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Posts tagged "Adobe Camera Raw and DNG"
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.
Improvements made to both Lightroom and Adobe Camera Raw (ACR) in Photoshop include:
• Refinements to the Spot Removal/Healing tool include a new Feather slider to control the softness of the edge when cloning or healing areas of an image. In addition, there have been improvements in the way that the Spot Healing tool determines the auto source location (the area that it clones/heals from), so that it now works better for images with textured areas. And, if the image has been cropped, the Spot Removal/Healing tool will bias the selection of the auto source location from within the crop rectangle (as opposed to auto-choosing image areas outside the crop).
• To help reduce low-frequency color mottling like you see on the left side of the illustration below, a new Color Smoothness adjustment slider has been added to the Color Noise Reduction options in the Detail Panel. When the amount is increased, the color mottling is removed (as you see on the right side of the illustration below).
In addition, several improvements were made to Adobe Camera Raw (ACR) as they are already available/not applicable in Lightroom.
• The Histogram is now interactive in ACR. This enables the ability to click and drag on the Histogram to adjust the Blacks, Shadows, Exposure, Highlights, and Whites slider adjustments in the Basic tab.
• ACR now has separate Auto Temperature and Auto Tint controls, which are applied by Shift -double clicking on either the Temperature or Tint adjustment sliders.
• Refinements to the Local Adjustment Brush include the ability to reposition brush adjustments by clicking and dragging on brush adjustment pins. In addition, Command + Option -drag (Mac) | Control + Alt -drag (Win) a Local Adjustment Brush pin will duplicate the pin and Option -click (Mac) | Alt -click(Win) will delete the pin. If you prefer, Control -click (Mac) | Right Mouse -click (Win) displays both options – to duplicate or delete a pin.
• Workflow presets are now available for defining and then quickly choosing output settings in ACR. And, after creating your custom presets, you can Control -click (Mac) | Right Mouse -click (Win) the workflow link to quickly switch between them. In addition, when changing image size, a new option for Percentage is available in the drop down menu.
• Save Image options now include Color Space, Image Sizing, Output Sharpening and Presets. This means that you can select the desired images and save them using Save Image presets without having to change your current workflow settings.
Click here for more information, about the Photoshop Photography Program.
There is a new command in Lightroom 5 that will verify the integrity of any Adobe created DNG files (Library>Validate DNG Files). If it finds any invalid DNG files, they will automatically be placed in a special collection.
This validation is helpful when we want to check to make sure that files haven’t been corrupted after copying then from one drive to another. It can also be helpful if we want to know with certainty if anything has changed in the original source image. If something has changed, then we know that something has gone wrong and it can (hopefully) be solved before more damage is done (like additional files are copied or changed).
It’s important to note that the data that Lightroom is verifying is the “original source image” – which, in a DNG file is never supposed to change. Lightroom is checking this information independently of the other information (that may have changed) in the file.
Here is a little more detail (and please understand that this is a bit of an oversimplification): the DNG file contains many different “kinds” of information. It’s helpful to imagine that the DNG file is really more like a file cabinet and each different “kind” of information is stored in a different folder in that cabinet. This enables certain segments of the file (one folder) to be altered independently of another segment (or folder).
For example, if you add IPTC data to a DNG file (by adding keywords, copyright etc.), the data in the IPTC folder changes, but the source image data (which is stored in another folder), remains unchanged. Even when you make edits to a DNG file in Lightroom’s Develop module (or Photoshop’s Camera Raw plug-in), all of the changes are made to the DNG file (as a set of instructions) and are stored in a separate folder so as not to change the original source image data. It’s then up to the software – PS or LR to take the original source data and then apply the set of instructions (from the other folder) and display the results on screen so that it “appears” as if the changes have been made when, in fact, the original source information has not been touched. Of course the benefit of not touching the original is that the entire workflow is then non-destructive: the changes can be modified or removed at any time without changing the original source data.
So, it’s the best of both worlds, you can now validate an Adobe DNG file to confirm that the source image data has not changed, yet still make changes to other information in the file in order to add metadata and enhance the image.
Note: Only DNG files created by Adobe software can be validated (camera-‐created DNGs cannot be validated because they do not contain the necessary checksum).
For more information, be sure to check out Peter Krogh’s in depth explanation.
Camera Raw 8.1 now includes the ability to select RGB, CMYK and LAB ICC profiles to soft proof images. To select a profile, click the workflow Options (accessed via the blue hyperlink at the bottom of the Camera Raw window) and in the Color Space section, choose the Space from the pop-down menu. Once a profile is selected, Camera Raw displays a “soft proof” of that image. In addition you have the ability to choose either Perceptual or Relative as your rendering Intent and can choose whether or not to Simulate Paper and Ink.
Note: For accurate results, monitor calibration is a must! In addition, there may very well be some colors that simply aren’t reproducible on a monitor that can be printed and vice versa.
The Crop tool’s behavior has been modified within Camera Raw 8.1. The Crop tool is now solely responsible for defining the aspect ratio of the crop and the Workflow Options are now responsible for determining the image size. For example, in order to create an image that is 8 x 10 inches at 300 ppi, click and hold the Crop tool to select 4 to 5 from the list of aspect ratios and drag the crop in the image as desired. Then, using the Workflow Options (accessed via the blue hyperlink at the bottom of the Camera Raw window), check the Resize to Fit option. Select Short Size from the drop down menu and enter 8 inches and a resolution 300 ppi.
There is a new feature when working in the Merge to HDR Pro feature in Photoshop CC. If you set the Mode to 32 bit, under the histogram is an option to “Complete Toning in Adobe Camera Raw”.
Enabling this option, changes the “OK” button to “Tone in ACR”. Clicking “Tone in ACR” tells Photoshop to convert the 32 bit HDR layer into a Smart Object and automatically apply Camera Raw as a Smart Filter.
Then, simply apply your desired settings in the Camera Raw Filter and click OK. Because you are working with a smart object, not only can you double click the layer thumbnail to re-edit the Camera Raw options, but you can also use the Smart Filter mask to selectively show and hide the effect AND change the Blend Mode and Opacity of the filter!
Note: only the following Blend Modes are available when using Camera Raw as a Smart Filter: Normal, Dissolve, Darken, Multiply, Darker Color, Lighten, Linear Dodge (add), Lighter Color, Difference, Subtract, Divide, Hue, Saturation Color and Luminosity.
In the Lens Correction panel, in the Manual subpanel, press Control-Tab to cycle through the Upright options from left to right. Add the Shift key to move from right to left.
I have received several questions as to why Adobe would include Camera Raw as a Filter in Photoshop CC. Well, here are the first three reasons that I can think of, but I’m sure that there are more!
• First of all, not everyone had the luxury of working with raw files so it can be a huge benefit to be able to apply options like clarity and perspective correction to non raw images (a photoshop layer for example).
• Sometimes we forget to do things in the right order and we don’t have time to go back to the beginning and fix them when on deadline. Yes, this might not be optimal, and yes, we would be better off making changes earlier in our workflow (processing our raw files directly in camera raw before opening them in Photoshop), but ACR as a filter can help to make corrections or add creative effects to layers later in your workflow and/or with legacy files.
• ACR as a filter can be applied to multiple layers at one time if you select those layers in the Layers panel and convert them to a smart object. Plus, working with Camera Raw as a smart filter enables blend mode and opacity options as well as the Smart Filter mask to selectively show and hide the filter.
Note: There are several features from regular Adobe Camera Raw that are omitted from Camera Raw as a filter, mostly because they don’t make sense in the filter context.
• Workflow options and preferences
• Crop and straighten tools
• Rotation tools (rotate left/right buttons)
• Camera and lens profile
• ACR as Smart Object, save button
I mention a number of shortcuts that are new to the Radial Filter (J) in this video (Adobe Photoshop: Favorite Features for Photographers), but thought that it might be handy to also include them in list form:
• The Shift key will constrain the Radial Filter to a circle.
• Tapping the “V” key will toggle the overlay of the Radial Filter interface (bounding box).
• While dragging one of the four handles of an existing Radial Filter to resize it, press the Shift key to preserve the aspect ratio of the ellipse.
• While dragging the boundary of an existing Radial Filter to rotate it, press the Shift key to snap the rotation to 15-degree increments.
• While dragging to create a new Radial Filter, press and hold the Space bar to move the ellipse; release the Space bar to resume defining the shape of the new Radial Filter.
• While dragging inside of an existing Radial Filter to move it, press the Shift key to constrain the movement to the horizontal or vertical direction.
• You can drag a Radial Filter beyond the image area.
• While an existing Radial Filter is selected, press the Delete key to delete the Radial Filter.
• Double-click in the image area to set the bounding box of the Radial filter to the image bounds.
• Double-click inside of an existing Radial Filter to expand the bounding box of the Radial Filter to the image bounds.
• Command + Option -drag (Mac) | Control + Alt -drag (Win) to duplicate the Radial Filter.
• While an existing Radial Filter is selected, press the X key to toggle the effect direction from outside to inside.
As many of you know, this morning Adobe announced Photoshop CC. Although it’s not yet shipping, here is a video of my favorite features that will be available soon!
In this episode (Adobe Photoshop: Favorite Features for Photographers), Julieanne Kost will demonstrate her top 5 favorite features in Photoshop CC including the new Upright perspective correction, Radial Filter, and Spot Removal features in Adobe Camera Raw 8, Image Upsampling and Smart Sharpening, Live Shapes for Rounded Rectangles, and Camera Shake Reduction.
If you own Photoshop CS6 and are moving to Photoshop CC, you might also want to watch this video (Julieanne’s Top 5 Features for Photographers in Photoshop 13.1 ), to learn about the new features that were added to Photoshop 13.1 (released back in December exclusively for Creative Cloud Members).
In addition, here is a great article with insights about Breaking from Tradition written by Maria Yap, Sr. Director of Product Management at Adobe.
And if you have questions, Jeff Tranberry provides answers in this FAQ – for Photoshop and Lightroom Customers.
And the Creative Cloud FAQ.
And information about Lightroom and Creative Cloud.
When applying a Post Crop Vignette in Lightroom and/or Camera Raw, don’t forget that you can use the Highlight slider to suppress the vignette from being added in the highlights of the image. This can help keep brighter values in the vignetted area from looking muddy.
Also, when cropping an image and adding a Post Crop vignette, I prefer to first use the Lens Correction panel to remove any vignetting caused by the lens. Removing the lens vignetting (especially if the image is cropped so that part of the lens vignette is cut off) will result in a more even looking Post Crop Vignette.