The Red Eye tool can now correct bright pupils in animals. Select the tool and, in the Red Eye Removal panel, Select ‘Pet Eye’ from the drop down menu to locate and fix pet eyes. You can also automatically add catchlights and drag to reposition them.
Posts tagged "Adobe Camera Raw and DNG"
The Grain effect in Camera Raw now varies from image to image to facilitate editing time-lapse and video frame sequences.
The Histogram is now interactive in Camera Raw. Instead of selecting the sliders in the Basic panel, simply click and drag on the Histogram to adjust the Blacks, Shadows, Exposure, Highlights, and Whites. The video below demonstrates how.
In addition, Control -click (Mac) | Right Mouse -click (Win) within the Histogram to enable Lab color readouts, even when the Workflow Options are set to another color space (such as Adobe RGB). Note: the context menu can also be used to toggle the shadow, highlight, and gamut clipping warnings.
Discover all of the new refinements made to the Adjustment Brush in Camera Raw including the ability to reposition brush adjustments in the video below.
In addition, these shortcuts will help when using the Adjustment Brush:
• Command + Option -drag (Mac) | Control + Alt -drag (Win) an Adjustment Brush pin to duplicate the pin.
• Option -click (Mac) | Alt -click(Win) to delete the pin.
• If you prefer, Control -click (Mac) | Right Mouse -click (Win) displays both options – to duplicate or delete a pin.
• Control -click (Mac) | Right Mouse -click (Win) on the pin to access the option to “Reset Local Correction Settings” from the context menu. Or, use the fly-out menu to choose “Reset Local Correction Settings” – whichever is faster for you.
When photographing in low light, shadow areas within an image can appear to have “splotchy” areas of color. Watch the video below to see how to remove this low-frequency color mottling using the new Color Smoothness adjustment slider in Camera Raw.
Camera Raw in Photoshop CC now includes the ability to select RGB, CMYK and LAB ICC profiles to soft proof images. To select a profile, click the workflow Options (accessed via the blue hyperlink at the bottom of the Camera Raw window) and in the Color Space section, choose the Space from the pop-down menu. Once a profile is selected, Camera Raw displays a “soft proof” of that image. In addition you have the ability to choose either Perceptual or Relative as your rendering Intent and can choose whether or not to Simulate Paper and Ink. Note: there is not an option for Black Point Compensation because it is always enabled in Camera Raw. In addition, Grayscale color profiles will only appear in the Space popup when processing a monochrome image or when converting a color image to grayscale. And finally, when using a Lab or CMYK color space, the histogram and color readouts will change accordingly. Check out the details in the video below:
Note: For accurate results, monitor calibration is a must! In addition, there may very well be some colors that simply aren’t reproducible on a monitor that can be printed and vice versa.
There are two choices in the Image Sizing area of the Workflow Options in Camera Raw that I didn’t understand the difference between: Width & Height and Dimensions. Well, thanks to Eric Chan, now I know!
• Width & Height: One would use this option to resize using both the image width and height. The width of the resized image will be limited to the unit specified in the “W” field, and the height of the resized image will be limited to the unit specified in the “H” field. It’s like you’re setting a bounding rectangle for the image to fit inside of (while maintaining the aspect ratio of the image).
• Dimensions: This option is similar to the “Width & Height” described above, but it disregards the image orientation. That is, the longer edge of the resized image will be limited to the larger of the two specified units. Similarly, the shorter edge of the resized image will be limited to the smaller of the two specified units.
In addition, when changing image size, a new option to change based on Percentage is available in the drop down menu.
As many of you know, batch saving multiple images from Camera Raw, can be a significant time saver.
In Camera Raw in Photoshop CC, the Save Image options have been updated to include Color Space, Image Sizing and Output Sharpening. This gives us the benefit of being able to quickly save out our images using the Save Image button without having to change our current workflow settings.
And, if you use the same Save Image setting again and again, be sure to save them as presets so that they’re easily accessible.
Workflow presets are now available for defining and then quickly choosing different workflow settings in Camera Raw. Click on the Workflow settings (the hyperlink at the bottom of the Camera Raw dialog) to access the options then, after creating your custom presets and exiting the workflow settings, Control -click (Mac) | Right Mouse -click (Win) the workflow link to quickly switch between your saved presets. This video will show you how.
The Crop tool’s behavior has been modified so that it is now solely responsible for defining the aspect ratio of the image and the Workflow options are responsible for determining the actual image size. For example, in order to create an image that is 8 x 10 inches at 300 ppi, click and hold the Crop tool to select 4 to 5 from the list of aspect ratios and crop the image as desired. Then, using the Workflow Options (accessed via the blue hyperlink at the bottom of the Camera Raw window), check the Resize to Fit option. Select Short Size from the drop down menu and enter 8 inches and a resolution 300 ppi. See how it works in the video below:
Shortcut – tapping the “X” key when using the Crop Tool toggles the aspect ratio from landscape to portrait and vice-versa.
15/50 – Using Adobe Camera Raw as a Smart Filter in Photoshop CC to Create a High Dynamic Range ( HDR) Image
In the video below, we’re going to discover how easy it is to take multiple, bracketed exposures of the same scene and combine them into a single 32-bit HDR image that can then be edited nondestructively using Adobe Camera Raw as a Smart Filter in Photoshop CC. In addition, we’ll discover how powerful Camera Raw can be when applied to multiple layers as a Smart Object.
And just in case I wasn’t clear in the video, I want to point out why Adobe would include Camera Raw as a filter in Photoshop CC. Well, here are the first three reasons that I can think of, but I’m sure that there are more!
• First of all, not everyone had the luxury of working with raw files so it can be a huge benefit to be able to apply options like clarity and perspective correction to non raw images (a Photoshop layer for example).
• Sometimes we forget to do things in the right order and we don’t have time to go back to the beginning and fix them when on deadline. Yes, this might not be optimal, and yes, we would be better off making changes earlier in our workflow (processing our raw files directly in Camera Raw before opening them in Photoshop), but Camera Raw as a filter can help to make corrections or add creative effects to layers later in your workflow and/or with legacy files.
• Camera Raw as a filter can be applied to multiple layers at one time (by selecting multiple layers in the Layers panel and converting them to a single Smart Object). Plus, working with Camera Raw as a Smart Filter enables blend mode and opacity options as well as a Smart Filter mask to selectively show and hide the filter.
Additional information can be found in this post.
Note: The following features are not available when using Camera Raw as a Smart Filter (that are normally available in Camera Raw), primarily because they don’t make sense in the filter context: Workflow options and preferences, crop and straighten tools, rotation tools (rotate left/right buttons), snapshots, camera and lens profile corrections.
14/50 – Additional Secrets of the Advanced Healing Brush (Spot Removal Tool) in Adobe Camera Raw in Photoshop CC
In the video below, we can see that the Camera Raw team has made even more refinements to the Advanced Healing Brush (Spot Removal Tool) in Camera Raw in Photoshop CC. These improvements include a new Feather slider to control the softness of the edge when cloning or healing areas of an image as well as improvements in the way that the Advanced Healing Brush determines the auto source location (the area that it clones/heals from), so that it now works better for images with textured areas. And, if the image has been cropped, the Advanced Healing Brush will bias the selection of the auto source location from within the crop rectangle (as opposed to auto-choosing image areas outside the crop). Note: tapping the Forward Slash key (/) will automatically select a new source for the selected circle or brush spot.
The video below demonstrates the new features added to the Advanced Healing Brush (Spot Removal) tool in Adobe Camera Raw. Also check out the shortcuts below to take full advantage of the features!
• Tap the “B” key to select the Advanced Healing Brush tool.
• Tap the “V” key to toggle the visibility of the spot overlays.
• Shift -drag constrains the brush spot to a horizontal or vertical stroke.
• Shift -click connects the selected spot with the new spot via a straight brush stroke.
• Command -drag (Mac) | Control -drag (Win) will create a circle spot and allow you to drag to define the source.
• Tap the Forward Slash key (/) to select new source for existing circle or brush spot.
• Press Delete to delete a selected spot.
• Option -click (Mac) | Alt -click (Win) on a spot to delete it (the cursor will change to a pair of scissors).
• Option -drag (Mac) | Alt -drag (Win) in the image area over multiple spots to batch-delete (the icon changes to a marquee while dragging.
• Tap the “Y” key to toggle on/off Visualize spots. Note – this is also available as a checkbox and slider in Toolbar.
• Tap the left and right brackets to increase / decrease your brush size. Add the Shift key to increase / decrease the feather.
Often I have found that I want to apply perspective correction to multiple files at once using the Upright feature in Camera Raw. But depending on the results I want to achieve, it’s best to know that there are two different ways of accomplishing this. Note: For both methods, it is recommended that you first enable Lens Profile Corrections and Remove Chromatic Aberration using the Lens Corrections panel in Camera Raw.
METHOD ONE - in the first situation, you might have a series of unrelated images that all need to have their own set of perspective corrections made to them. In this case, the easiest way to apply Upright would be to:
• Select all of the desired files in Camera Raw. Then in the Lens Correction panel, in the Manual sub-panel (where the Upright controls are) click the desired Upright mode (Auto, Level, Vertical, or Full) in order to apply the perspective correction to all selected files.
• With this method, each image is analyzed individually and the perspective corrected.
Note: if you prefer not to select all of the files first (or have additional settings in other panels that you want to synchronize to multiple selected images), you can select the first file and apply the desired changes including the Upright mode. Then, add the other images to your selection and click the Synchronize button. In the Synchronize dialog, check the settings you want, plus Transform. And, if you do this often, you may want to consider creating a preset to apply an Upright transformation mode.
METHOD TWO – in the second situation, you might have a series of related images – such as a sequence of bracketed exposures or a set of time lapse images for which you need the same exact numeric perspective corrections made to each image. In this scenario, you don’t want to run the upright analysis on each individual image because Upright is likely to return a slightly different result on each of the images in the selection. Instead, what you want to do is have the upright analysis be performed on one of the images, and then have the result of that analysis (the numeric transformation) synchronized across the other images in the set.
In order to do this, select the first image of the series (in this case one of several exposures necessary to create a single HDR image) and apply the desired Upright transformation option.
Then, add the additional images to your selection and, in the Lens Correction panel, in the Manual sub-panel, click the Sync Results hyperlink.
With multiple images selected, Camera Raw will copy Upright’s numerical transformations from the primary image to the other selected images.
In the video below, discover how to use Camera Raw’s Upright modes to fix common problems in photographs such as tilted horizons and converging verticals in buildings.
Shortcut: in the Lens Correction panel, in the Manual subpanel, press Control-Tab to cycle through the Upright options from left to right. Add the Shift key to move from right to left.