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Camera Raw and Lightroom

From: Photoshop CS5 for Photographers: Camera Raw 6

Video: Camera Raw and Lightroom

Any conversation about Adobe Camera Raw or about Raw processing in general really wouldn't be complete without at least mentioning Adobe Photoshop Lightroom, and that's what I want to do here. But first, what we need to do is step back for a second and think about our workflow, all the way from capturing images, to working on them, to output. Now, here in the middle space we really work on Lightroom, Bridge and Photoshop, and what we have to start to think about is how do we work with these tools together? Occasionally, people will say, hey! Chris, I discovered Adobe Camera Raw. It's amazing.

Camera Raw and Lightroom

Any conversation about Adobe Camera Raw or about Raw processing in general really wouldn't be complete without at least mentioning Adobe Photoshop Lightroom, and that's what I want to do here. But first, what we need to do is step back for a second and think about our workflow, all the way from capturing images, to working on them, to output. Now, here in the middle space we really work on Lightroom, Bridge and Photoshop, and what we have to start to think about is how do we work with these tools together? Occasionally, people will say, hey! Chris, I discovered Adobe Camera Raw. It's amazing.

I'm never going to use Photoshop again. That's definitely not the right approach. Rather, what we want to do is think of these two programs as separate applications and somehow there is overlap, and we thus work with them together. Perhaps a better approach would be to say, hey! I am going to do a lot of my work in Adobe Camera Raw. I am going to do all my global corrections, and then some of my fine-tuning, I will do in Adobe Camera Raw, but all of the sweet stuff, all of the precise stuff, all the really exact work, well that's going to all take place inside of Photoshop. And this is a really valid, and effective, and good, and strong workflow.

Well then what happens when we bring Lightroom into the equation? Again, I get questions. Chris, should I use Camera Raw, should I use Photoshop, should I use Lightroom? My answer is you should use all three, because each of these different programs have strengths. And first what I want to do is take a look at comparing Bridge and Lightroom. I want to do so simply by comparing the basic controls. On the left we have Adobe Camera Raw; on the right, we have Lightroom. Well, if you compare these controls or sliders, you'll notice they're exactly the same.

Temperature and Tint, Temperature and Tint, Exposure, Exposure and all the way down the list. For that matter, the Raw engine that's actually working or processing the files is identical. Well, why then would you want to use one tool versus another? One of the things that's good about Lightroom is it's a professional level, really strong and effective tool. In other words, there are some more features. There are more shortcuts. There's more efficiency. There's better output. So what Adobe Camera Raw is, which is really good, Lightroom is even better.

A lot of times when people discover this, they then swing their approach. So they work in Bridge when needed, but then they spend a lot of time in Lightroom. And for that matter, they start to spend even more time in Lightroom and perhaps less inside of Bridge and Camera Raw. And for some people this is really an effective approach, because what Lightroom allows you to do is to really keep track of your photographs, and also process them in a pretty unique and powerful way. Now, that being said, this isn't the only way to work on your images, and of course Lightroom costs extra money, right? And so some people stick with working with Camera Raw and Photoshop because Camera Raw comes with Photoshop.

Now, whatever your own workflow practice, just keep that in mind and keep in mind that it is also an incredibly valid way to work, using Adobe Camera Raw and Photoshop. Yet, if you're feeling like hey now, I've learned Adobe Camera Raw, now I want to take this to the next level, well, perhaps the next step for you is to dig into Lightroom. And if you're interested in Lightroom, I've created a number of different training titles on that topic. So you can go ahead and check those out to see if Lightroom might be right for you. Well, whatever your decision, there's one thing that I think is incredibly important in regards to workflow.

I think in order to have a good workflow, it doesn't necessarily matter what software you use, but what does matter is does my digital photographic workflow increase my passion? Does it expand my creativity? Does it enliven my vision? Because I believe wholeheartedly that as Marc Riboud once said, Photography is about savoring life at 1/100th of a second. So therefore, as you step back for a moment and evaluate your own photographic workflow say, hey, is it hitting the spots? Is it increasing my passion or is it bogging me down? Is it helping me to be more creative, or is it a little bit stifling? Is it helping me to set my sights higher or lower? So then after answering those questions, you can then go back to your software applications and say okay, well, what software tools do I really need in order to take my overall photographic workflow to the next level? And in closing, however you decide, I hope that your decision leads you to being a more effective photographer, and also to getting even more out of life.

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This video is part of

Image for Photoshop CS5 for Photographers: Camera Raw 6
Photoshop CS5 for Photographers: Camera Raw 6

121 video lessons · 19901 viewers

Chris Orwig
Author

 
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  1. 8m 57s
    1. Welcome
      54s
    2. Should I use Adobe Camera Raw or Photoshop?
      3m 22s
    3. What is Camera Raw?
      3m 45s
    4. Using the exercise files
      56s
  2. 21m 7s
    1. Bridge overview and preferences
      4m 9s
    2. Camera Raw preferences
      3m 17s
    3. Raw vs. JPG or TIFF files
      3m 5s
    4. Choosing a native raw file or a digital negative (DNG)
      6m 13s
    5. Converting or saving to the DNG format
      4m 23s
  3. 28m 44s
    1. Project overview: Cover photo shoot
      2m 6s
    2. Auto-toning and correcting white balance
      3m 3s
    3. Cropping and composing
      2m 35s
    4. Enhancing color and tone
      2m 39s
    5. Removing distractions
      2m 46s
    6. Sharpening and noise reduction
      2m 29s
    7. Converting to black and white
      2m 24s
    8. Adding a vignette
      2m 10s
    9. Making a localized correction
      1m 45s
    10. Creating snapshots of memorable looks
      3m 11s
    11. Re-editing Camera Raw settings
      57s
    12. Working with multiple adjustments
      2m 39s
  4. 16m 13s
    1. Navigating the interface and the toolbar
      5m 5s
    2. Image adjustment tabs and panels
      5m 8s
    3. Using the histogram
      2m 4s
    4. Previewing before and after different adjustments
      2m 4s
    5. Working with multiple files
      1m 52s
  5. 23m 17s
    1. Opening raw files in Bridge
      6m 3s
    2. Opening JPGs and TIFFs in Bridge
      3m 28s
    3. Accessing Camera Raw from Mini Bridge
      2m 57s
    4. Resizing in Camera Raw with workflow options
      3m 35s
    5. Saving from Camera Raw
      3m 5s
    6. Opening an image as a Smart Object
      1m 41s
    7. Creating a duplicate file
      2m 28s
  6. 13m 56s
    1. Using the Crop and Straighten tools
      2m 23s
    2. Working with the Crop tool
      3m 39s
    3. Cropping with an aspect ratio
      2m 26s
    4. Composing with the Crop tool
      2m 33s
    5. Creative cropping
      2m 55s
  7. 10m 29s
    1. Improving color balance
      2m 23s
    2. Using the White Balance tool and controls
      1m 35s
    3. Color correcting with white balance cards
      2m 31s
    4. White balance vision and creativity
      2m 22s
    5. Color balance resources
      1m 38s
  8. 30m 17s
    1. Deconstructing the basic adjustments
      3m 59s
    2. Recovering highlights
      2m 29s
    3. Making basic exposure enhancements
      1m 59s
    4. Making basic adjustments more quickly
      2m 18s
    5. The relationship between tone and color
      2m 40s
    6. Enhancing color and tone
      1m 9s
    7. Demystifying clarity
      3m 36s
    8. Increasing clarity
      3m 48s
    9. Understanding Vibrance and Saturation
      2m 28s
    10. Improving color with Vibrance
      2m 4s
    11. Using Vibrance and Saturation together
      1m 38s
    12. Color creativity
      2m 9s
  9. 8m 55s
    1. Learning about the parametric and point tone curves
      4m 53s
    2. Using the parametric curve
      2m 7s
    3. Using the point curve
      1m 55s
  10. 15m 29s
    1. Removing blemishes on a face
      4m 36s
    2. Cloning away small background distractions
      3m 37s
    3. Removing distracting background elements
      1m 55s
    4. Cleaning up a studio background
      1m 31s
    5. Removing dust on the lens or the camera sensor
      2m 25s
    6. Removing red-eye
      1m 25s
  11. 46m 13s
    1. Demystifying the Adjustment Brush
      3m 37s
    2. Correcting exposure by brightening shadows
      2m 23s
    3. Painting an effect into a photograph
      4m 41s
    4. Increasing visual interest by brightening shadows
      4m 3s
    5. Increasing visual interest by heightening saturation
      5m 0s
    6. Whitening teeth
      3m 33s
    7. Adding color to makeup
      5m 58s
    8. Changing color
      4m 12s
    9. Selective sharpening
      6m 8s
    10. Eye sharpening and skin smoothing workflow
      4m 28s
    11. Creating custom Adjustment Brush presets
      2m 10s
  12. 11m 33s
    1. Enhancing the foreground and background of an image with the Graduated Filter
      4m 55s
    2. Reducing exposure with the Graduated Filter
      3m 15s
    3. Creative effects with the Graduated Filter
      3m 23s
  13. 33m 26s
    1. Noise reduction
      6m 33s
    2. Reducing noise and sharpening
      6m 36s
    3. Sharpening more effectively
      7m 18s
    4. Edge sharpening in an architectural photograph
      3m 1s
    5. Sharpening a portrait
      2m 3s
    6. Using the Detail panel to soften skin
      7m 55s
  14. 16m 18s
    1. Introducing HSL
      3m 38s
    2. Modifying color and tone
      3m 52s
    3. Enhancing a fashion photograph
      3m 5s
    4. Enhancing color and tone with HSL
      3m 16s
    5. Getting creative with color
      2m 27s
  15. 13m 59s
    1. The black-and-white controls
      2m 43s
    2. A simple black-and-white conversion
      2m 5s
    3. Using multiple panels to create a black-and-white image
      3m 52s
    4. Creating a dramatic black-and-white landscape
      5m 19s
  16. 6m 40s
    1. Traditional black-and-white toning
      3m 26s
    2. Toning a color photo creatively
      3m 14s
  17. 11m 17s
    1. Deconstructing the Lens Correction controls
      3m 48s
    2. Correcting lens vignette
      1m 59s
    3. Correcting lens vignette more quickly
      1m 21s
    4. Correcting chromatic aberration and defringing
      4m 9s
  18. 16m 30s
    1. Understanding the Effects controls
      5m 54s
    2. Using the Post Crop Vignette for creative effects
      3m 23s
    3. Adding film grain to a black-and-white image
      2m 18s
    4. Adding film grain with Camera Raw and Photoshop
      4m 55s
  19. 14m 4s
    1. Introducing the Camera Calibration panel
      3m 39s
    2. Comparing color options with Snapshot
      2m 47s
    3. Creative color with the Camera Calibration controls
      4m 48s
    4. Camera Calibration resources
      2m 50s
  20. 9m 41s
    1. Introducing presets
      2m 27s
    2. Applying presets to multiple images
      3m 9s
    3. Preset resources
      4m 5s
  21. 10m 0s
    1. Quick raw processing of multiple files
      4m 38s
    2. Recording an action
      3m 15s
    3. Batch processing multiple images
      2m 7s
  22. 13m 52s
    1. Creative vivid color
      3m 30s
    2. Working with split toning
      2m 14s
    3. Applying soft and warm colors
      1m 25s
    4. Adding warm, muted colors
      2m 28s
    5. Adding and reducing false color
      4m 15s
  23. 7m 58s
    1. Additional resources
      3m 11s
    2. Camera Raw and Lightroom
      4m 19s
    3. Goodbye
      28s

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