Watch videos with subtitles in your language, upload your videos, create your own subtitles! Click here to learn more on "how to Dotsub"

Photo Retouching in Camera RAW

0 (0 Likes / 0 Dislikes)
[Adobe TV Presents] Russell Preston Brown in...] [The Russell Brown Show] Do I really look 15 years younger? Well, the best I can do is 10. Oh, Esther! Off the set. Off the set. It's my show. Well, welcome to The Russell Brown Show, where I need any retouching, but in Photoshop project I'm about to show you, we will do some retouching. Let's get right to it right now and go here to the screen. Here in side of Adobe Bridge, you can see this fine, gorgeous woman after the retouching, and the gorgeous woman before the retouching. So in this project, I'm not going to use Photoshop. I'm going to use Camera Raw techniques to adjust this, nondestructive techniques to adjust not only the way she looks, but I'm going to drop out the background. As you can see, the background is a little bit confusing, and I want to drop that out. I learned some of these techniques by watching Chris Orwig and Michael Ninness. They were both presenting at this last year's MAX conference. When I saw this technique, I raised my hand and I said, "Can I steal this?" And they agreed that I could. So let's get started. I'm going to go right here to the original image here in Adobe Bridge. I'm going to double-click on this because it's a Camera Raw image. And, in fact, as I look at this more closely, it is not a Camera Raw image. How can I open up a JPEG image and use Camera Raw controls? Of course, on the Macintosh that's the command key and the letter R. And on the PC it's the control key and the letter R. A great capability of opening up JPEG images and controlling them in Camera Raw. Many times in a project like this, somebody's giving you an image that you had no control over, you need to readjust this, and, in this case, we need to create a photograph that we can put on the cover of a book. We need to, let's say, give this the spa treatment, as I call it. We need to reduce some of the focusing areas and increase the focus in some other areas. So here inside of Camera Raw, we know that we can instantly go over here and we can use something right here called clarity. If I drop my clarity back, notice what happens to the facial tones. It's already improving it. If we want to drop the contrast of the wrinkles or the detailing, as I call it, in this person's face, I can drop the clarity back. And if I increase the clarity, I can even make them look older. Oh, my! That's terrible. But by experimenting, I can see that I can drop the clarity back just like that. But I don't want to do that globally in this case. I want to use a new feature here in CS4 that allows me to paint clarity. It's the adjustment brush. So let's first go in and reduce the clarity of those areas in the face that we don't want to bring the attention to in this project. Targeting the adjustment brush tool, I can go in here and let's set this up. I don't need any color in this right now, so I'm going to remove the color from this. As you can see, when I select the adjustment brush tool, this new panel appears which allows me to set up these controls before I start brushing or after I start applying. Let's initially just lay in the mask. And, in fact, let's turn on show mask, down here. And let's change the color of the mask down here, the overlay color, to be green. I want to see exactly where I'm laying in this tone. And I also want to drop my feathering back a little bit. I don't want it to be too extreme. Let's check out the size. The size is a little bit too large here, so I'm going to drop that down. Of course, I can adjust them here from within the Camera Raw dialog, or I can use the open and close brackets here on my keyboard, just like that. Okay, so we've got a little bit of feathering. The flow will be the speed in which the effects are applied. So we know that we want to go in here. Now, I'm not making her into a monster with the green tone. The green tone is showing us those areas that I'm going to soften. Remember, I showed you earlier? I showed you that clarity adjustment? I just want to go in and make sure I'm going into the right areas. I don't want to add any softness, let's say, to her eyes, but I do want to add it over here on this side right here. I'm going a little bit into the hair, but that's okay. It's going to give a nice effect. I'm going to go down in here, and let's just declarify all this. This is where we don't want people to look, right in these areas. We want them to look at the eyes and the lips, the mouth, and a little bit of the nose. I'm going to drop my brush size down a bit because I want to go in and concentrate underneath the eyes here and over these areas, just like this. So again, this green is a preview or a mask, and I can turn that on and off by viewing it here. I can also move my cursor over the pin drop. The pin drop is located in the first location where I start to paint. I can see the pin drop, and I can see a preview of that, just like that. Now let's go in, and let's adjust the exposure down here a little bit. I think the brightness is too high. Let's bring the brightness back down to normal. And by the way, if you double-click on any of these sliders, it brings them back to their zero point. And if any of these sliders are set up incorrectly, double-clicking on them brings them right back to point. Oh, by the way, just something to keep in mind, once you set down the mask that you're going to adjust, adjusting these sliders over here will not affect what you've already painted. You must set these up before you start to paint. Okay, now let's go in and let's soften this. Remember we targeted that clarity? So clarity up, clarity down. You can bring the clarity all the way down over here, and we're starting to soften that area. I want to add more, so I'm going to add to the current targeted selection. I know it's targeted because I see this little black dot in the middle of the pin. I now know that if I go in with my brush I can continue to add more softening. So I'm clicking multiple times because my flow is set to a fairly low setting. If I want more extreme adjustments to happen as I add this in, I can go in and increase my flow. I want to focus my adjustments in these areas where I do not want this. Let's drop our brightness back a bit more. Oh, I see. Our exposure was a little high. So I'm going in and adjusting the clarity. So painting with clarity. And going in here, let's clean that up. Don't touch the eyes. They look fine. So now, here's our before. I select the preview button here at the top, just like this. Oh, amazing. Don't forget, the letter P key on your keyboard will toggle the preview on and off, which is really great. Okay, let's get moving. We want to go in with another one. We want to go in and adjust the color of the lips. This time we're going to do an auto mask, auto edge detection, and a mask. And so we can go in here. We're creating a new selection. You must select new adjustment, auto mask. We can go in and select this region. Now because the auto mask is on, it's going to detect the area of the lips. Let's see what the preview mask looks like. Yes, indeed. Let's zoom in a little bit closer. So if I go in here and add more, I can then make a more targeted selection of the area that I want to adjust, like this. Cool, green lips. Turn the auto mask off. Let's add a little bit of color to that. Clicking on this color palette right here, moving this down, I can go in and add a bit more color. What color do I want to add there? Just like that, bringing up a little bit more color. A little bit too much. Drop that color back, drop back that saturation, and just give that little bit of a hint of extra color. Clarity actually is helping those lips out. A little bit too high of clarity isn't helping them. Let's try the brightness. So the moral of this story is experiment with all of these controls. You can use the auto mask on or off as you're painting these selections to bring in your control. Let's go in and do one more thing here. Brightening up eyes is always important for a project like this. We create a new one. We go in for the eyes, drop our brush size down, and , in this case, a little bit of clarity, a little bit of brightness, and then let's go in and see what happens here. Ah, check that out. I'm just bringing in a little bit of brightness here as I move in here. The light source is up here above, coming down through. Not too much, you'll start to get ghoulish. A little bit of tap here to the white areas of her eye. Notice that I've got a color. I do not want to have any lipstick color on her eyes. Let's take that out. So I have a little bit of clarity, some contrast adjustment, and what I was doing was brightness. So let's drop that brightness back a bit. So let's zoom back out. I double-click in my hand tool. She's looking like she's got the eery, eery look. Let's go back into my tool. Let's target the one we want to work with. Let's bring back the brightness. She was a little bit too eery there with the controls. So a little bit brighter on the eyes, but wait. With that same brush selected, let's add the teeth into this mix. So you can take a quick pass over her teeth. Oh, there's whitening for you. So, whiter teeth, a little brighter eye, softer skin, you can see what's happening here. You can go through and do fine details with each of these settings, going through adding color tint, whiteness, and really improving this. Oh, I need to finish this off with one more new one. I forgot, ladies and gentlemen, girls and boys, distracting backdrops to your images, the worst. New selection, let's paint in this background here, like this. Let's turn on our preview so we can see our mask. Oh, terrible, terrible, terrible background. Turn this of. Let's drop down the brightness of the background. Oh, great. Now we're focusing right in on our subject. That looks great. Let's bring back our clarity, because we can blur it. We can even drop in a tint to that background. We can click done. We can go in here and make our adjustments. So you can see, there it is, new, great capability for doing photo retouching, which I don't need any of, on a face, strictly with a nondestructive adjustments found in Adobe Camera Raw. Give this technique a try. [♪rock music♪] [Executive Producer, Bob Donlon; Producer Karl Miller] [Director, Kush Amerasinghe; Post-Production, Erik Espera] [Adobe TV Productions,]

Video Details

Duration: 12 minutes and 9 seconds
Language: English
License: All rights reserved
Genre: None
Views: 138
Posted by: adobetv on Oct 6, 2010

Learn how to retouch photographs using non destructive Camera Raw techniques in this Episode of The Russell Brown Show.

Caption and Translate

    Sign In/Register for Dotsub to translate this video.