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All right, I'm going to go ahead and wrap things up with a kind of grab bag of tips and tricks for working with RAW images, DNG files and so on inside of the Bridge and Photoshop and most of these tricks happen outside the Camera RAW dialog box. So, I've got the Bridge trained on the contents of the 24_camera_raw folder. I'm looking at all of the edits that I've applied over the course of this chapter and we can see here that I've got this Spanishtown dinosaurs.dng file selected. Let's say I want to open the file inside of Photoshop, but I'm done with my Camera RAW modifications.
I don't even want to see that dialog box again. How do I bypass it? Well, instead of double-clicking on the image file here, press the Shift key and double-click on the thumbnail inside the Content panel, or you can select the thumbnail and press Shift+Enter or Shift+Return on the Mac and what that does is you can see here we're not seeing Camera RAW at all. Instead, we get this progress bar telling us that Photoshop is opening the RAW image and there it appears onscreen. By default, you're going to see that RAW image incidentally as a flat Photoshop file, which means you can now save it as a JPEG file, a TIFF file, a PSD file, what have you.
In fact, let's say I go ahead and close the file at this point. Then Photoshop's going to come up and say, hey, do you want to save your changes to this document, to Spanishtown dinosaurs.dng? Which seems pretty darn dangerous by the way because that would overwrite your original file. But let's say we're throwing caution to the wind and we say, sure yeah do it, click the Yes button or click the Save button on the Mac and up comes the Save As dialog box thereby indicating that Photoshop has no real intention of saving over the DNG file because it can't.
If you look at the formats that are available to you, there is no DNG, there is no CR2 or NEF or ORF, or any of the other vendor specific RAW formats. Instead, you see your typical format. You've got the native PSD format, you've got TIFF down here, you've got JPEG, and so on. So choose the format you want to use and then go ahead and click on the Save button, or in my case I'm going to click Cancel because I don't need to save this file. I'm just going to go ahead and close it and not save. So I'll click the No button or the Don't Save button on the Mac.
All right, let's go back to the Bridge here, by clicking on the Bridge icon on the left side of the applications bar. Now let's say that I have some really great settings that I want to copy from one image and paste onto another, and that is possible. So you can mix and match your Camera RAW settings. I'm going to scroll to more or less the top of my list here and I'm going to click on California coast.dng. So let's say I want to copy these black-and-white settings. I'll right-click on the thumbnail in the Content panel, then I'll choose Develop Settings, and then I'll choose Copy Settings.
Now, I'm going to scroll down my list to one of those four swim meet files, the reason being because I have these settings backed up on all three of these files here. So, I'm going to right-click on Swim meet-1.dng, and I'll choose Develop Settings and I'm going to choose Paste Settings, and that will bring up the big old dialog box of options for what it is you want to copy and paste here. I'm going to just say everything except Crop, Spot Removal and Local Adjustments. That sounds fine. I'll click OK and we end up getting this effect here, which is significantly different than what we had before, and if you want even still more different here, I'll go ahead and right-click on Spanishtown dinosaurs.dng and choose Develop Settings and choose the Copy Settings command.
Then I'll right-click once again on Sammy, here on Swim meet-1.dng, and I'll choose Develop Settings, and I'll choose Paste Settings. Now, what's interesting this time around is that the Spanishtown dinosaurs have some local adjustments. As you may recall, there's some cropping going on. There is an application of the Adjustment Brush and a couple Graduated Filters. We're not going to apply those settings because it wouldn't make any sense in the context of a totally different image. Everything else though will work quite nicely.
So I'll click OK and we end up getting this effect here. So you can see how amazingly versatile these Camera RAW settings that you can mix and match across the various images, and just check out that vignette. I swear looking at it here it's making me completely rethink my hatred of artificial vignettes in general because that one looks just so great. The way it respects the contours of the original scene, and the way we can see my son's shoulders coming out into the vignette, just beautiful in my opinion.
Anyway, let's take a look at one more image here. I'm going to switch back to Photoshop and the image I would like you to open if you're working along with me is the very first image in the list alphabetically, and that is ACR smart object.psd, and I've already got it opened here inside Photoshop, and that's that image that contains the RAW Smart Object from the previous exercise. I'm going to go ahead and double-click on the Smart Object thumbnail here inside the Layers panel in order to bring up Camera RAW, and I want to quickly run through the other workflow options. So click on this blue link down here at the bottom of the dialog box and notice in addition to that Crop Size option, which allows you to either downsample or upsample the image.
We've already seen that guy. We also have Color Space and Bit Depth. Now by default, you're going to open your images as standard everyday 8 Bit per channel image which is probably going to work out just fine for you because you've exploited the high bit-depth of this image to the umpteenth degree here inside the Camera RAW dialog box. Once you bring it over into Photoshop, you're not really going to technically need that much data anymore, but there are purists out there that would rather grow the image to 16 bits per channel. That's your other option. Now bear in mind, you're starting with an image that contains either 10 bits or 12 bits of data per channel and really, technically there is only one channel.
So you're going to grow it from 10-bit or 12-bit image to a 16-bit per channel image which means 10 or 12 bits all the way up to 48 bits, which seems to me to be a little bit of overkill, and you're working on an 8 Bits per channel monitor. That's the other thing to bear in mind so you're not going to see the wealth of color that's available inside the 16 bit per channel image. And when you print the image you're really going down to an even smaller color space. But totally up to you. If you want the wonders of 16 bit per channel, or you think there are any advantages to it, then go ahead and select that option.
My one bit of advice would be, if you're going that route, change your Color Space to ProPhoto RGB, because that's going to suit you better with big bit depth images. All right, but I don't work that way as I think I've made it clear I think that's overkill. So I'm going to switch back to Adobe RGB 8 Bits per Channel. Here is an interesting option that's newly available to us. You can sharpen for specific mediums if you want to. So I was telling you that those sharpen options that are available to you inside the Detail panel, those are designed to compensate for the demosaicing process, the input process.
If you want to sharpen for output, why then you can just apply some sort of automatic sharpening that Camera RAW thinks is best for you, and you can choose to either sharpen for the Screen, for Glossy Paper, or for Matte Paper. Let's say we're going to Glossy Paper and I want a high amount. So you can choose the amount of sharpening you want to apply. I'll go High, and by the way you have the option of opening the images as Smart Objects by default. So if you turn this check box on, that's going to change that open image button to an open object button, and then you have to press the Shift key in order to overwrite it and open the images flat image instead.
Anyway, I prefer to leave that check box off, but I just want you to know. All right, I'm going to click OK, and now this is going to change the nature of the import from Camera RAW back into the Photoshop Smart Object. So I'll click OK and I've now applied a level of sharpening to this image. So I'll go ahead and zoom in so that we can see the difference. I'm zoomed in to 100%. This is the sharpened version of the image. If I press Ctrl+Z or Command+Z on the Mac, that is the pre-sharpened version. So, once again, if you want that, you got it, just make sure that you go ahead and set it up.
The other thing to bear in mind, I'll go ahead and press Ctrl+Z, Command+Z on a Mac to redo that sharpening, is those workflow options are sticky. So they affect the default behavior of Camera RAW. So all your future images will also have that level of sharpening applied until you overwrite that option. All right and that is it. That is Camera RAW in a nutshell here inside of Photoshop CS5. If you're interested in more information, then check out Chris Orwi's series, which is devoted to Camera RAW. It's a creative series about working inside of Camera RAW, and it's available here 24x7 on the lynda. com Online Training Library.
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