. Now the first thing you’ll notice when you’re actually in the filter gallery is that you have a series of folders, and in each of the folders you’ll have a filter or effect, so as you actually click on each of the folders you’ll notice that there are an array of different options for you to choose from. Now, also besides each of the actual categories or folders on the right hand side, you’ll notice you have a blank area. Now once you actually choose an effect or filter and actually click on it what you’ll notice is that you’ll actually have options with that particular effect with specific sliders. So you can actually go and customize each one of the effects to your liking, essentially. Now you’ll also find a little drop down menu here that has all of the default effects as well. You can also add to this menu, I believe, too. So the thing to know is that once you actually choose and actually find an effect that you’re really quite happy with, that sort of meets your artistic and creative side, what you can actually do is add to it. So not only can you add one effect and customize it using these particular options, what you can do is add a second effect, a third effect, and a fourth. So for example, currently I’m using the sponge effect here, and it’s currently turned on you can see the little eye. If I go down to the bottom here I can actually add a new layer as it were. And what I can do is actually change from it being a sponge effect to say a cross-hatch effect. So now I’ve added two different effects, one on top of the other. and you can continue to do this as you actually work through creating a very artistic image, as it were. So I can add another one and I can choose perhaps “chrome” for this one. So you can really end up with some interesting results, and it’s really sort of more about sitting down and just playing with all the different effects and finding the ones that really sort of grab your attention and you sort of feel as though you can do something with them and create something quite unique from them. For more information visit us online at https://www.shutterbuggs.com/
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How To Configure Photoshop Printing Settings
https://www.shutterbuggs.com/ - If you’re lucky enough to own your very own printer, then you’re going to want to be able to get the most out of it by utilizing Photoshop’s color management settings within print options. In this video, we’re going to delve in a little bit deeper, and examine some of the settings that you can take advantage of inside of Photoshop when printing directly to your printer. So if we go up to file in the main navigational menu, you’ll find print down the bottom, very similar to any other software application that you utilize. So if we click on that, it’ll bring up the actual print window. Now, there are a few things to pay attention to with regards to printing directly from Photoshop. Now when you’re customizing your print settings, depending on your particular computer, whether it’s a PC or a Mac, you might notice some slight differences. You shouldn’t notice any differences with this particular window. But if you go to your print settings, you’ll probably notice some slight differences with what you’re currently viewing in this tutorial. I’m currently working on a Mac. So I have a variety of different options available to me that aren’t necessarily available to you if you’re working on a PC. So that’s just something to keep in mind. But specifically for Photoshop’s print dial-up box or window that we’re currently looking at here, it should be identical to that of a PC. So the first thing you’ll notice when you look inside this window is you have your printer option. So this is fairly self-explanatory. You can choose the type of printer that you want to actually print from. For more information on Photoshop's print settings visit: https://www.shutterbuggs.com/
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How To Reduce Noise In Photoshop CS5
https://www.shutterbuggs.com/ - Noise reduction is an important detail to consider when editing your photos in Photoshop. Today with digital cameras, noise can be quite evident, especially when shooting in low-lighting conditions. Now, noise alone can be the influencing factor as to whether or not a photograph is successful or just considered as poor quality. Inside Photoshop there are several options that can choose from to assist in the removal of noise, dust, and even scratches from an image. And depending on what you’re actually trying to attempt to remove will actually determine which tool is the right tool for the job. Now, before we get started, if you’re working with Adobe’s Camera Raw, please utilize the noise removal sliders inside the details panel, as the more that you can actually do to the raw file itself and the actual raw file and the actual raw conversion process, the better quality results you’re actually going to achieve. So moving on, the two filters that you want to test out for your own noise removal are located in the main navigational menu underneath filter, noise, and then what you’ll find is you’ll find dust and scratches, and you’ll also find ‘reduce noise’. Now, before we proceed, as you can see I’ve currently got two photographs open. I’ve got an image from a previous tutorial that was actually quite under-exposed and we actually used the HDR exposure adjustment in order to sort of bring it back to life and sort of fix up its density, and I’ve also got an image across here which is an older photograph, so it has a lot of dust, a lot of scratches and a lot of sort of imperfections. So we’re going to have a look at both the dust and scratches and the remove noise adjustment in Photoshop for both of these examples. So let’s just quickly zoom in on this particular image. Now, this image was taken, and it was actually taken underexposed on a Canon 20D. So as you can see, it has quite a bit of noise overall in the image. Now, the first thing we’re going to actually take a look at is the Dust and Scratches Filter. So if you go up to Filter, back to Noise, you’ll find dust and scratches. Now, essentially, dust and scratches provides an adjustment that is only controlled by two sliders: the radius and the threshold. Now, the radius, if you start to actually drag the radius left to right, or enter a value in the actual text box, what you’ll find is that the radius actually determines the size of the actual area search for dissimilar pixels. Now obviously a radius that is actually quite high with a threshold set at zero does some pretty drastic adjustments to your image. But as you can see, just setting it as one pixel, and if we just turn the preview on and off, you’ll notice that it’s made the image a lot softer and sort of reduced the overall grainy, noisiness of the image. Now you also have the threshold, so when you first start you’ll want to have the threshold at zero, but as you actually progress and actually add as certain radius to your Dust and Scratches dialogue box, what you want to do is you want to play around with the threshold, or the levels value that’s here. Now, the threshold determines how dissimilar the pixels should be before they’re eliminated, and you’ll notice that they primarily affect levels and the values between zero and 128 more-so than that of the higher values up to 255. For more information visit us online at https://www.shutterbuggs.com/
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How To Recover Detail Using Shadows & Highlights Adjustment In Photoshop
https://www.shutterbuggs.com/ - Often, when traveling, one doesn’t have the option of time, or perfect weather for that matter, to capture an image. It’s on these particular occasions that Photoshop can come in quite handy. If photographing in the middle of a bright, sunny day, or at nighttime when lighting conditions aren’t optimal, and the dynamic range is quite high, photos can present as extremely contrasty, where the highlights are blown out, and the shadows are bogged down with little or no visible detail. When faced with an image of this description, you can’t really go past using using the ‘Shadows and Highlights’ adjustment in Photoshop to balance out the difference in tonal relationships. ‘Shadows and Highlights’ is located under the main navigational menu underneath “Image / Adjustments / Shadows and Highlights”. Now, you’ll also notice that there isn’t currently layers option for “Shadows and highlights”, you actually be applying the ‘Shadows and Highlights’ adjustment directly to an image there. Now, if you’ve spent quite a bit of time using Adobe’s Camera Raw, you’ll notice that “Shadows and Highlights” looks very similar to the “Recovery and Fill” sliders. When you first open this adjustment, you’ll find a slider for the shadows, and a slider for the highlights which are the basic options that are available to you. Now, as you increase the percentage of the shadows slider, you’ll start to notice that the actual shadows begin to lighten. This is very evident when I just turn off the preview check-box, as you can see from the original photograph. Now, when you actually start to increase the amount of the “Shadows and Highlights”, you want to be cautious about how much you actually apply, because a certain amount will look fine, but after a certain point the images can look very strange, as if you’ve over worked them a little bit too much. So you just want to take that into account when you’re actually using the “Shadows and Highlights” adjustment. But, as you can see here, just by making a slight adjustment to the shadows, with regards to the amount, adds that additional bit of detail that was missing before. It’s the same for highlights, you take what is essentially this lovely, sort of white little dinghy here, and start to increase the amount, and you’ll notice that the highlights values actually start to get pulled back, and end up being being sort of lighter grays, as you increase the value of the amount slider. For more information visit us online at https://www.shutterbuggs.com/
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An Overview Of Photoshop CS5 Layers Panel
https://www.shutterbuggs.com/ - One of the most important features in Photoshop without a doubt is Layers which form the backbone of editing an image due to it’s non-destructive nature. Before we can explore all that layers have to offer our editing workflow, we must first familiarise ourselves with the layers panel and it’s capabilities. For more photoshop tutorials visit our website - https://www.shutterbuggs.com/
Views: 141 Shutter Buggs
How To Recover Highlight Detail Within Camera Raw
https://www.shutterbuggs.com/ - When we talk about the exposure and recovery sliders, you first have the option of using Camera Raw’s auto or default controls, which are just located above the exposure slider. If we click on auto, you can see that it’s had quite a dramatic effect to your image. Now, the auto control enables Camera Raw to evaluate your raw file, and it attempts to produce an optimal distribution of values throughout your image. As you can see as I jump between default and auto, if you look at the histogram it’s sort of evenly distributed all the information in that file across all values. And then you can see, it hasn’t done a fantastic job by any means. But, it’s definitely something that you could utilize if you had a large batch of photos that you really didn’t want to spend the time trying to edit and you just wanted to run them through the converter quickly. Now, the Default link here actually provides a simple way of returning back to Camera Raw’s default settings in the basic panel. Now, these settings can be customized by saving your own preset settings. That’s quite simple to do. Once you’ve made your settings in the basic panel and adjusted a few things, you can go up to this little icon at the top here and click on it. You’ll notice you have a drop down menu. Now, the options that we’re looking for down here are Load Settings, Save Settings, and Save New Camera Raw Defaults. What you really want to do is set up your presets. You want to save those settings. Then, you want to load them, and you want to save them as your new Camera Raw defaults. So, every time you open up a new raw file in Camera Raw it will use those presets automatically. So, it’s quite easy to jump back by clicking on the default settings here back to your original presets, which is really quite handy. Now, the exposure control basically maps out the highlight values in your photograph. It’s really quite a powerful slider. As you can see, you can go from minus four stops in values to plus four stops. As you can see, it does have a dramatic effect on your image. It should be the first adjustment that you make when concerned with retaining detail in your highlights. As you can see here with my clipping information, all I need to do to retain that highlight detail is actually just move your slider to the left-hand side. Another way to look at this information is to hold down the Alt key on a PC or the Option key on a Mac, and it will bring up a black canvas primarily. What this shows you is all of the information that is actually being clipped in your photo, which is a really simplistic way of looking at it. The idea here is to basically exclude any other colors other than black to the point where you’re just reducing them until they just disappear. You don’t want to go too far past that point. By doing this, you can actually see which highlights are extremely blown out and which ones aren’t. You can also do the same for blacks, which shows you a white canvas instead, which you can see here. It’ll show the clipping of black information. But, we’ll leave that for another video. In some cases, using the exposure slider can retrieve up to an additional stop of highlight information or data in your raw file, which is extremely amazing, especially considering if you went out on site and actually shot an extremely high dynamic range image, and you used some of the techniques such as exposure to the right in order to expose your raw file correctly… As I’m sure you’re well aware and you’ve read before, with raw files most of the information that is captured is on the right hand side of the histogram. So, in the first stop of information is half of which is normally contained in a raw file. So, for example, with a 12-bit camera you have 4096 levels of information that the camera captures. But, the first stop of highlight information is actually half of that, which is 2048 levels of information, I believe, if I’ve got that right. Now, the recovery slider is the other tool that I wanted to quickly go over. This is extremely powerful, and I’m going to show you something that I think will blow your mind. The recovery slider itself allows you to recover additional highlight detail without affecting any other areas of the photograph itself. As you can see here as I move it to the far right, it’s only really affected the highlight values and not too much else, although the mid tones and the shadows have slightly changed. If you look at the histogram as I do that, you can see that the highlight values are the ones that move the most. For more information visit us online at https://www.shutterbuggs.com/
Views: 1048 Shutter Buggs
Camera Raw Lens Correction: Fixing Imperfections
https://www.shutterbuggs.com/ - One of the newest features in Camera Raw 6 are lens correction profiles. Now, this essentially puts the latest lens correction technology at your fingertips. So if we go at the top here to the Lens Correction Panel, which is the sixth in from the left, and click on it, you’ll notice you have two tabs. You have the Profile tab, and you have the Manual tab. Now, the Profile tab is a new section to lens corrections. This essentially will allow you to enable a lens profile correction. What that will do is, when I tick it on, it will actually assign a profile to your image, according the make of your camera, which in my case here, it’s Canon, the model of my lens, which in my case is a 24 to 105 mil lens. Then it’ll assign a profile if there is actually a profile created for my camera and lens. As you can see in this particular example, there’s only one profile for that camera lens. Now, underneath that, you have the correction amount. Now, this area essentially allows you to increase or decrease the amount of correction that’s been applied by the assigned profile. So if you’re not happy with the corrections that have been made by the designated profile for your camera and lens, you can choose to either increase or decrease the amount of corrections that they’ve made. So in this particular example, if I just do a preview of the top here, and we go on and off, you’ll notice that there’s quite a significant distortion that has occurred. It’s actually corrected that. Now, it’s quite surprising, considering the shot is actually taken using an 80-mil focal length. So there is quite a lot of correction in that lens, even though it’s not shot at a wider angle. So if I wanted to make a correction to this, and say this made way too much… a large correction that really I wasn’t happy with, for example, I could go to the distortion slider, and I could actually correct that. I could decrease the amount of distortion they made, or vice versa, I can actually choose to increase the amount of correction that the profile has made to my liking. So it’s all sort of personal preference. Now, what if your camera or lens doesn’t actually have its own profile? Or you don’t want to use Adobe’s set profiles that they’ve created? Well, if that’s the case, you have two options. The first is to make corrections using the manual tab, which is on the top here. I’ll just turn off the Enable Lens Correction profile, and I’ll click on the Manual tab. So you can use this tab to make the majority of corrections that have been made with the actual profiles that have been created. So it has Transform, which is a new feature to the manual tab in lens corrections. You then have Chromatic Aberration, and you have Lens Vignetting. So you have those options available to you. If you don’t want to use the Manual tab itself, your second option that’s available to you is to actually create your own lens profile, using Adobe’s Lens Profile Creator, which is a free software application that you can download straight from the Adobe website. I’ll actually provide a link underneath this video to where you can actually get that. So this is Adobe’s Lens Profile Creator. Essentially what it enables you to do is create your own camera and lens profile. So if you don’t have one for your particular camera, you can create one. Adobe will provide you with a series of test shots that you can then print out. You can then set up and go and photograph in different positions and different compositions within your actual frame. So as you can see here, this one is in the center of your frame. Then we’ve got one that’s actually to the left, one to the right, one to the bottom right-hand corner, the center, the left-hand corner, et cetera, et cetera. So it’s actually putting these, your test shots, right around the frame of your image. So it actually comes with instructions, and they’ll actually tell you what to do. But once you photograph those, you then want to actually load them into the Adobe Lens Profile Creator, and then you want to click on Generate Profiles at the top here. Once you click on that, it’ll actually start going through all those test images that you shot, and it will actually generate a profile for you, based on your camera and lens settings. So it’ll actually analyze all your EXIF data and whatnot, and actually make that profile for you automatically. Once that profile is actually created, you can then actually save it straight to Adobe, and it’ll automatically be imported into Camera Raw for you to be able to use when you’re actually in the lens correction panel. You can actually turn it on and enable that particular profile. For more information visit us online at https://www.shutterbuggs.com/
Views: 1097 Shutter Buggs
How To Open Raw Files In Adobe Bridge & Photoshop
https://www.shutterbuggs.com/ - In this video, we’re going take a look at how to open up your Raw files in Camera Raw. Now, you have two options that are available to you when opening your files. The first being whether you’d like to open up Camera Raw in Adobe Bridge, or whether you’d like to open up Camera Raw in Adobe PhotoShop. Now, if you don’t quite understand what I mean, it will get a lot simpler once I actually show you what I’m talking about. So, to begin with first, if we have a Raw file that we’d like to actually open up, if you right, click on that file – once you’ve selected it, that is – you can choose whether to open in Camera Raw or open with Photoshop or just open in general. Now, if I was to open this ordinarily, it opened it in Camera Raw, as you can see here, but it’s actually opened it in Photoshop. At the top here you’ll notice Photoshop is listed here. So, that means that, you have to have two programs open essentially. So, if you have a slower computer, having to programs open can slow you down a bit. So, in order to avoid that, you can actually, choose to open your Raw files using or print camera Raw just suing Bridge. So, in this example, I’ll just click on “Open in Camera Raw,” and what you’ll notice is Camera Raw has opened up, but it’s actually in Adobe Bridge. So, that’s a really neat trick of saying, “I may only want to have Adobe Bridge open, I don’t want to use Photoshop.” So, you can actually open them in two separate applications and separate the process, which makes it extremely useful if you need extra computing power and you don’t want to open up two applications at the same time essentially. So, that’s a neat way of opening your Raw files using either Bridge or Photoshop. For more information visit us online at https://www.shutterbuggs.com/
Views: 1651 Shutter Buggs
Camera Raw: Spot Removal & Red Eye Reduction
https://www.shutterbuggs.com/ - In this video, I’m going to show you how to remove blemishes and spots from your image using the spot removal tool, and I’ll also show you how to use the red eye removal tool as well for getting rid of those hideous red eyes from portraits when you’re shooting with little compact digital cameras as opposed to using digital SLRs with big flash units on top of them. Okay. To start out with, let’s go up to the Tools menu up in the top left-hand corner. What you’ll see first is you’ll have the Spot Removal tool. You can either click on it or press B once again to select the tool itself. This tool is really, really neat. It allows you to remove spots. As you can see, I have a few spots here. Let’s zoom in so we can actually highlight a couple of them. For example, here are a couple of imperfections with Canon’s digital cameras on the sensors. They tend to show these dots, which are really quite unsightly. What you can do to remove them in camera raw is actually use the spot removal tool. Click on them with your crosshair. You can then choose to increase the radius of the spot that you’re going to be cloning. Then, if you grab the green and just bring it across to a different area, you’ll notice that now the red area where the actual spot is, the red circle there, that’s where the spot is. The green is the area it’s cloning from and putting that new area that it’s cloned over the top of that blemish. As you can see, that blemish is now gone. If we were to just turn it on and off you can see there’s the blemish, now it’s gone. It’s really great for removing camera imperfections. One thing I will show you that I really find helpful when making these types of adjustments to my raw files is, you might not be able to see this, but there’s a spot here, there’s also a spot here, and there’s a whole bunch of other spots throughout just the sky that have shown up. A really great way of highlighting these and making them obvious to you is just to increase the contrast and also the density of the actual image, just quickly, so that you can highlight those areas that need retouching. As you can see here, I’ve got a couple that I need to retouch that I haven’t done. The tool itself will try to make automatic selections of the areas that it thinks should be placed over the top of those blemishes. Usually, it’s really quite good, but sometimes you will need to move that green circle and place it in a particular area that is going to do the job for you. For example, if you’re adjusting or cloning out something that is on a line, for instance, you’ve really got to get that line accurate. You want to make sure that it’s perfect, otherwise you end up with a jagged looking line that sort of looks odd and looks like you’ve done something to it. Sometimes you will need to make your own slight adjustments in order to sort of correct those blemishes using the spot removal tool. As you can see here, I’m just going through and removing these obvious dots that are in the sky of my image. Once you’ve done that, now obviously there are quite a few more in my image, but let’s just drop it back to Fit to View. You can see that they’re removed now, although I have a couple over here that are still quite obvious, like here and here. That’s a really useful technique for just quickly highlighting where those blemishes are and making them obvious to yourself when you’re doing your retouching, because sometimes you may not notice that they’re there. That’s what I like to do. You can also do that in Photoshop using something like Levels, and darken it off using a layer, and then just remove it later on when you go back to your original settings. That just makes sure that you pick up all those blemishes and don’t forget any. The other tool I want to show you is the Red Eye Removal tool. As you can see, the lady in the middle has quite obvious red eye. Let’s now go and zoom in to 100% just to take a closer look at what we’re going to be working with. As you can see, there it is, quite predominant and quite obvious. In order to remove this what we need to do is go up to the Red Eye Removal tool, which is a little eye icon. You can select E on the keyboard or just click on the actual icon itself. What you’ll see is you have a Red Eye Removal panel. For more information visit us online at https://www.shutterbuggs.com/
Views: 391 Shutter Buggs
How to Use Camera Raw in Photoshop CS5: Time Lapse
http://www.thephotographychallenge.com - How to Use Camera Raw Plugin within Adobe Photoshop CS5: Time Lapse Also please make sure to LIKE this video and leave a comment.
Views: 6239 Shutter Buggs
How To Use The Healing Brush Tool In Photoshop
https://www.shutterbuggs.com/ - Here is a before and after photograph that I restored quite some time ago and if you notice on the left hand side, we have the original scan and on the right hand side we have the final image that I’ve restored. There’s quite a bit of difference between the two. You’ll noticed just in the left hand bottom corner of the before shot, you’ll see there’re quite a few imperfections and spots and tainted marks on the outside edges of this photo and also on the photo itself. Now one of the specific tools in Photoshop that we can actually use to remove these types of spots or blemishes is the healing brush. Essentially the healing brush will let you correct imperfections in your photographs, causing them to simply to disappear into the surrounding image. Similar to other cloning tools, you can use the healing brush tool to paint over your image with samples of pixels, pre-determined by you. And as a result, the repaired pixels or areas in your photographs blend seamlessly into the rest of your image. Now there is another version of the healing brush as I’m about to show you. So if you just go across to the tool menu on the left hand side of your working space, let me just go down from the top. You’ll notice it looks like a little band aid. Now you can press ‘J’ on your keyboard to bring up this particular tool or you can click and actually hold down on it. And what’ll you see is there is also a spot healing brush tool as well as a healing brush tool. Now whilst they’re very similar obviously, the spot healing brush tool is more specific to concentrating and dealing with spots on your photographs. But first let’s just concentrate on actually utilizing the healing brush tool. So the first thing essentially you need to do is select the healing brush tool, the second thing you’ll notice is see up at the top of your working space with the options bar that you have a series of different options that you can actually adjust. The first being is obviously the brush size and we’ve been through this in previous videos where you can adjust the brush size, the hardness of the brush and the spacing etc, etc. Also you can also adjust if you’re using a Wacom tablet or a stylus tablet with a pen. You’ve also got the pressure sensitive settings here and the angle in which your pen will actually perform at. So we’ll move on from that. Now what you’ll notice here is that we have blending modes for the healing brush tool. For more information visit us online at https://www.shutterbuggs.com/
Views: 312 Shutter Buggs

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