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In Photoshop CS5 Essential Training, author Michael Ninness demonstrates how to produce the highest quality images with fantastic detail in the shortest amount of time, using a combination of Photoshop CS5, Adobe Bridge, and Camera Raw. This course shows the most efficient ways to perform common editing tasks, including noise reduction, shadow and highlight detail recovery, retouching, and combining multiple images. Along the way, Michael shares the secrets of non-destructive editing, utilizing and mastering Adobe Bridge, Camera Raw, layers, adjustment layers, blending modes, layer masks, and much more. Exercise files are included with the course.
One of the things you want to pay attention to when you're opening up a Raw file and making some choices on it, is this little hyperlink down here at the bottom. These are your output options, what your image will go out as when you either save the image or pass it over to Photoshop for further editing. If we go ahead and click on this hyperlink, it actually opens up the Workflow Options dialog, where you can actually make several very important choices. First is which color profile you want to attach to this image. Now by default, the profile that came in off the camera embedded in the image will be chosen, but you can also choose a different color space depending on what your workflow needs are.
I'm going to keep this at Adobe RGB for now. The bit depth, that's whether it's 8 Bit or 16 Bit, keep in mind that if you're going to be going to JPEG, JPEGs don't support 16 bit file formats. So you'll need to down sample that down or down bit it, if you will, to 8 bit. You can always make that choice in Photoshop later, if you need to, you can do it there. It doesn't have to be done as part of the Camera Raw process, but you have that option here. This is the more important choice. Right now, this is the re-sampling option. If I click on this pop-menu, you'll see that there is a middle value.
Then there are some minus values and some plus values. So the middle value is the value that came in off the camera. What the resolution, the native resolution this file was captured at. So the camera captured essentially a 10-megapixel image. You can use Camera Raw to either down sample or up sample. I highly recommend that you do that here, if you are going to make your image larger or smaller, rather than passing it off to Photoshop and down sampling it there. Basically, because when you pass it over to Photoshop, you are already making a derivative of the Digital negative.
Alright, you're processing that file and passing it over to Photoshop. If you then up or down sample it in Photoshop, you're creating a second derivative. So it's always best to do that down sampling or up sampling from the native raw information that you have in the particular file. So you can set that option. You can also set the Resolution setting for what you want your file to be generated at. 240 is kind of an industry standard for inkjet printers. But of course, if you're going to create some images for the web, let's say you might put in 72 or 96, and so forth.
You have some options to pre-sharpen the image, like if you're just going to be creating files that you will then print to your Inkjet printer, you can do some global sharpening as part of the Workflow Options, which is kind of nice. When I go ahead and click OK, those settings are now remembered until you change them again. So every image I process with a Camera Raw file is going to be using these settings from then on. I can always go back and change it after the fact, or the next set of images that I might be working on. So don't forget about this important blue hyperlink. You may need to change it from time to time depending on what your Workflow Options or needs are, and just want to point that out up front.
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