"WEBVTTKind: captionsLanguage: eneverybody my name is Ted Forbes welcome back to another episode of the art of photography a couple things this week if you haven't checked out our new website please do that is the URL and that is the art of photography TV and I usually keep show notes on the episode so sometimes it's good to visit there so if you're watching on YouTube or something like that this should be a little link below so you can you can check that out also as I mentioned in the last episode we're working on putting together the advisory committee for the summer and actually it won't be just for the summer we're just doing it this summer so if you'd like to be on the advisory board and have some say in what we cover in the show and podcast it is and some of our project ideas and things like that love to have you on board I've got a lot of good responses so far everybody will make it onto kind of a standing steering steering committee but I'm gonna pick nine people actually to be kind of the first advisory committee and we're gonna meet via Google+ probably once every three or four months and kind of have our meetings that way so if you're interested go to the website and check that out if you go on to the art of photography TV under the About section you'll see a link for Advisory Committee so I'll put a link in the show notes below so anyway last time we had talked about shooting RAW images and what the benefits are to shooting in RAW why you would want to do it when it's appropriate when it may not be so appropriate and I thought maybe it might be a good follow up to in this episode go over the computer and we're actually gonna look at some examples of bringing in we're all images and some JPEGs and see what the differences are so I'll give you a little real-world example there so come on over and let's have a look alright so we have a set of images here that I've got there just run into a folder and what I want to do is show you some kind of well some examples of you know using Camera Raw and why I would use Camera Raw to have some more control some of these have some unconventional lighting things going on and you know that type of thing but anyway either way if you look I have basically six images in this folder and these are called cr2 files which is the camera RAW format the Canon uses and these were all taken on a 5d in Camera Raw format and basically what happens is if I go into Bridge and I double click on any of these images it's going to open them before it will bring it into Photoshop it brings it into the camera raw convertor and this is Camera Raw six point seven one thing I do want to note is that I know you know Adobe Creative Suite or Photoshop cs6 is out I'm doing cs5 and all of these examples simply because I have not upgraded I have not had time to do so yet and you know sometimes with upgrading comes headache but anyway the the basic principles there's some new features in cs6 but basic principles of what I'm showing you are all fine and just just fine and five if you look at the bottom of the window that brings open this is kind of the conduit window so this allows us to do some changes to our Camera Raw file before we open it up into Photoshop and if I look down here at the bottom if I click on this it allows me to change these parameters and it's pretty important to have these set correctly for your workflow options you know obviously higher up depth it's gonna create a bigger file but it is possible to do and it's why you would want to do it this is basically what it's going to bring into when it turns this into a Photoshop file from a camera raw file and if I click on the drop down menu from space you can see that there's Adobe RGB 1998 color match RGB I have a couple options in here I'm going to leave this set to art Adobe RGB 1998 of these I feel the most comfortable with and it is the widest color space srgb is a monitor kind of standard that was developed a few years ago and is much narrower in other words there's just not the same color spectrum that you have in something like 1998 so I will leave this set at Adobe RGB 1998 for depth I may bring this up to 16 bits per channel this is gonna give me a much higher depth and it'll allow me a little more leeway especially if I need to brighten shadows which is we're actually gonna do in some of these saying that those are the main two settings resolution I'm not real concerned about because I tend to change that depending on the output later and it just as long as you have full resolution in there you're fine so 240 pixels an inch is okay you know it's the number of pixels not how many of them are defined in an inch at this point so anyway we'll go ahead and say okay and those will be our settings as we bring this in now going back to the Camera Raw window here you have a preview on the left-hand side and then there's going to be a series of palettes over here on the right-hand side that are gonna allow you to make changes to this image and what I generally try to do is not get it exact this is assuming we're gonna open it into Photoshop and do some more work on it possibly so I try to get it workable and kind of bare with me and I'll show you what that means as we go I can zoom into parts of this image and we will look at some of those examples in a minute because sometimes you want to look at details but the first thing you have is your white balance and I have a little drop-down menu if you want a little quick setting here and remember we talked about last episode the Camera Raw does not set in stone the white balance which is really nice it will give a setting in here which is as shot but I can change this to automatic and you can see it just makes it a little more blue which actually didn't too bad if I change this to something like daylight you're gonna see that it goes pretty kind of orangish which kind of gives a neat look this was an overcast sky when I shot this so that it has some interest to it but you can kind of play around this this might be the kind of shot where you don't have to have it color corrected exactly generally fluorescence is gonna probably be the closest match these are probably sodium lights on the ground here and so it's gonna be in the color the color temperature of these lights on the ground were probably much different than the spotlights on the dome here and so that creates kind of another layer so you know this is I might have to work more with this in Photoshop or you can go in here and manually change these sliders around till you get something that kind of works it's a little too green basically the two continues you have or you can you know the first slider makes it more blue or more yellow second slider is on the continuum of green to magenta and that will help set your white balance you know so if you have a shot that's super critical sometimes it helps to have actual white in the image that you can adjust that to the next stuff is pretty intuitive and I generally will leave the exposure is set because I try I generally will get this close in the camera but if you need to come up with an exposure a little bit make that brighter you certainly can or if I need a dark and a different one to be real moody I can certainly do something like bring that down and maybe bring the brightness up for some of those highlights bring the contrast up a little bit so you can start to play with your image the the next two options under under exposure pretty important there's recovery and fill light and basically what happens and I'll show you an example here in another image let's close this out and I'll go ahead and show it to you this is one that I bracketed and I had three different exposures for and so you can see on the open all three of these here so you can see them side-by-side but I was having some trouble basically because this is some extreme contrast these were taken at Lacock Abbey in the UK and this was actually the building that Fox Talbot owned and did some of the first photography experimentation sent and so is any place to be and I liked the look of this doorway and so I was trying to shoot it well the challenge here is it was dark inside the building where I was and it was very bright outside and so it was really hard as you can see this one on the lower right-hand side where I got some detail in here inside the room but I completely blew the highlights outdoors this one I underexposed and had you know better exposure outside but I lost a lot of the information in there and so it's up to you what you want to try to do with something like this I did not have a tripod and so this will not really work as an HDR shot it might be able to get it to work but for our purposes here what I want to do is open this up and show you what happens is we were looking at exposure a second ago and I can bring that down of course and probably get a little bit back and you can see that some of our blown highlights that were gone to white come back into play here let's go back and set the exposure to zero the next one down is recovery and recovery basically is recovering blown highlights and you can see as I move that all the way over to 100 it did recover some of the detail in there but not enough I mean it's still pretty and looks like it's foggy out there because the contrast is just kind of strange so that's one I would probably bring into Photoshop and burn and dodge a little bit and it might give me some trouble what I have noticed it's if you have to sacrifice highlights or shadows and this is just my experience but with Camera Raw I would rather sacrifice the shadows for some reason those seem to be easier to bring back detail in even at kind of a level where it's just kind of whispering at you it's really hard for me to bring highlights back and I'm real funny about that because I died you know I'm just if for whatever reason I'm not crazy what blown highlights so let's cancel that one out and let's go back into the darkest of the images and I'll open this one up the same image this is a bracketed exposures this was probably underexposed at least two stops and you can see that the detail in the yard out here at the outdoor portion of this is a better exposure I might still bring the recovery in just a little bit on that and play with that but but but basically that's what it is the next one down is fill light and fill light is the opposite of rather than bring back detail in highlights this will bring back detail in your shadows so you can see as I turn this up I can actually brighten up the interior that is really bright and you'll notice the higher you bring the switch up the more noise you're gonna get in the picture but since we are doing Camera Raw and we're bringing this into 16-bit color space this should do pretty well and if this image I'll be honest it is an extreme about Dougherty indoor so I do want to bring the highlights or excuse me the shadow detail back in a little bit but you can see I have much more play I mean this looks dark over here and I'm able to bring back quite a bit of detail with the fill light slider whereas recovery I just don't have as much room with so if you have a sacrifice one of the other I would rather expose for the highlights and then bring it in here and process for the shadows so that's what you're basically doing and so I might bring somewhere around here which which feels good to me you can also bring up some of your blacks and you can kind of crush them a little bit which is kind of popular thing so they have more contrast kind of the shadow areas and then of course brightness brings up the image and brightens a little bit and you can see that you start to add contrast by doing these things you'll also notice that my white balance has shifted on me a little bit too and this is gonna be a hard one to deal with because you're dealing with an outdoor and then shade so you're probably gonna have to mess around with this a little bit once we get it into Photoshop so I'll probably just try to get it the best I can right here so we don't spend all day on one image here I'll show you some other things that you can do here typically the next panel over is the tone curve and I can literally go in here and adjust it does it has a similar effect but you probably get a little more control over your highlights bring them down a little bit here's just regular lights which it looks pretty good it's between the two of those I can bring that outdoor area down to something that's usable and you can also bring out your darks or shadows and you can see that really what it's doing is creating a curve here get that to kind of where you want it back just a little bit more make it a little brighter go over to the next panel this is the sharpening panel and this is going to change depending on and you can do a little noise reduction here - but we're in talked about sharpening for a second and this is kind of a whole lesson on sharpening but just to let you know right here these sliders much like the unsharp mask will change depending on the resolution of your cam so for instance if you have something that's a 25 mega megapixel camera it's going to be a bigger image obviously than a 6 megapixel camera and so in that case the amount and radius change for the 5d I would like to relieve my radius set around 1.4 so and the amount that I can bring this up to about 70 or 80 before it starts getting kind of really strange so I'll leave that around 72 and of course you probably want to use your magnifying glass and come in to preview the sharpening and you can see that it's starting to add a little noise so I can reduce some of that as well so you you know add to taste and and play with that some bring back here and fit the image in the view and the other ones that are really important here you know split toning is really nice if you have two white balances going on one for the highlights and one for the shadows so that's a very handy thing to have I'm skip that for this image here but this one's really important too which is lens Corrections and particularly the 5d is a full-frame camera and some of the smaller frame cameras especially with wide-angle lenses you're gonna get a lot of distortions what's really nice is Photoshop keeps kind of a library of lens profiles in here and so when I enable this you're gonna know that notice that it did two things I'm gonna toggle this I'm gonna show you what to look for one it dealt with a little bit of the pincushion that was excuse me some of the barrel distortion that was going on with the lens so you're gonna see that even out a little bit and you can manually correct that even more if you need to and the other thing that's going to do is it notes the f-stop that you used on the image in this case it was 3.2 and it noticed that it had some vignette exception setting so what it's going to do is compensate for both of them so when I say enable and once you want to click this you'll see the edges go a little bit lighter and you'll see the the barrel distortion clip out just a little bit and it did a pretty good job of that okay now here's the deal sometimes vignette is not necessarily a bad thing and I do want it in my image so you may or may decide to correct this or not you can also add vignetting back in if you want to do so later on so these are the basic things that I'm gonna be looking for with an image as I deal with it and then when you're ready you just go ahead and say open image and it will take just a second to render this Camera Raw file and there it is voila we are in Photoshop right now we can do further editing and we are at 16-bit and if i zoom way in on this you'll notice there is a little noise in here but it did a pretty good job all things considering if you look at the detail in here brightening up the shadows you have much more leeway than you do with with with blown highlights so if you have to make a choice when you're when you're making an image out in the field I definitely keep your your highlights under control and you can bring up shadows if you need to the other thing I'll show you and not that this is the best example for this but well here's here's an idea okay so like on this one I'm gonna zoom in here this is an outdoor scene in London and this is really a new attempt but you can see that some of these signs here are blowing out just a little bit the exposure was just a little bright so what I might want to do is drop my exposure down in this case you can see that the typography gets the letters get tighter bring my recovery in just a little bit now let's go back out to this image let's it fit in view and now what I'll do is I will use my fill light after I've made that adjustment to bring back some of the shadow areas and now we have toned down the highlights and I've brought up the shadows again this is possible to do with a JPEG but if you're shooting in JPEG mode but just give your chances of these shadow areas getting really noisy you just don't have as much data to play with in the image you can make these adjustments but you're gonna start getting some ugliness going on with with grain and digital noise and stuff like that and then obviously the the color temperature you can shift over to it is not set in stone and so I don't lose any detail when I move that about and you're probably gonna have to do this one to taste because again I think we have several different types of light going on in this image but I get it close and again I would go through do that get it you know in the ballpark I'd go through here and probably mess with my sharpening a little bit I bring 70 or so and this brings us up to 1.4 you know that'll change again depending on the resolution of your camera any kind of split toning you need to do you can do so this looks a little green let's go back to this and bringing the magenta just a little bit there we go and then we'll go back over to the lens go ahead and enable the correction on that which again I kind of like some of the vignette email ATAR because I would like to have that distortion corrected and you know you can also go back through here put them in you editing back in if you so desire or if it's not enough you can bring it out so but anyway that's more or less how we were bringing in camera or images from Camera Raw into Photoshop one last thing I want to show you actually see that looks pretty good let's go ahead and zoom in yeah we got a lot of nice sharp detail in there and you can see back you can read all these signs which is you know they're not perfect but it's not bad considering was pretty dark when I shot this one last thing I want to show you that's going on here and this is pretty cool too is let's go ahead and I'm going to show you the desktop here okay here's my folder this is the actual folder on the computer and you can see that I have my cr2 files in here which are the camera RAW files I also have you can see that it made for those two images that I opened this XMP file and this is pretty cool you can see it's only seven kilobytes it's really small but what this is is they call these an XMP sidecar file and what Adobe bridge in Photoshop have done is they've taken all the changes that you've made when we opened it up in that Camera Raw conduit application you know so right before it comes into Photoshop so take took all those adjustments that we made with the levels and with the highlights and you know bringing all that back and put it in its own little XML file basically and so this is completely non-destructive editing it didn't touch the camera raw file it left them as as they were and so it's really nice if you get really straight off you know you want to revert it back to the original you can just chuck the XML file and it's done but it also keeps all the editing non-destructive so you can reset all your settings which is pretty nice so anyway that's basically how we bring camera RAW images in and I would definitely suggest try some try some work with it and maybe do some experiments where you shoot both camera raw and JPEG and play with it and you know bring them in and and see what you think okay so I hope that gives you some insight on shooting raw and actually bringing them into the computer and being able to manipulate them like that and remember like I said last time there's some there's some advantages to shooting raw and those main advantages are you know things like your white balance isn't set in stone your contrast color saturation you have a lot of flexibility with those sometimes if you're trying to in post-production pull some more shadows are some more detail out of shadow areas that helps to have RAW format to do that because you have more data it's pretty much getting exactly what the sensor saw as you bring it in it's not always a complete lifesaver in an extreme situation but it does give you a little more flexibility in doing that this does come with the trade off and we did talk about that last time and that trade-off is is there's more work required when shooting RAW images and for certain things and I think the majority of my work it is worth that trade-off to do but also you know you kind of have to figure out what that trade-off is for you if you want to just shoot in JPEG that's probably a more sensible idea if you're shooting event based photography or you're shooting particularly family stuff snapshot oriented things but if you're the kind of photographer who does do events sporting events weddings you know anything like that I think it's important to still consider JPEGs an option it's not a it's not that it's it's subordinate to raw necessarily it's just you don't get you know some of those things we talked about some of those trade-offs sometimes if you have to go in and really change exposure bring things out of shadows or highlights you're gonna be more limited in a JPEG format however it's still perfectly valid to shoot those when when the need arises so anyway it's totally up to you it's up to your workflow what works best for you you know how much patience energy you have for that type of thing and generally how good you are with shooting images you know most of us strive to get to a level where post-production we minimize because it's just easier to get it as much of it as possible in the camera beforehand I know there's certain circumstances where post-production is important but anyway all that to say that's more or less shooting raw images in bringing the computer I hope you found this useful and we'll see you next week thanks again for watching the art of photography done stopeverybody my name is Ted Forbes welcome back to another episode of the art of photography a couple things this week if you haven't checked out our new website please do that is the URL and that is the art of photography TV and I usually keep show notes on the episode so sometimes it's good to visit there so if you're watching on YouTube or something like that this should be a little link below so you can you can check that out also as I mentioned in the last episode we're working on putting together the advisory committee for the summer and actually it won't be just for the summer we're just doing it this summer so if you'd like to be on the advisory board and have some say in what we cover in the show and podcast it is and some of our project ideas and things like that love to have you on board I've got a lot of good responses so far everybody will make it onto kind of a standing steering steering committee but I'm gonna pick nine people actually to be kind of the first advisory committee and we're gonna meet via Google+ probably once every three or four months and kind of have our meetings that way so if you're interested go to the website and check that out if you go on to the art of photography TV under the About section you'll see a link for Advisory Committee so I'll put a link in the show notes below so anyway last time we had talked about shooting RAW images and what the benefits are to shooting in RAW why you would want to do it when it's appropriate when it may not be so appropriate and I thought maybe it might be a good follow up to in this episode go over the computer and we're actually gonna look at some examples of bringing in we're all images and some JPEGs and see what the differences are so I'll give you a little real-world example there so come on over and let's have a look alright so we have a set of images here that I've got there just run into a folder and what I want to do is show you some kind of well some examples of you know using Camera Raw and why I would use Camera Raw to have some more control some of these have some unconventional lighting things going on and you know that type of thing but anyway either way if you look I have basically six images in this folder and these are called cr2 files which is the camera RAW format the Canon uses and these were all taken on a 5d in Camera Raw format and basically what happens is if I go into Bridge and I double click on any of these images it's going to open them before it will bring it into Photoshop it brings it into the camera raw convertor and this is Camera Raw six point seven one thing I do want to note is that I know you know Adobe Creative Suite or Photoshop cs6 is out I'm doing cs5 and all of these examples simply because I have not upgraded I have not had time to do so yet and you know sometimes with upgrading comes headache but anyway the the basic principles there's some new features in cs6 but basic principles of what I'm showing you are all fine and just just fine and five if you look at the bottom of the window that brings open this is kind of the conduit window so this allows us to do some changes to our Camera Raw file before we open it up into Photoshop and if I look down here at the bottom if I click on this it allows me to change these parameters and it's pretty important to have these set correctly for your workflow options you know obviously higher up depth it's gonna create a bigger file but it is possible to do and it's why you would want to do it this is basically what it's going to bring into when it turns this into a Photoshop file from a camera raw file and if I click on the drop down menu from space you can see that there's Adobe RGB 1998 color match RGB I have a couple options in here I'm going to leave this set to art Adobe RGB 1998 of these I feel the most comfortable with and it is the widest color space srgb is a monitor kind of standard that was developed a few years ago and is much narrower in other words there's just not the same color spectrum that you have in something like 1998 so I will leave this set at Adobe RGB 1998 for depth I may bring this up to 16 bits per channel this is gonna give me a much higher depth and it'll allow me a little more leeway especially if I need to brighten shadows which is we're actually gonna do in some of these saying that those are the main two settings resolution I'm not real concerned about because I tend to change that depending on the output later and it just as long as you have full resolution in there you're fine so 240 pixels an inch is okay you know it's the number of pixels not how many of them are defined in an inch at this point so anyway we'll go ahead and say okay and those will be our settings as we bring this in now going back to the Camera Raw window here you have a preview on the left-hand side and then there's going to be a series of palettes over here on the right-hand side that are gonna allow you to make changes to this image and what I generally try to do is not get it exact this is assuming we're gonna open it into Photoshop and do some more work on it possibly so I try to get it workable and kind of bare with me and I'll show you what that means as we go I can zoom into parts of this image and we will look at some of those examples in a minute because sometimes you want to look at details but the first thing you have is your white balance and I have a little drop-down menu if you want a little quick setting here and remember we talked about last episode the Camera Raw does not set in stone the white balance which is really nice it will give a setting in here which is as shot but I can change this to automatic and you can see it just makes it a little more blue which actually didn't too bad if I change this to something like daylight you're gonna see that it goes pretty kind of orangish which kind of gives a neat look this was an overcast sky when I shot this so that it has some interest to it but you can kind of play around this this might be the kind of shot where you don't have to have it color corrected exactly generally fluorescence is gonna probably be the closest match these are probably sodium lights on the ground here and so it's gonna be in the color the color temperature of these lights on the ground were probably much different than the spotlights on the dome here and so that creates kind of another layer so you know this is I might have to work more with this in Photoshop or you can go in here and manually change these sliders around till you get something that kind of works it's a little too green basically the two continues you have or you can you know the first slider makes it more blue or more yellow second slider is on the continuum of green to magenta and that will help set your white balance you know so if you have a shot that's super critical sometimes it helps to have actual white in the image that you can adjust that to the next stuff is pretty intuitive and I generally will leave the exposure is set because I try I generally will get this close in the camera but if you need to come up with an exposure a little bit make that brighter you certainly can or if I need a dark and a different one to be real moody I can certainly do something like bring that down and maybe bring the brightness up for some of those highlights bring the contrast up a little bit so you can start to play with your image the the next two options under under exposure pretty important there's recovery and fill light and basically what happens and I'll show you an example here in another image let's close this out and I'll go ahead and show it to you this is one that I bracketed and I had three different exposures for and so you can see on the open all three of these here so you can see them side-by-side but I was having some trouble basically because this is some extreme contrast these were taken at Lacock Abbey in the UK and this was actually the building that Fox Talbot owned and did some of the first photography experimentation sent and so is any place to be and I liked the look of this doorway and so I was trying to shoot it well the challenge here is it was dark inside the building where I was and it was very bright outside and so it was really hard as you can see this one on the lower right-hand side where I got some detail in here inside the room but I completely blew the highlights outdoors this one I underexposed and had you know better exposure outside but I lost a lot of the information in there and so it's up to you what you want to try to do with something like this I did not have a tripod and so this will not really work as an HDR shot it might be able to get it to work but for our purposes here what I want to do is open this up and show you what happens is we were looking at exposure a second ago and I can bring that down of course and probably get a little bit back and you can see that some of our blown highlights that were gone to white come back into play here let's go back and set the exposure to zero the next one down is recovery and recovery basically is recovering blown highlights and you can see as I move that all the way over to 100 it did recover some of the detail in there but not enough I mean it's still pretty and looks like it's foggy out there because the contrast is just kind of strange so that's one I would probably bring into Photoshop and burn and dodge a little bit and it might give me some trouble what I have noticed it's if you have to sacrifice highlights or shadows and this is just my experience but with Camera Raw I would rather sacrifice the shadows for some reason those seem to be easier to bring back detail in even at kind of a level where it's just kind of whispering at you it's really hard for me to bring highlights back and I'm real funny about that because I died you know I'm just if for whatever reason I'm not crazy what blown highlights so let's cancel that one out and let's go back into the darkest of the images and I'll open this one up the same image this is a bracketed exposures this was probably underexposed at least two stops and you can see that the detail in the yard out here at the outdoor portion of this is a better exposure I might still bring the recovery in just a little bit on that and play with that but but but basically that's what it is the next one down is fill light and fill light is the opposite of rather than bring back detail in highlights this will bring back detail in your shadows so you can see as I turn this up I can actually brighten up the interior that is really bright and you'll notice the higher you bring the switch up the more noise you're gonna get in the picture but since we are doing Camera Raw and we're bringing this into 16-bit color space this should do pretty well and if this image I'll be honest it is an extreme about Dougherty indoor so I do want to bring the highlights or excuse me the shadow detail back in a little bit but you can see I have much more play I mean this looks dark over here and I'm able to bring back quite a bit of detail with the fill light slider whereas recovery I just don't have as much room with so if you have a sacrifice one of the other I would rather expose for the highlights and then bring it in here and process for the shadows so that's what you're basically doing and so I might bring somewhere around here which which feels good to me you can also bring up some of your blacks and you can kind of crush them a little bit which is kind of popular thing so they have more contrast kind of the shadow areas and then of course brightness brings up the image and brightens a little bit and you can see that you start to add contrast by doing these things you'll also notice that my white balance has shifted on me a little bit too and this is gonna be a hard one to deal with because you're dealing with an outdoor and then shade so you're probably gonna have to mess around with this a little bit once we get it into Photoshop so I'll probably just try to get it the best I can right here so we don't spend all day on one image here I'll show you some other things that you can do here typically the next panel over is the tone curve and I can literally go in here and adjust it does it has a similar effect but you probably get a little more control over your highlights bring them down a little bit here's just regular lights which it looks pretty good it's between the two of those I can bring that outdoor area down to something that's usable and you can also bring out your darks or shadows and you can see that really what it's doing is creating a curve here get that to kind of where you want it back just a little bit more make it a little brighter go over to the next panel this is the sharpening panel and this is going to change depending on and you can do a little noise reduction here - but we're in talked about sharpening for a second and this is kind of a whole lesson on sharpening but just to let you know right here these sliders much like the unsharp mask will change depending on the resolution of your cam so for instance if you have something that's a 25 mega megapixel camera it's going to be a bigger image obviously than a 6 megapixel camera and so in that case the amount and radius change for the 5d I would like to relieve my radius set around 1.4 so and the amount that I can bring this up to about 70 or 80 before it starts getting kind of really strange so I'll leave that around 72 and of course you probably want to use your magnifying glass and come in to preview the sharpening and you can see that it's starting to add a little noise so I can reduce some of that as well so you you know add to taste and and play with that some bring back here and fit the image in the view and the other ones that are really important here you know split toning is really nice if you have two white balances going on one for the highlights and one for the shadows so that's a very handy thing to have I'm skip that for this image here but this one's really important too which is lens Corrections and particularly the 5d is a full-frame camera and some of the smaller frame cameras especially with wide-angle lenses you're gonna get a lot of distortions what's really nice is Photoshop keeps kind of a library of lens profiles in here and so when I enable this you're gonna know that notice that it did two things I'm gonna toggle this I'm gonna show you what to look for one it dealt with a little bit of the pincushion that was excuse me some of the barrel distortion that was going on with the lens so you're gonna see that even out a little bit and you can manually correct that even more if you need to and the other thing that's going to do is it notes the f-stop that you used on the image in this case it was 3.2 and it noticed that it had some vignette exception setting so what it's going to do is compensate for both of them so when I say enable and once you want to click this you'll see the edges go a little bit lighter and you'll see the the barrel distortion clip out just a little bit and it did a pretty good job of that okay now here's the deal sometimes vignette is not necessarily a bad thing and I do want it in my image so you may or may decide to correct this or not you can also add vignetting back in if you want to do so later on so these are the basic things that I'm gonna be looking for with an image as I deal with it and then when you're ready you just go ahead and say open image and it will take just a second to render this Camera Raw file and there it is voila we are in Photoshop right now we can do further editing and we are at 16-bit and if i zoom way in on this you'll notice there is a little noise in here but it did a pretty good job all things considering if you look at the detail in here brightening up the shadows you have much more leeway than you do with with with blown highlights so if you have to make a choice when you're when you're making an image out in the field I definitely keep your your highlights under control and you can bring up shadows if you need to the other thing I'll show you and not that this is the best example for this but well here's here's an idea okay so like on this one I'm gonna zoom in here this is an outdoor scene in London and this is really a new attempt but you can see that some of these signs here are blowing out just a little bit the exposure was just a little bright so what I might want to do is drop my exposure down in this case you can see that the typography gets the letters get tighter bring my recovery in just a little bit now let's go back out to this image let's it fit in view and now what I'll do is I will use my fill light after I've made that adjustment to bring back some of the shadow areas and now we have toned down the highlights and I've brought up the shadows again this is possible to do with a JPEG but if you're shooting in JPEG mode but just give your chances of these shadow areas getting really noisy you just don't have as much data to play with in the image you can make these adjustments but you're gonna start getting some ugliness going on with with grain and digital noise and stuff like that and then obviously the the color temperature you can shift over to it is not set in stone and so I don't lose any detail when I move that about and you're probably gonna have to do this one to taste because again I think we have several different types of light going on in this image but I get it close and again I would go through do that get it you know in the ballpark I'd go through here and probably mess with my sharpening a little bit I bring 70 or so and this brings us up to 1.4 you know that'll change again depending on the resolution of your camera any kind of split toning you need to do you can do so this looks a little green let's go back to this and bringing the magenta just a little bit there we go and then we'll go back over to the lens go ahead and enable the correction on that which again I kind of like some of the vignette email ATAR because I would like to have that distortion corrected and you know you can also go back through here put them in you editing back in if you so desire or if it's not enough you can bring it out so but anyway that's more or less how we were bringing in camera or images from Camera Raw into Photoshop one last thing I want to show you actually see that looks pretty good let's go ahead and zoom in yeah we got a lot of nice sharp detail in there and you can see back you can read all these signs which is you know they're not perfect but it's not bad considering was pretty dark when I shot this one last thing I want to show you that's going on here and this is pretty cool too is let's go ahead and I'm going to show you the desktop here okay here's my folder this is the actual folder on the computer and you can see that I have my cr2 files in here which are the camera RAW files I also have you can see that it made for those two images that I opened this XMP file and this is pretty cool you can see it's only seven kilobytes it's really small but what this is is they call these an XMP sidecar file and what Adobe bridge in Photoshop have done is they've taken all the changes that you've made when we opened it up in that Camera Raw conduit application you know so right before it comes into Photoshop so take took all those adjustments that we made with the levels and with the highlights and you know bringing all that back and put it in its own little XML file basically and so this is completely non-destructive editing it didn't touch the camera raw file it left them as as they were and so it's really nice if you get really straight off you know you want to revert it back to the original you can just chuck the XML file and it's done but it also keeps all the editing non-destructive so you can reset all your settings which is pretty nice so anyway that's basically how we bring camera RAW images in and I would definitely suggest try some try some work with it and maybe do some experiments where you shoot both camera raw and JPEG and play with it and you know bring them in and and see what you think okay so I hope that gives you some insight on shooting raw and actually bringing them into the computer and being able to manipulate them like that and remember like I said last time there's some there's some advantages to shooting raw and those main advantages are you know things like your white balance isn't set in stone your contrast color saturation you have a lot of flexibility with those sometimes if you're trying to in post-production pull some more shadows are some more detail out of shadow areas that helps to have RAW format to do that because you have more data it's pretty much getting exactly what the sensor saw as you bring it in it's not always a complete lifesaver in an extreme situation but it does give you a little more flexibility in doing that this does come with the trade off and we did talk about that last time and that trade-off is is there's more work required when shooting RAW images and for certain things and I think the majority of my work it is worth that trade-off to do but also you know you kind of have to figure out what that trade-off is for you if you want to just shoot in JPEG that's probably a more sensible idea if you're shooting event based photography or you're shooting particularly family stuff snapshot oriented things but if you're the kind of photographer who does do events sporting events weddings you know anything like that I think it's important to still consider JPEGs an option it's not a it's not that it's it's subordinate to raw necessarily it's just you don't get you know some of those things we talked about some of those trade-offs sometimes if you have to go in and really change exposure bring things out of shadows or highlights you're gonna be more limited in a JPEG format however it's still perfectly valid to shoot those when when the need arises so anyway it's totally up to you it's up to your workflow what works best for you you know how much patience energy you have for that type of thing and generally how good you are with shooting images you know most of us strive to get to a level where post-production we minimize because it's just easier to get it as much of it as possible in the camera beforehand I know there's certain circumstances where post-production is important but anyway all that to say that's more or less shooting raw images in bringing the computer I hope you found this useful and we'll see you next week thanks again for watching the art of photography done stop\n"