To preview video faster in Photoshop, zoom out until the height of the canvas is less than 540 pixels. At this smaller preview size, Photoshop CS6 automatically plays and scrubs at lower resolution (and therefore faster).
Posts tagged "Adobe Camera Raw and DNG"
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.
In this video tutorial (DNG Enhancements in Lightroom 4), you’ll discover the new enhancements to the Digital Negative File format and how to use them to improve the way you work with and archive your photographs in Lightroom 4.
If you’re using Adobe Camera Raw, I’m sure that you already know that one of the easiest ways to speed up your workflow is to create Presets. But did you know that you don’t have to open the files into ACR in order to apply them? Simply select the files in Bridge, Control -click (Mac) / Right Mouse -click (Win), select Develop Settings, and choose your preset.
When importing images from a card, you can choose to “Copy as DNG” or simply “Copy” the files (and then convert to DNG later in your workflow). The reason that I choose to convert my RAW files to DNG after I finish editing my shoot is because I often delete several photographs from a shoot (perhaps as many as 25%). So for my workflow, it doesn’t make sense to waste the time converting the files that I will later trash: I prefer to select Library > Convert to DNG when I am finished editing the shoot.
Of course, if you never delete any photos, then it might make more sense for you to choose “Copy as DNG” on import.
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.
In this Episode of the Complete Picture (Selective Coloring Techniques) I will explain two different methods for selectively colorizing an image to differentiate the subject from the background using Lightroom’s Develop module. Note: the same effects could be attained using Bridge/Adobe Camera Raw/Photoshop.
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