By Bruce Fraser
Name it a keep watch over factor, yet until eventually recently–or, extra in particular, till the provision of electronic uncooked digicam formats–you easily weren’t able to make the circulation to electronic images. uncooked codecs, despite the fact that, replaced all of that by means of permitting you to retrieve pictures earlier than any in-camera processing has been played. Photoshop’s Adobe digicam uncooked plug-in makes that approach even more uncomplicated through supplying a standardized manner of having access to and dealing with those uncompressed electronic negatives on your favourite image-manipulation software program. within the first quantity dedicated solely to the subject, best-selling writer Bruce Fraser indicates you the way to use Adobe digital camera uncooked to set white stability, optimize distinction and saturation, deal with noise, right tint, and get better misplaced element in photographs prior to changing them to a different structure. After studying in regards to the uncooked codecs themselves, you’ll become aware of hands-on concepts for exposing and capturing for electronic uncooked, utilizing Bridge, Adobe’s new standalone dossier browser, to preview pictures and automate initiatives, and development a workflow round the electronic uncooked procedure.
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Additional resources for Real world Camera Raw with Adobe Photoshop CS2 : Industrial-strength Production Techniques
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.