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By David Wilson Barker

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Either of these may sound like a heck of a lot of colors, and indeed, they are. 7 million and nowhere close to 35 trillion. Why then do we need all this data? We need it for two quite unrelated reasons. 7 million perceivable colors. Many of the color definitions are redundant: Even on the very best display, you'd be hard pressed to see the difference between RGB values of 0,0,0, and 0,0,1 or 0,1,0 or 1,0,0, or for that matter between 255,255,255 and 254, 255, 255 or 255, 254, 255 or 255, 255, 254.

White Balance Control I'll go into much more detail on how Camera Raw's white balance controls actually work in Chapter 2, How Camera Raw Works. For now, I'll make the key point that adjusting the white balance on a raw file is fundamentally different from attempting to do so on an already-rendered image in Photoshop. As Figure 1-6 shows, Photoshop edits are inherently destructiveyou wind up with fewer levels than you started out with. But when you change the white balance as part of the raw conversion process, the edit is much less destructive, because instead of changing pixel values by applying curves, you're gently scaling one or two channels to match the third.

Digital raw files present a further bottleneck, since they require processing before you can even see a color image. This book tells you how to deal with raw images quickly and efficiently, so that you can exploit the very real advantages of raw capture over JPEG, yet still have time to have a life. The key is in unlocking the full power of three vital aspects of Adobe Photoshop CS2the Adobe Camera Raw plug-in, the standalone Bridge application, and Photoshop actions. Together, these three features can help you build an efficient workflow based on raw captures, from making the initial selects, through rough editing for client approval, to final processing of selected images.

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