March 14, 2013
In Adobe Camera Raw in Photoshop, The Clipping Warning triangles turn different colors to show that different channels are being clipped.
If no values are clipped, the triangles are black.
If values are clipped in the red channel the triangles are red.
If values are clipped in the green channel the triangles are green.
If values are clipped in the blue channel the triangles are blue.
If values are clipped in the red + green channel the triangles are yellow.
If values are clipped in the red + blue channel the triangles are magenta.
If values are clipped in the green + blue channel the triangles are cyan.
If values are clipped in all channels, the triangles are white.
Note: to view per channel clipping in the Image Preview area, Option + (Mac) | Alt + (Win) – drag the Exposure, Highlight, Shadow, White or Black sliders in the Basic Panel.
March 13, 2013
In this episode of The Complete Picture (Controlling Selective Color Changes in Lightroom), Julieanne demonstrates how to use Hue, Saturation, Luminance and the Adjustment Brush to selectively control color in Lighroom. Note: although this video was recorded in Lightroom, the same techniques are available in Adobe Camera Raw in Photoshop CS6.
March 11, 2013
After posting my video Cyclical – The Creative Process I received a great question: If you start in Lightroom with a raw file and choose Photo > Edit In > Open in Photoshop as Smart Object, and then edit that Smart Object, how can you “extract” that raw file with the edited settings?
My first thought was to select the Smart Object in the Layers panel in Photoshop and choose Layer > Smart Objects > Export Contents. But surprisingly that method doesn’t export any edits made to the Smart Object. However, it turns out that the answer is even easier. In Photoshop, simply double click on the Smart Object’s thumbnail in the Layers panel (or choose Layer > Smart Object > Edit Contents) and, in the Camera Raw dialog, click the Save Image button in the lower left corner. Voila.
October 16, 2012
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.
October 10, 2012
In this episode of The Complete Picture (The Graduated Filter and Adjustment Brush), 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.
August 21, 2012
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!
(Yes, sometimes I run with scissors too. )
August 15, 2012
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
August 14, 2012
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.
August 1, 2012
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.
June 7, 2012
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.
June 5, 2012
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).
April 22, 2012
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.
March 8, 2012
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.
February 9, 2012
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.
November 18, 2011
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.