In this video (Camera Raw Enhancements in Photoshop CS6), Julieanne will show you how to create the highest quality photographs by taking advantage of new and improved global and local adjustments in Adobe Camera Raw. Julieanne will demonstrate the best way to recover detail in shadow and highlight areas, make sophisticated tone curve adjustments on a per channel basis, apply chromatic aberration on the fly, and selectively paint color, tonal and noise reduction adjustments.
Posts in Category "Adobe Camera Raw and DNG"
This is a question that I have been hearing a lot lately and thankfully Jeff Tranberry, Product Manager in Digital Imaging focusing on Customer Advocacy, has posted the excellent information here.
If you are looking specifically for support fort the Canon EOS 5D Mk III you can download the Lightroom 4.1 Release Candidate from Adobe Labs.
In order to define different default processing settings for different cameras, select Lightroom’s Preferences and click the Presets tab. Under the Default Develop Settings area, check “Make defaults specific to camera serial number”. This can be extremely useful , for example if you are shooting with multiple cameras and want Lightroom to automatically apply a different Camera Calibration profile to each. Click here for a video about setting default Camera Calibration profiles (and other options). (This video covers both Lightroom and Adobe Camera Raw in Photoshop.)
Notice that in the preferences you can also choose to “Make defaults specific to camera ISO settings”
There are two different sliders (Detail and Masking) used to create and control the masks used suppress sharpening in the lower contrast areas of an image. As a rule of thumb, use the Detail slider to suppress sharpening in landscape images, and use the Masking slider to suppress sharpening in portraits. To view a Black and White preview of the masks, Option (Mac) / Alt (Win) -drag the Detail and/or Masking slider.
It is best to view an image at 100% to see the effects of sharpening (as well as noise reduction) accurately. If you prefer to remain at a different zoom view in the image preview area, click the disclosure triangle to the right to the word Sharpening in the Detail panel. Then, click the square icon to pick it up and click in the image preview area over the area that you would like displayed at 100% in the Details panel. This will allow you to see a small area at 100% in the panel while viewing a different view in the preview area.
The Spot Removal tool has two options: Clone and Heal. The Clone option will always have a soft edge so that it can blend the edges of the area being duplicated. The Heal option will always have a hard edge and uses tone and color to blend the area being repaired. The Option (Mac) / Alt (Win) + “[“ or “]” increases/decreases brush size, “H” Hide/Show Pins, and the Page Up/Down keys move through an image screen by screen (when zoomed in) to help avoid missing any areas that need to have spots removed. The Arrow keys nudge the source point (add the Shift key to nudge in greater increments).
When using the Adjustment brush, the Flow sets speed of the adjustment made when painting. For example, if you set the Exposure slider to +2 and then set the Flow down to 25 and paint in the image, you will notice that it takes a longer to build up that +2 stops than if you had left the Flow setting at 100 (eventually though, it will get there). A low Flow setting can help when trying to slowly dodge and burn in an area of an image.
The Density slider caps amount of change that can be applied with a paint stroke. If you set the Exposure slider to +2 and then set the Density down to 50, no matter how long you paint, you will never get more of a change than 1/2 of the +2 (or +1 stop). At first I thought why not just reduce the slider to cap the maximum amount, but then I realized that I can set the sliders at the highest point I need for the image, then prevent overdoing the adjustment by setting the density slider to cap the adjustment in certain areas.
There are several ways to add a vignette to an image in Lightroom and/or Adobe Camera Raw. You can always start with the Lens Correction panel, click Manual and use the Lens Vignetting slider to increase/decrease the amount of vignetting. Many photographers prefer this method because it does a great job of simulating an in-camera vignette effect. If however, you have significantly cropped the image, then you may need to select the Effects panel and apply the Post-Crop Vignetting (because the Post-Crop Vignetting Effects vignette is applied to the image after cropping). There are three Styles:
• Highlight Priority – enables highlight recovery but can lead to color shifts in darkened areas of a photo. It is suitable for photos with bright image areas such as clipped specular highlights and behaves more like a traditional exposure burn.
• Color Priority – minimizes color shifts in darkened areas of a photo but cannot perform highlight recovery. Also behaves more like a traditional exposure burn.
• Paint Overlay – similar to an overlay of black or white paint.
Note: If using Color Priority try using the Highlights slider to reintroduce contrast in the highlights. This will be most noticeable if the vignetting is applied over bright areas such as highlights in a sky.
Did you know that you can use the free Adobe Lens Profile Creator Tool to create lens profiles for less common lens/camera combinations? All of the information that you need to know is here: http://labs.adobe.com/technologies/lensprofile_creator/
Note: in Camera Raw and Lightroom, the lens profile popup will only display the profiles appropriate for the file type. So if you’re looking a raw file, you get to see raw-based lens profiles. If you’re looking at a jpeg, you get to see non-raw-based lens profiles. As you can see, we have many more raw-based lens profiles available than non-raw-based lens profiles. This is due to the fact that lens correction quality for non-raw files (JPEGs, TIFFs, etc.) can be very problematic (this is because it depends on where the JPEG/TIFF came from, and how it was previously processed). For example, a JPEG that comes straight out of the camera is very different from a JPEG that somebody created from a raw file in ACR. If you try to apply the same non-raw-based lens profile to these two cases, you can get quite-different results (even though they’re both JPEGs from the same camera and lens). Thank you for that in-depth information Eric!
If you are going to need to resize a photograph significantly larger or smaller than it was originally captured, it is better (in theory) to use the Crop tool and the Workflow options in Adobe Camera Raw to interpolate up (resample) the photo as oppose to opening the file in Photoshop and then using the Image Size command to interpolate. This is because ACR does its resampling adaptively, based on the difference in size between the original image size (e.g., 5616) and the target image size (e.g., 2096). So, although there will be slight differences between the two images, (one from ACR, the other from PS) in many cases, it would be very hard to see the difference to the naked eye. The main difference, then, in practice, is the convenience and the workflow. (Thank you Eric Chan for this information!)
By default, the Crop tool in the Adobe Camera Raw dialog box is designed to crop to a chosen aspect ratio rather than a specific size. To define a specific size select “Custom…” from the Crop tool drop down menu and choose from Pixels, Inches or Centimeters. To define the resolution, click on the Workflow Options at the bottom of the ACR dialog box and enter the desired resolution. Now you can open a file that is a specific height, width and resolution as oppose to simply an aspect ratio.
PSCS5 -With the Point Curve panel active in the Camera Raw dialog, Option (Mac)/ Alt (Win) -click to set a point on the curve. Use the up, down, left, right arrow keys to precisely reposition the point as necessary. Control (on both Mac and Win) + Tab moves from one point to the next along the curve.
In this episode of The Complete Picture, Julieanne Kost will show you the advantage of working with and archiving to the DNG raw file format over proprietary raw file formats. You’ll also discover ‘how” and “when” it makes the most sense to convert your files as you move through your workflow. http://bit.ly/dB2E3o
PSCS5 – When using the Auto-Align Layers command Photoshop now leverages lens correction profiles (if applied).
Holding the Shift key in Adobe Camera Raw with the majority of tools selected (Zoom, Hand, Color Sampler, Targeted Adjustment, Straighten, Spot Removal Red Eye Removal) will temporarily activate the White Balance tool.