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HSL Global Adjustments and Effects

Lesson 11 from: Adobe Camera Raw

Jack Davis

HSL Global Adjustments and Effects

Lesson 11 from: Adobe Camera Raw

Jack Davis

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Lesson Info

11. HSL Global Adjustments and Effects


Class Trailer

Day 1


Introduction and Overview Part 1


Introduction and Overview Part 2


Adobe Bridge Integration: Workspace


Adobe Bridge Integration: Preferences


Metadata Templates


Adobe Camera Raw Interface Insights


Adobe Camera Raw Tools and Panels


Five Step Tango Part 1


Five Step Tango Part 2


White Balance and Vignettes


HSL Global Adjustments and Effects


HSL Effects and Faux Infrared


Adobe Camera Raw Dust Removal


Enhanced Curves, Cross Processing, and Solarizing


Day 2


Five Step Tango Review


Radial Filter


Sharpening in Adobe Camera Raw


PPI and Printing


Targeted Adjustments


Graduated Filter


Healing Brush for Retouching


Adobe Camera Raw Auto Mask Feature


Adjustment Brush and Recoloring


Glamour Retouching Part 1


Glamour Retouching Part 2


Targeted Skin Color Unifying


Dust and Scratches Filter


Portrait Retouching Part 1


Portrait Retouching Part 2


Day 3


Targeted Coloring


Hand Tinting


Smart Filter Painting in Adobe Photoshop


Masking and Recoloring


Radial Filter Retouching


DeSharpening and Healing Brush


Adobe Photoshop Integration: Diffused Glow


Adobe Photoshop Integration: Panoramas Part 1


Adobe Photoshop Integration: Panoramas Part 2


Adobe Photoshop Integration: Combining Images


Adobe Photoshop Integration: HDR


Adobe Photoshop Integration: Background Eraser


Adobe Photoshop Integration: Liquify Filter


Adobe Photoshop Integration: Content Aware Scale


Input and Output Sharpening


Split Toning


Soft Proofing and Printing


Lesson Info

HSL Global Adjustments and Effects

Hello internet and welcome back to creative live we're here with jack davis and adobe camera raw optimizing, enhancing and retouching we're covering all the bases this week and creative live jack I'm going to throw it over to you please thank you glad to take it back uh, you talked about some targeted adjustment? I did and, um, we're actually will be talking about that, but we're going to be dealing with global targeted adjustment is bit of an oxymoron. First of what? What we mean? Well, global, everything that we've been doing has been working with sliders we haven't gone in and said I want to brighten up these eyes here I don't want to darken up just that sky per se those would be targeted adjustments everything we've been doing has affected the entire image. You could say that in the sense that been yet because it's working on the outside of the edges somewhat of a targeted adjustment but it's using a global slider it's the amount in the location in the feathering of that been yet t...

here's a number of other targeted global adjustments in adobe camera specifically the hs l panel, the shoes saturation and luminous pedal that I talked about earlier it is also global in the sense that if you work on one read in the file it will work on all the reds in the file but you can't isolate or target just the reds in the file separate from everything else so it's a very, very powerful feature set that allows you to once you've done your optimizing with the tango well, now allow you to go in there and start doing some enhancement to the effect not only enhancement, but it's also gonna allow you to do something, some special effects, so I think what I'm gonna do is I'm going to start off with one shot that we just worked on awhile ago and, um, we're going to use the basic panel here is our before and after this one actually was opened up, so if you remember so we come up here there's our before and there's our tango if you remember this tango just had two steps to it basically was hit auto, and then I amused the vignette to bring back that background where I wanted to be um, but what I'd like to do here now is a black and white conversion hi key black and white conversion to this file using the same basic panel in other words, instead of using it to optimize the image for good color and tone, I'm going to use it to exaggerate the tone in the file a high key portrait high key means majority of the image falls into our list of subject matter falls into a high or bright image ah, loki would be dark that's the black cat in a coal mine when you see just the edge of light of the cat as it's going with a candle in the back and it would be loki image, a high key image when it comes to a portrait is going to be something where you're blowing out a lot of the detail intentionally, so we're going to do a special effect for imagination before any kind of image doesn't have to be a portrait, but it's it's a look so now that we've saved a preset for not present, but a snapshot for this one, we have the original, we have one, you'll notice that obviously been using this, and it should teach quite a bit so those are all snapshots that I've done if these air actually coming over from light room from the light room class light room when it takes a snapshot automatically, time codes it. So these actually talking about the compatibility of files this file has hung out in light room quite a bit, but now we're gonna go back to uh, that snapshot that we just made here, and I'm going to do this high key effect now high key. Anytime that you increase contrast in an image, you're also going to increase saturation just by definition, if you take contrast up, the spikes of tone are going to bring with it the spikes of color, so normally you would not do a high key color image. It just would be garish. So normally you'll convert a new image to black and white and put a shop that's where this hs l panel comes into and specifically into this area right here convert to black and white. Now, if you convert to black and white, you'll notice that what it does is that immediately removes the shoe and saturation, leaving behind the luminescence and its disposal, which makes perfect sense. If you want a true black and white this couple things to keep in mind when you convert a gray scale, it is now only has one bit of one channel at its disposal. It was a jpeg image. It would have two hundred fifty six shades of gray, eight bits per channel, only one channel grayscale. When this opens up into photoshopped, it will be a one channel document. It will have won two thirds less tone options at its disposal than a color file they're all exactly the same if you d saturated file rather than convert to gray scale it will be full color it will be grayscale the benefit of not converting to gray scale if you know you're going to do some color effects or c p a tone or something else in photo shop where there'll be some subtleties of tone then rather than convert to gray scale you can actually de saturate the file now this is something I need to bring in here nice little ass tricks to it because in photoshopped you would never ever, ever, ever, ever d saturated filed to convert it into black and white. It is an awful way to do a black and white in photo shop because of how it is a red green blue color engine and how it handles that it became a raw like light room is not using an rgb color space it's using a lap color space luminant and two color channels a and b makes perfect sense because we all know what a and b nobody knows what a and b is it's just the way of describing color but it's nice to know that our little mind there's another way of thinking about color there's the scion yellow magenta that we did as crayons is a kid there's red, green and blue the emitted light primaries and there are other ways of describing colors like lab anyway by removing the saturation from a file in adobe kamerad rather than footer shop, you can actually do a beautiful black and white conversion and maintain the ability for it to have full color when it comes into photoshopped or using something like the split toning within adobe camera raw, or do all sorts of special effects, as you will see in a second. So what I'm going to do is I'm actually going to come over here, and I'm going teo in hs l I'm not going to do it over in the basic panel remember that also had slider, but you're going to see in a second why I'm not going to de saturate it, they're going to come over to h s l in saturation, and I'm going to come over and I'm going to de saturate the file by moving the sliders over to zero, and I'm only going to have to do this once if you're saying this is gonna take way too long to do once you do it once, you'll never have to do it ever again, and you'll actually have a very cool little black and white conversion option for you. So there is all my sliders taken down to zero it's still a full color image, it's not converted to gray scale it's, a beautiful black and white if you did the same thing in photo shop I went going to hugh saturation and lightness and de saturate you'd get a muddy color you may have noticed it it's just a muddy, yucky technical term for good doing great skill this is using the true luminosity of the image and it's already just a beautiful little black and white. I want to save that I never want to have to do to go to all that trouble ever again! That was way too exhausting to go over to my presets panel. Click on the little dog eared page icon and I'm going to call this d set! I probably have a few other these from teaching, so we'll call it these at and I'm on ly going to save the settings that are pertinent to the adjustment and that's a really good tip when you make a preset don't save everything, even though that may be the quickest way to do it because that's going to save not only the thing that you're interested in, but if you had been yet I had the tango already done to this, it would already have a number of things to intuit my shadow highlights and been yet so I on ly want if this is just doing diy set, I just wanted to have that component I did okay, and now I've got another d set so I can use this as a nice black white conversion for the rest of my life, and you'll see why it's very, very cool, okay, so back now I've got my my black and white, generic, black and white, which, by the way, I can come up here and save it as another snapshot. So I've got my original I've got my tweaked and I've got just a nice generic black and white it's actually is a beautiful one. I can see my tonal range up here, it's fine. Now I'm gonna go back to the basic panel and we're going to do that high key and it's, basically, what I'm gonna do is I'm going to break that tango. This is the optimizing I'm going to completely do unnatural things to these sets of sliders first thing, and this is the formula that I'm going to use I'm gonna take my contrast all the way up to one hundred percent, but they would normally never do. I'm gonna take my highlights all the way down, okay, so I'm going, I'm telling it, please keep all highlight detail. You can exaggerate your tonal range to the extremes of my history, graham I'm gonna take my shadows all the way up you see what I'm doing to the tunnel range? I'm stretching it out. I'm exaggerating the tonal range. I want all the shadow detail on all the highlight detail and I wanted the extremes of my mid tone contrast. I'm now going to come up here and I'm gonna find tune my whites and blacks to taste so you can see I can come up here and start getting because I've told it, please maintain all shadows. I'm not plugging up the shadows. Please maintain all the highlights. I'm not losing all the shadows. I can still maintain highlight detail in here. You can see that history graham is not clipping um and but the whites and blacks that can come up here and continue to fine tune it. Okay, so I can find tune thes to taste the other thing that's cool about this so here's my image from before after before after you can see how extreme it is, is clarity now clarity, as I mentioned, is ej contrast, which I also mentioned is also wrinkle contrast, which is something that you normally do not want to do to other people than the high school football team. Add contrast to a portrait, but since we have gotten rid of the subtleties on the model's face, um you actually can either add clarity or subtracted so and again we've got a young models you can get away with more but you can see I can actually add it to get this extreme detail extreme dramatic contrast in the file without getting the excessive poor structure that you'd get because we blew it out by making our white so bright you can also in this case do something that you normally wouldn't do too much of that as you take your clarity down since we've added the contrast gone way up you actually are getting all this nice wonderful contrast around areas like the eyes and lips and yet you're making the subtleties of the skin tone go down so you can get a high key image with either a soft diffuse glow I think clarity down or an extreme dramatic contrast by taking clarity up both of which you can do push further because the fact we have made it such a high key image and you can also in terms of your fine tune e once you get it where you want that contrast which is so extreme it could be that you don't want that you want the whites up but you do not need that much contrast so it's really up to you how far you want to push it but the general recipe that I'm giving you here and I love extreme recipes so you can kind of get the idea of where that's going is contrast up highlights down shadows up whites and blacks to taste clarity to taste years are before after before after and you could continue to push that so let's go ahead here well come up here and we'll do a three that is adding clarity let's take down that clarity there maybe even take our blacks down so now I'm taking that black down and we've got again our clarity down pick our whites as faras we can push it okay so here is another version of it now with clarity down so so clarity down clarity up generic optimized and original once you decide traded in the chess cell panel would you ever go back teo play with the luminous or anything tto gett glory absolutely would matter of fact that's exactly what we're going to do now it's a plant in the audience so one forces the high tea but you're absolutely right that is the power and remember there is no h s l panel in photo shop aside from the noodle became were all filter you do not have you have you saturation and lightness but what this means by de saturating this here if I come over here to my ta t tool my targeted adjustment tool if I go to saturation which is whatever panel is currently active is what it's going to effect so I come over here to say something like the model's eyes I can do my targeted re color of just a portion of the tonal range of the image or in this case the color range so what did I just do? I just buy clicking on that clicking on that color looking down here it knew that was a combination of blues and purples it brought back in both in the background and in the model's eyes that blue so it's an instant quick free no cost, no obligation ability to change that but dance your question you can go over the luminosity that tool is still active and I confined tune either that skin tone down or skin tone up so it answered question it's a wonderful way to do a high key regardless of what you did over here in the basic panel because you could say I just want the oranges up or what you can do let's go ahead and we won't use our t a t tool were just take the reds up so the reds in terms of um freckles and I wantto kind of darken or exaggerate kind of the homegrown freckle nature to it what am I doing? I'm darkening the freckles, leaving the mid tone oranges alone so I can dark in that I can lighten that I can completely remove freckles from a black and white conversion because I can say I want to separate out the reds from the oranges from the yellows and we're going to use this in a second for keeping it full color and doing an adjustment. So yes, you can use this for special effects or for just doing a tonal correction. We'll do it in a second here. Is that a new image? Another brooke krystal shot were coming over here. We'll use that loo eminence here we're not going to any special effect. It's not black and white or anything else. I just want to have this tool the targeted adjustment tool having access to the true luminous of the file not lightness. This is true luminosity. I'm going to simply come up here in the sky and click down. And what it's going to do is it's going? You can see the sliders it's saying these are the blues and I want to darken it a true darkening of it. Okay? Not just mucking about whether it's actually using the luminosity I can click on the skin tone and go up I can actually take skin tone up so skye down skin tone up and I could do a little tweak to the luminosity I mean nothing to do with black and white conversion whatsoever it's the same panel it could care less whether it's color or black and white if we have something we want to dio again, a real special effect like we did with that girl. Another brooke krystal shot. Thank you, brooke on I want to do that same trick. I'm not going to convert the grayscale. I can do that same little trick of the set. Come over here with my ta t tool set to saturation. I can just click over here on the bride's dresses. Bring them back up, go overto luminosity click on the skin tone and lighten up the skin tone. So I just did a lightening up the luminosity that's a little bit much so light now the luminosity I can lighten the dress make them a little bit, you know, obnoxious not that they're obnoxious. I'm sorry. I didn't mean that this would be obnoxious if I want to make them more magenta or make them more blue. This is what am I doing here? I'm shifting the hugh rather than the saturation or the luminous. So the fact that you can move any of these three areas simply by clicking on the file is really, really cool at or bitchin would be a good case. And again using that d sad. I just saved that preset. I never have to make that pre set again. I know that I'm either going to do a little trick or I want that flexibility of leaving it full color without making it grayscale just go over there, click on the set and I've got it I want to do a little color trick got it if I've got another image like this okay and this is going to be a two page spread in a wedding album I want to share it obviously broke just went around the bridesmaids and bright and just shot them from this other angle so I've got this image here I wouldn't save this as a preset because this is specific to this shoot and these dresses but there's nothing stopping me from shift clicking between these two images and saying would you please synchronise in this case the only thing I want you to synchronize is those hs l adjustments and so now I've got that one done and I can continue to find tune it if I want either in skin tone or anything else that I would like you okay? I could take that blew down you'll notice is a little bit of blue so there is that sky so I confined to that so now there's no sky whatsoever so the hs l again that same thing there's a great little baby shot in a little brook crit krystal shot will do that same d sat and then come over here and with the saturation I could just come up here with the magenta is if I want don't you have to use the ta t tool so there's just a nice beautiful little you know conversion it's a one trick pony but it's a fun trick pony and to be on this since every single person on the planet has got a camera strapped to their hip twenty four seven at some point the fact that you are doing an interpretation of the scene you're obviously shooting it she posed its studio everything about that shot is gorgeous um and sometimes that addition of a little color effect or little hand tinting or high key is what's going to make people not say well why am I hiring you to do it? Why isn't my brother or my sister or my son doing it because they've got a cool camera to they just got and you interpreting the scenes doing an elaboration on the story that you sculpted with all the different things not just photoshopped effects but everything that you did to make a beautiful photograph um sometimes it's that extra little bit that instantly tells a person oh I'm paying an artist to do an interpretation of this company product or service okay so sometimes those effects are are useful and sometimes they're just ridiculously fun so again my daughter will do yes that is the world you've now seen my daughter and son beautiful will come up here back to h s l in this case I'll do that same thing or I'm just going to bring back in the magenta sze and the greens and here is you know, in one fell swoop a little hand tinting later on in the week we'll actually do hand tinting this is kind of ah foe what I called re coloring of the file or targeted de saturation but the hand tenting is even more fun and it's just a quick and it actually looks you know, more hand done. Okay h s l makes sense. Yes. Okay. It was bitchen too and it's bitchen too. I mean, we've been able over the years to do those kind of adjustments in photo shop and do those but I actually have those sliders and have all that control have done it with masks. Yeah, exactly. Yeah, those would have been three separate different adjustments with three separate masks or some combination of different adjustments inside a layer set unmasking the layer set and you know the fact that we can here we've got the same thing another brooke krystal shot will come up here with that ta t tool saturation, click and drag in the background and just be saturate the background or re saturate the background and de saturate the model's skin tone and hair and lips and of course, each time you do something cool, save it as a snapshot, right? So you can soak your client. I mean, come up with another visual solution to the communication challenge. Come over here. So, you know, if that's purple I can I know aiken, you know, stick her for another hundred bucks right there, because, but you know what? I think that that tan is a bit much someone to lighten up the skin tone back to what you're saying, it's. Amazing. Your tonal control from sun tan to lighten contrast by simply clicking on a particular color in that range is amazing. Now, right at this point, I like this. I want to not only save it as a snapshot, but wanted to save it is an image could save right at that point and then still pick up carry on. What? What color? What trial format? What size? What color? Space? I just want to take it right out to a tip for a print full size meta data can print from here, though. Can you can't hit a print button? Um, but yeah, that's gotta be within photo shop or some other program toe print from yes, yeah, specifically photoshopped you can't print per se from the bridge you print from within four shop even set up a batch processing um and you can print from there's a bunch of other applications where you could batch process for batch water marker there's all sorts of things if if you're to be honest some people if you wanted to you could I want people to think it's silly but you could do everything that you want to hear to do here and then take advantage of light room if you're getting that pre package when you get like men with it in light rooms how put modules and slideshow and video capabilities there's nothing saying that you couldn't take a folder of images and then just dump it in the light room do whatever you need to including the great soft proofing and the printing its book you know it's ah book creation module is awesome if you did this you work flowing you go for whatever reason I just don't make me go into the light room o but I can make books in light room you dragged the folder of images and that is your entire project and you make a book and sent it out to print and that's all you did from my room you have my permission to do that it's ok it's ok that actually will eventually get you into light room which is a great program so regardless of that um you're gonna be printing from um within photo shop but that's the reason I bring it up because light room is excellent at printing and batch processing, printing process and coming up with different ways of printing um so again, radical changes that you can do it now it seems like I'm doing a target adjustment that this is a background you know, adjustment as I come over here and find two in this background that I'm actually on a background selection toe I'm not I'm on a blue selection tool it is affecting the model's eyes at the same time that it's affecting the background she's got blue eyes it's going to affect her blue eyes at the same time as anything else the great thing and you saw it in some of the samples I showed you can use this for a starting point and let's say her eyes are blue and I didn't want them toby blue I wantedto be ableto de saturate everything except for the blue wall. I've done ninety percent of the heavy lifting if I come up here with an adjustment brush and go tap tap and de saturate the eyes I did you know, a huge amount of work even if it doesn't do everything so there are times when you can also re saturate that's the nice thing is we're going to get into another project which we may be able to do today is what happens if you want something that's blue in this file and blue on her dress and you wantto work on them separately and you can do it that's where we get into the adjustment brush um but having this here actually allows you to do a huge amount of the heavy lifting on the file and if you do want to convert to great skill there's nothing stopping you from doing it but it still has the color information click down click up there's another black and white pure black and white conversion okay, make a snapshot bring it up give her a ten another option completely different story and it's all about the story remember what can you do that will make a more potent story for your client for yourself to hang upon above your mandel place or whatever all of this stuff is not about the special effects there about how can you make the most potent image possible that people will want to live with hangout with spend time with two a moat with so hopefully even though we're doing a bunch of little, you know special effects um um you're not getting lost in the fact that the purpose all of this is to serve the purpose of creating the most beautiful image that you can or most potent sometimes they're not beautiful if you think of, you know there's some, uh images that their story is not necessarily beautiful they're emotionally you know, heartbreaking we have enough of that going on in the planet right now so again there's that one hadn't even done the tango yet. So there's the tango with that light one and here's our before after that tango was simply hitting auto so again here's our before and a nice black and white okay makes sense. H s l tomorrow we're going to get into some significant retouching, but I need to bring up my friend here just because, um this shows again mohr of this power of h s l and I keep using my friend here just because it's so good a surfer he's got, you know, sunburn he's irish she's got really rudy cheeks and he's also got some, you know, yellow skin going on here. This is his business card. You've heard this story sorry you're not here. I can't stop. Uh, his business card has a real estate agent and I saw the card I go, dude, because we live in san diego. Dude, I need this image and he knows why I go you'll see, so I got the rights to it. It was shot at the kinko's it's all copyrighted inside the image but this area here that this concept of having an inconsistent skin tone inconsistent hugh saturation and luminous across an image is all around us in all images first off none of us have got a consistent skin tone um and whether it's skin tone or something else there's always this irregularities of color that we may find distracting and that's what's going on here this is distracting so wouldn't it be neat if we had at our disposal this ability and one thing that's neat about these tools here in adobe camera if you're familiar with hugh saturation and lightness and photoshopped you can actually shift any color in photo shop completely one hundred eighty degrees on the color wheel okay, we're three actually three hundred sixty degrees on the color wheel and these are all measured in I can um I don't think that's a hundred degrees it's just using a value of one hundred but in put a shop when you use h s l it goes minus one eighty two plus one eighty it's three hundred sixty degrees on a color will they end up back where they begun so any color can be shifted to another color that gets a little funny when you turn the yellow into a dark blue you're going to get some luminosity shifts and you may get all sorts of funky stuff, so what adobe came a raw and light women done is made it so you can on ly shift a certain amount meaning that if we come up here we can say would you please take what is too yellow and move it toward orange but you can't make yellow into blue and you go well that that's limitation I don't like yeah there's a reason for it it's much safer this way you can shift a yellow into blue but you're going to do it kind like that fender of the car where I took it from red into blue that's going to take some more jiggery pokery but for now this ability to say I want you to take yellow and moving towards orange or yellow toward green is actually excellent the fact that I could make red and move it toward magenta or toward orange is excellent when it comes to the skin tone that's exactly what obviously wanting to dio I'm wanting to take the rose asia the freckles, the razor burn, the acne all those little red things that we have in our skin and move them toward orange please if we haven't have john dis and were little yellow would you please move that a little bit toward orange and have them meet in the middle shake hands kiss and make up? So wouldn't that be neat if you could do exactly just that if I can take the reds and move them toward orange take the yellow's moved them toward orange and one fell swoop then a huge amount of skin tone balancing with just a couple sliders it's awesome no hand dodging and burning no painting whatever we will do some tomorrow with that grandpa shot we're gonna hand go in and use color temperature to get rid of thie kind of somewhat excuse me um purple more viscous of granddad but the thing that's going on here and I can't even take the oranges if I want I can shift all the oranges you know yellow or red so I can you know find two in any one of these parameters I can go into the saturation since red is not on ly a different color than orange it's also more saturated I can take the saturation down a little bit for red I could even take it down for orange because he's looking a little bit too orange there and luminous red is also red cheeks just like razor burn or acne arose atia freckles is darker so I can say would you please take all those little red marks and can you make them brighter and you can see I can completely get rid of his rosy cheeks and isolated from everything else in the file and so that is a radical amount of change to this file now it's also affecting his red lips which were again all red and sunburned as well which if it was a woman that I was working on I may not want to do that and that's where our targeted adjustments come in where you can isolate a portion of the image there's also nothing stopping you and this brings us back to this topic of photo shop when he was photoshopped there's nothing wrong and sometimes it's much faster if you go well I know how to do this in a dope a camera and I know how to do this in photo shop as an example if you knew what you were doing you could duplicate this file twice in adobe camera once with the skin fix and one without the skin fix both of them you've done the tango they're both perfect they're exactly the same except one has got this targeted skin adjustment when you really only needed around the center portion of the skin you take them both in here and you both open them both up in photo shop and instantly just mask out one of the other we're going to be doing excuse me quite a bit of masking and photo shop but there's nothing stopping you if you're going well you know if I did this and it became a rock and I do this but I can't do that and I'll do this do it twice one for this one one for this one bring him into photo shop and then masking together especially if you come back into the bridge we have that option tools photoshopped load files this photo shop layers so now you get them both in their they're the exact same file there in prison registration, you make a mask and then you could just paint in that this wonderful skin tone or just paint back in a little bit of red around the lips that's what you would do so if you have some point whatever is going to be fastest easiest give you the best results, I'm going to show you how to do everything possible in a doe became a raw, not needing photo shop, but just keep that in the back of your mind you don't get extra points for doing more work if it only took you two seconds to do it in photo shop in that example because they both be loaded the smart objects he should individual you could do it if you wanted to you would open up, you could open them both up if I had to if I duplicated before I got in here, you know there are certain things if you know with tone sometimes if you're doing really exaggerated tone, you can do tone map as it were for the shadows, another one for the highlights and then use this open objects that way they both come into photo shop um separate files because you can't automatically make one document from within here you can't do that in the bridge using either russell browns play somatic would take two files and bring it into one document. But in this case, if I'd had two files, I'd say, come up here, open objects, and then I'd have to drag and drop from one document into the other to get them in there. If I held down the shift key, they would automatically be in perfect registration when I did a dragon drop so that's up to you whether you want to do it, that would obviously, if you did it a smart objects, you'd still have access to your sliders, and you could find tune each one of the two separate images. So, um, very good point. Okay, so that is amusing hs l for something practical, like skin tone. I think it's absolutely excellent. It is affecting his tie at the same time, his high that was obnoxious red is now nice, tasteful orange. So that would be another case where I would bring in two files if I wanted to in photo shop and do it, um, or whatever you can do target adjustments as you're going to see.

Class Materials

bonus material with purchase

Adobe® Camera Raw Follow Along Images
Adobe® Camera Raw 8 Presets

Ratings and Reviews

a Creativelive Student

Jack Davis is my favorite Creative Live instructor, and this 3-day Camera RAW series is just amazing. I learned so much that I can apply to my own work. I shoot photos for field ID guides, and conditions are not always optimal, and the things I learned about working with RAW images really made a difference when I'm working on processing images. Thanks, Jack (and thanks, Creative Live for offering these great classes)!

a Creativelive Student

This was the most comprehensive class on ACR that I've taken. Jack is a great teacher as well as entertaining. His approach was thorough, going through not only tools and their associated panels in ACR but touching on organization in Bridge and in the last few sessions, going through some things in Photoshop that ACR can't do. My mind is blown and I have a much better understanding of everything that can be done in ACR. I was pretty excited to get Jack's presets for ACR as well as most of his images with the purchase of this class. When you open up snapshots of Jack's images, all the settings are there so you get a real feel for where you can take your own images. Thoroughly enjoyed this class and consider it money well spent.

a Creativelive Student

This class is wonderful. It is amazing how much more you can do in camera raw than photoshop. I highly recommend this class!

Student Work