While tapping the Q key will cycle through all of the Preview modes in Camera Raw in Photoshop, I primarily use the same view 95+% of the time. So that I don’t have to cycle through so many different options, I click-hold the Mode button to display the pop-up menu for Preview Preferences. Unchecking all but one of the Preview modes allows me to tap the “Q” key to quickly toggle my Before/After Left Right view on and off.
Posts in Category "Adobe Camera Raw and DNG"
When saving custom Tone Curves in the Develop module, the curve will be saved to this location:
• Mac (user)/Library/Application Support/Adobe/CameraRaw/Curves
• Win (user)/Application Data/Adobe/CameraRaw/Curves
Saving them to this location (instead of Lightroom’s default Preset location), allows both Lightroom and Adobe Camera Raw to access them.
A number of people have been asking me to post the presets that I have showed when demonstrating Lightroom and Adobe Camera Raw. Although I don’t feel that they are earth shattering by any means, I do hope that they may prevent us all from individually recreating the wheel.
• Mac (user)/Library/Application Support/Adobe/Lightroom/Develop Presets
• Win (user)/Application Data/Adobe/Lightroom/Develop Presets
• Mac(user)/Library/Application Support/Adobe/Camera Raw/Settings
• Win (user)/Application Data/Adobe/Camera Raw/Settings
Note: If you are on a Mac, the Library menu may be hidden depending on your operating system. To reveal it, hold the Option key down while selecting the “Go” menu in the Finder.
There are presets for converting to grayscale using the B & W and HSL panels, toning using the Split Tone and Tone Curve panels, and adding grain and post crop vignetting using the Effects panel. The preset names differ slightly for each product as Camera Raw does not support folders in the Presets tab and I wanted similar presets grouped together. These presets are meant to be a starting point, you can customize any of them as you see fit, create your own, and delete the one’s that you don’t want to use.
Note: If you watch the sliders when applying these presets, you will see that each preset only moves the slider positions in a single panel. Therefore, if you click on one preset that changes sliders in the Tone Curve panel for example, and then click to apply a second preset that changes the sliders in the same panel, the second one will replace the first.
As some of you have pointed out, the shortcuts used to navigate through an open document in Photoshop (to make sure that you don’t miss any spots from sensor dust for example), are slightly different than when navigating through an open document in Adobe Camera Raw and Lightroom.
Tapping the Home and End keys in ACR and Lightroom take you to the top-left and bottom-right corners of the picture, respectively. These shortcuts are the same as Photoshop. Likewise, tapping the Page-down key takes you down 1 full screen: the same as Photoshop.
Unlike Photoshop, however, if you’re already at the bottom of the image in ACR or LIghtroom, tapping the Page-down key again takes you back to the top, and to the right by 1 full screen. So, if you start at the top-left of the picture, pressing page-down repeatedly will take you through your image, 1 screen at a time, till you’re at the bottom-right corner of the picture. Page-up does the same thing, but in the opposite direction.
In a nutshell, think of your picture like a book, with the top-left corner as the beginning, and the bottom-right corner as the end. Press Home to visit the beginning, then press Page Down till you get to the end. By doing so, you will see every single pixel of the image at least once.
Folks on the ACR and Lightroom team (myself included) think this variation is an improvement over Photoshop, because for those of us who need to do final inspection of their pictures (e.g., to make sure there aren’t any dust spots, etc.), it’s important to have an easy way to make sure we’ve seen every part of our pictures up close. With Photoshop, I have to remember where I am in the picture, because if I’m in the bottom-left corner of the picture, then tapping the Page Down key does nothing. In ACR and Lightroom, I have a guaranteed way to see all the pixels in the image, and Page Down/Page Up shortcuts allow me to continue navigating regardless of where I am in the picture.
You might not agree – which is absolutely fine, but now you know why the behavior is different between the programs. : )
Thank you Eric for helping me to explain this and for offering the book example above!
Join me today, Wednesday February 26th, from 9:00 am – 10:30 am on creativeLIVE for 90 minutes of “Advanced Photoshop Layer Tips” during Photoshop Week. Then, stay tuned because from 10:45 am – 12:15 pm, I’ll be covering all sorts of tips and techniques to help speed up your workflow “Automating Camera Raw” in Photoshop. The best news, is that all of the courses are free during the live broadcast! And, if you’re in a different time zone, the sessions will be rebroadcast. See the complete schedule and RSVP here.
As mentioned here, updates to Camera Raw 8 for Photoshop CS6 only include new camera support, lens profile support, and bug fixes. The new features listed here are only available in Photoshop CC.
Here’s an overview of my favorite features:
1) Previews – Camera Raw can now display a before/after Preview (with aside-by-side and split-view support) to compare your edits to the original. The Preview check box in earlier versions of ACR has been replaced by three buttons in the bottom-right of the ACR main dialog. From left to right, they are Mode, Swap and Copy:
Click the Mode button to cycle through left/right and top/bottom side-by-side and split-view modes.
• Click-and-hold the Mode button to bring up a popup menu for directly choosing Preview modes and accessing the Preview Preferences (the Preview Preferences support customizing the Preview modes used for cycling as well as some drawing options including divider and pane options).
•Tap Q to cycle through the Preview modes.
Click the Swap button to swap Before/After settings.
• Tap P to swap Before/After settings for the primary selected image only.
• Shift + P to swap Before/After settings for all selected images.
Click the Copy button to copy the After settings to the Before settings. This is useful for establishing a temporary “checkpoint” for your image editing session.
• Option + P (Mac) | Alt + P (Win) to copy After settings to the Before settings for the primary selected image only.
• Option + Shift + P (Mac) | Alt + Shift + P (Win) to copy After settings to the Before settings for all selected images.
Additional Notes: with regards to Previews: when making changes to images, the changes can only be made to the “after” image and the slider settings (in the panels) will always reflect the “after” image settings. The standard single-image view always shows the “after state”. Zooming and panning on one view will automatically zoom and pan the other.
2) Local correction changes – you can now easily reset all sliders when using the selective adjustment tools (Graduated and Radial filter and Adjustment Brush) by Control -clicking (Mac) | Right Mouse -clicking (Win) on the pin and choosing “Reset Local Correction Settings” from the context menu. Or, you can use the flyout menu to choose “Reset Local Correction Settings” – whichever is faster for you.
Previously, double clicking inside of a Radial Filter set it to fill the image bounds. This still works, however Control -click (Mac) | Right Mouse -click (Win) on the pin and choosing Fill Image accomplishes the same thing.
3) When synchronizing, creating new presets, saving settings (all in ACR) and copy and pasting settings (in Bridge), you can now single-click a button to check all/none.
4) Tap X when using the Crop Tool or Straighten Tool to flip the crop aspect ratio (landscape to portrait, portrait to landscape).
5) The Grain effect now varies from image to image to facilitate editing time-lapse and video frame sequences.
6) 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.
7) There are several new color matching profiles for Fuji X-Trans customers that emulate the camera presets including Provia (Standard), Velvia (Vivid), Astia (Soft) etc.. For a full list of supported cameras, click here.
8) 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.
In addition, ACR 8.4 RC adds new camera support and bug fixes. Click here for more detailed information.
Note: Camera Raw 8.4 and DNG Converter 8.4 are no longer officially supported on the following platforms: Mac OS 10.6.x (Snow Leopard), Windows XP, and Windows Vista.
I’m really excited to announce that my new class: The Art of Photoshop Compositing is now live on www.lynda.com!
“Join Julieanne Kost as she walks you through her creative thought process and explains how she transforms concepts and raw images into entirely new works of art using Adobe Photoshop. Discover how to select the images you need to create a whole that is greater than the sum of its parts. Master the tools used in compositing, including adjustment layers, masking, blending, and Smart Objects, so that the technology doesn’t get in the way of expressing your creative vision. Learn how to adjust scale and perspective and manipulate texture and focus to help viewers temporarily suspend their disbelief long enough to enter your world.”
- What makes a good composite?
- Refining your story
- Composing using the basic principles of design
- Customizing your Photoshop workspace
- Preparing elements from your source images
- Adjusting color, tone, balance, and perspective
- Mastering the Pen tool
- Unifying with texture, focus, leading lines, and structure
I look forward to hearing your feedback!
To reset the White balance to “As Shot”, double click on the Eyedropper tool in Camera Raw.
If you create and save presets in Adobe Camera Raw, you can then quickly apply those presets in Bridge. Simply Control -click (Mac) | Right Mouse -click (Win) on the image thumbnail and select Develop Settings > (your preset name).
To quickly clear Camera Raw Setting from images in Bridge, Control -click (Mac) | Right Mouse -click (Win) on the image thumbnail and choose Develop Settings > Clear Settings.
In this episode of The Complete Picture (Adobe Camera Raw as a Smart Filter in Photoshop CC), Julieanne demonstrates how to take multiple exposures and combine them into a single 32-bit HDR file that can then be edited nondestructively using Adobe Camera Raw as a Smart Filter in Photoshop. In addition, you’ll discover how powerful using Camera Raw as a Smart Filter can be when working with layered files.
There are two choices in the Image Sizing area of the Workflow Options in Camera Raw 8.2 that I didn’t understand the difference between: Width and 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.
• 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.
So now we all know. Thanks Eric. : )
I recently learned a few more tidbits about using the Soft Proofing options in Camera Raw 8.2. Thank you Eric!
• When using Soft Proofing options in the Workflow Settings in Camera Raw 8.2, you can choose the Rendering Intent as well whether or not to emulate Simulate Paper and Ink. However, 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.
In this episode of The Complete Picture (Adobe Camera Raw 8.2 in Photoshop CC (v14.1)), Julieanne takes a close look at the feature enhancements and refinements made to the Crop tool, workflow settings, and batch saving capabilities in Adobe Camera Raw. In addition she also covers improvements made to the Spot Removal Tool, Noise Reduction, Local Adjustment Brush, and Histogram.
Note: For more information about the Features in Camera Raw 8.0 (PSCC V14), including the new Upright perspective correction, Radial Filter, and Spot Removal features please see this video “Adobe Photoshop CC: Favorite Features for Photographers”.
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.