If you capture images as JPEGs, and then make changes to JPEG files in the Develop Module (or in Quick Develop) in Lightroom or in Camera Raw in Photoshop ,and post those original JPEG files online, the adjustment changes will not be displayed. You must have Lightroom or Photoshop render a new version of the JPEG with your changes applied (via Export, the output modules and/or publish services).
Why? Well, when you make changes to your files in Lightroom (or Camera Raw), you can choose to push settings such as copyright and keywords into JPEG files. In Lightroom you do this by choosing Metadata > Save Metadata to File or by checking “Automatically write changes to XMP” in Catalog Settings > Metadata. In Photoshop, you add your information in File Info or in the appropriate panels in Bridge. Most other programs, (if they’re savvy enough to read IPTC data) can read information such as copyright and keyword and display this information.
But other programs (including browsers) are not able to read changes made in Quick Develop or in the Develop Module in Lightroom or in Camera Raw in Photoshop and render it, so you need to export your modified files (in order to render a new file with the changes applied) and post those files instead of the original JPEGs.
In this episode of The Complete Picture, discover the power of making selective adjustments like dodging and burning, color corrections and noise removal using the Graduated Filter and Adjustment Brush. Note: although this video was recorded in Lightroom, the same techniques are available in Adobe Camera Raw in Photoshop CS6.
There are two sliders in the Basic panel (in the Develop module in Lightroom and in the Camera Raw dialog in Photoshop), which can be used to quickly adjust color – Vibrance and Saturation. Lately I have overheard a number of people “arguing” over which adjustment is better. So to put that argument to rest, I’m going to say that both adjustments have their strengths! Although I will agree that it’s a good rule of thumb to use the Vibrance slider to increase (or decrease) saturation in images (especially portraits because not only is Vibrance a relative slider, it is also biased to leave “skin-tones” alone), there are also times when I prefer to use Saturation to set the mood in my images. In fact, there are many times when I use a combination of BOTH sliders to reduce colors that are too overbearing – I will make a negative adjustment using Vibrance and then increase the resulting (more “even” color palette) with Saturation. Since the sliders are nondestructive don’t be afraid to experiment!
The units of measurements displayed in the Basic panel (in Lightroom’s Develop module and in the Camera Raw dialog in Photoshop) for Temperature and Tint differ between RAW and JPEG files. When working with a raw file, the Temperature slider ranges from 2,000 to 50,000 Kelvin and the Tint sliders range from -150 to 150. When working with JPEG files (or other pixel based files such as PSD or TIFF) the Temperature and Tint sliders both range from -100 to 100.
You might also notice that when working with RAW files, Lightroom displays a list of “preset” White Balance settings (Auto, Daylight, Cloudy, Tungsten etc. – this list might differ slightly from camera to camera). When you work with a JPEG file, LIghtroom only displays As Shot, Auto and Custom in the pull-down menu
When moving back and forth between images in the Develop module in Lightroom and in the Camera Raw dialog in Photoshop, it can be a performance advantage to increase the Camera Raw Cache when working with raw files. To do so, in Lightroom, select Preferences > File Handling > Camera Raw Cache Setting and increase the Maximum Size. In Photoshop select Preferences > Camera Raw and increase the Maximum Size. The larger the cache, the greater the number of images Lightroom can hold onto for quick access – making it faster to load recently viewed images. If you are simply moving from one image to the next (without returning to the previously viewed images), then you may not see a benefit from increasing the Camera Raw Cache.
Positioning the cursor over the triangles in the upper left and right of the Histogram panel will display areas of the photograph that are clipping to pure black or pure white. Areas that are clipping to black are shown with a blue overlay, areas clipping to white are shown with a red overlay.
Moving the cursor away from the shadow/highlight clipping icon hides the overlay. For a more constant display of the overlay, click the warning icon to show, click again to hide – or tap the “J” key to toggle on/off both of the shadow/highlight clipping previews at once.
An alternate way to preview clipping is to Opt (Mac) /Alt (Win) -drag the Exposure, Highlights, Shadows, Whites and/or Blacks sliders in the Basic panel. This differs from the clipping warnings above as you will see a per channel clipping preview displayed.
Note: In order to preview the clipping warning in ACR in Photoshop, tap the “O” / “U” key. Similar to Lightroom, clipped highlights will be displayed in red, shadows in blue. I remember these shortcuts by thinking of Over/Under exposure.
When using the Adjustment Brush in Adobe Camera Raw, Control -drag left/right to decrease/increase the brush size. Control + Shift -drag left/right to decrease/increase the feather (softness) of the adjustment brush’s edge.
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).
In this video, 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.
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.