Photoshop CS6 for Photographers: Camera Raw 7
Illustration by John Hersey

Resizing in Camera Raw with workflow options


From:

Photoshop CS6 for Photographers: Camera Raw 7

with Chris Orwig

Video: Resizing in Camera Raw with workflow options

In this movie we'll be working with this RAW file, let's go ahead and open it up in Camera Raw, press Cmd+R on a Mac or Ctrl+R on Windows to do so. Next, now let's press F to go to Full Screen Mode. In this movie what I want to focus in on is our Workflow Options down below. And the reason why I want to do that is because we know that our workflow starts off in Bridge, we then go to Camera Raw, and then to open an image up in Photoshop we just click Open Image. Yet, before we do that, if we click on this link here, it will open up these Workflow Options.
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  1. 9m 3s
    1. Welcome
      1m 2s
    2. Should I use Camera Raw or Photoshop?
      3m 22s
    3. What is Adobe Camera Raw?
      3m 45s
    4. Using the exercise files
      54s
  2. 21m 13s
    1. An overview of Bridge and Bridge preferences
      3m 19s
    2. Setting Camera Raw preferences
      3m 9s
    3. Exploring RAW vs. JPEG or TIFF files
      4m 3s
    4. Choosing a native raw file or a digital negative (DNG)
      4m 25s
    5. Converting or saving to the DNG format
      6m 17s
  3. 29m 37s
    1. Project overview: cover photo shoot
      1m 33s
    2. Auto-toning and correcting white balance
      2m 19s
    3. Cropping and composing
      3m 22s
    4. Enhancing color and tone
      2m 44s
    5. Removing distractions
      3m 58s
    6. Sharpening and noise reduction
      2m 59s
    7. Converting to black and white
      2m 11s
    8. Adding a vignette
      1m 45s
    9. Making a localized correction
      2m 53s
    10. Creating snapshots of memorable looks
      2m 1s
    11. Re-editing camera raw settings
      1m 38s
    12. Working with multiple adjustments
      2m 14s
  4. 15m 2s
    1. Navigating the interface and the toolbar
      2m 15s
    2. Exploring image-adjustment tabs and panels
      1m 32s
    3. Using the histogram
      5m 12s
    4. Previewing the before and after of different adjustments
      2m 43s
    5. Working with multiple files
      3m 20s
  5. 29m 29s
    1. Opening raw files in Bridge
      4m 36s
    2. Opening JPEGs and TIFFs in Bridge
      4m 43s
    3. How to open a photo in Photoshop and skip Camera Raw
      1m 47s
    4. Accessing Camera Raw from Mini Bridge
      3m 9s
    5. Resizing in Camera Raw with workflow options
      6m 35s
    6. Opening an image as a Smart Object
      3m 3s
    7. Saving from Camera Raw
      3m 17s
    8. Creating a duplicate file
      2m 19s
  6. 11m 20s
    1. Recomposing with the Crop tool
      2m 58s
    2. Clarifying your voice by cropping
      3m 20s
    3. Straightening and cropping
      2m 55s
    4. Cropping creatively
      2m 7s
  7. 9m 10s
    1. Improving color balance
      4m 21s
    2. Color correcting with white balance cards
      1m 49s
    3. Using the White Balance tool and controls
      3m 0s
  8. 18m 33s
    1. Deconstructing the basic adjustments
      3m 33s
    2. Correcting overexposure
      2m 52s
    3. Correcting underexposure
      3m 13s
    4. Making exposure enhancements
      2m 52s
    5. Recovering highlight and shadow detail
      3m 38s
    6. A speed tip for making basic adjustments
      2m 25s
  9. 14m 14s
    1. Demystifying Clarity
      2m 36s
    2. Increasing Clarity
      3m 52s
    3. Understanding Vibrance and Saturation
      1m 50s
    4. Improving color with Vibrance
      3m 52s
    5. Making creative color adjustments
      2m 4s
  10. 11m 48s
    1. Learning about the parametric and point-tone curves
      4m 4s
    2. Using the parametric-tone curve
      2m 19s
    3. Using the point-tone curve
      3m 22s
    4. Creating a unique color look with the point-tone curve
      2m 3s
  11. 15m 38s
    1. Introducing the Spot Removal tool
      3m 42s
    2. Removing distracting background elements
      3m 12s
    3. Removing blemishes on a face
      3m 29s
    4. Removing dust on the lens or the camera sensor
      2m 58s
    5. Removing red-eye
      2m 17s
  12. 51m 20s
    1. Introducing the Adjustment Brush
      6m 18s
    2. Correcting exposure
      6m 23s
    3. Working with Auto Mask
      4m 16s
    4. Changing the background color
      4m 30s
    5. Changing the color temperature
      3m 15s
    6. Making multiple color and tone adjustments
      5m 47s
    7. Enhancing the color, tone, and sharpness of the eyes
      5m 11s
    8. Whitening teeth
      3m 20s
    9. Brightening shadows and darkening highlights
      2m 51s
    10. Creating a black-and-white effect
      5m 36s
    11. Removing moiré patterns
      2m 19s
    12. Creating Adjustment Brush presets
      1m 34s
  13. 10m 0s
    1. Enhancing the foreground and background of an image with the Graduated Filter tool
      4m 7s
    2. Reducing exposure with the Graduated Filter tool
      3m 0s
    3. Exploring creative effects with the Graduated Filter tool
      2m 53s
  14. 13m 23s
    1. Exploring noise reduction
      3m 27s
    2. Applying input sharpening
      4m 9s
    3. Using the Basic and Detail panels together
      3m 33s
    4. Edge sharpening an architectural photograph
      2m 14s
  15. 12m 53s
    1. Introducing HSL
      2m 8s
    2. Enhancing color and tone
      2m 7s
    3. Using the Basic and HSL panels together
      2m 24s
    4. Removing colors with HSL
      3m 1s
    5. Making color changes
      3m 13s
  16. 21m 57s
    1. Using the black-and-white controls
      1m 44s
    2. Exploring simple black-and-white conversion
      6m 17s
    3. Using multiple panels to create a black-and-white image
      6m 17s
    4. Creating a dramatic black-and-white landscape
      7m 39s
  17. 11m 1s
    1. Exploring traditional black-and-white toning
      3m 19s
    2. Adding split toning to color photographs
      3m 49s
    3. Creative toning of a color photo
      3m 53s
  18. 16m 50s
    1. Removing extreme distortion with a lens profile
      2m 2s
    2. Working with the manual Lens Correction controls
      2m 34s
    3. Improving a portrait with lens corrections
      3m 26s
    4. Adding a darkening vignette effect
      1m 28s
    5. Combining lens corrections with creative cropping
      3m 35s
    6. Adding distortion for a creative effect
      2m 29s
    7. Correcting chromatic aberration and defringing
      1m 16s
  19. 15m 11s
    1. Understanding the effects controls
      7m 8s
    2. Adding film grain and darkening edges
      3m 56s
    3. Cropping and brightening edges
      2m 33s
    4. Creating a defined edge
      1m 34s
  20. 9m 29s
    1. Introducing the Camera Calibration panel
      3m 41s
    2. Creative color with the Camera Calibration controls
      3m 25s
    3. Exploring camera calibration resources
      2m 23s
  21. 5m 14s
    1. Introducing presets
      3m 19s
    2. Exploring free and fun ACR presets
      1m 55s
  22. 10m 19s
    1. Quick raw processing of multiple files
      2m 21s
    2. Applying raw processing in Bridge
      2m 34s
    3. Recording an action
      3m 37s
    4. Batch processing multiple images
      1m 47s
  23. 7m 52s
    1. A creative color mini-project
      5m 12s
    2. Using Camera Raw controls in a non-traditional way
      2m 40s
  24. 6m 24s
    1. Additional resources
      1m 25s
    2. Camera Raw and Lightroom
      4m 19s
    3. Goodbye
      40s

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Watch the Online Video Course Photoshop CS6 for Photographers: Camera Raw 7
6h 16m Intermediate May 18, 2012

Viewers: in countries Watching now:

This course provides in-depth training on Camera Raw 7, the Photoshop CS6 component that enables photographers to open and manipulate raw format images. Raw images are minimally processed in the camera; they're effectively the exact data recorded by the camera's sensor. Author Chris Orwig shows you how to control a raw image's appearance—exposure, shadow and highlight detail, color balance, and sharpness—with far more precision than is possible with JPEG images. The course also introduces the new workflow procedures and technical concepts and issues associated with raw content, so that photographers can best leverage this powerful format.

Topics include:
  • Comparing the raw, JPG, and TIFF formats
  • Converting or saving to the DNG format
  • Enhancing color and tone
  • Cropping and composing
  • Sharpening and noise reduction
  • Using the Camera Raw histogram
  • Batch editing
  • Correcting for under- and overexposure
  • Retouching blemishes
  • Making lens corrections
  • Calibrating your camera
  • Speeding up your workflow with actions
Subject:
Photography
Software:
Photoshop Camera Raw
Author:
Chris Orwig

Resizing in Camera Raw with workflow options

In this movie we'll be working with this RAW file, let's go ahead and open it up in Camera Raw, press Cmd+R on a Mac or Ctrl+R on Windows to do so. Next, now let's press F to go to Full Screen Mode. In this movie what I want to focus in on is our Workflow Options down below. And the reason why I want to do that is because we know that our workflow starts off in Bridge, we then go to Camera Raw, and then to open an image up in Photoshop we just click Open Image. Yet, before we do that, if we click on this link here, it will open up these Workflow Options.

These options will control how this file is resized or sent to Photoshop. In the first pull-down menu we can choose our Color Space. Here we can choose Adobe RGB (1998), or if we want a Color Space with an even wider gamut, we could choose ProPhoto. We could also control our Bit Depth. Rather than 8 Bits/Channel, we could choose 16 Bits/Channel. Now, why might you want a larger Color Space or a higher Bit Depth? Well, you might want this so that you have more data to work with once you get to Photoshop.

Another thing that you can do is change the size of this RAW file. All files that we capture on our cameras have a native file size. This file size is determined by our camera's sensor. If we click on this menu, you can see that this is the native file size for this image. We can either increase that by resampling this up or we can decrease that. And what's interesting about these sizes is that this will change how we'll process our image, it also obviously will change how we'll send this image to Photoshop.

Let me show you what I mean. Well, here let's leave this in the native file size settings and click OK. Next, I am going to go to my Zoom pull-down menu and here I am going to choose 100%. Once I have zoomed into 100%, I'll press the Spacebar key to temporarily access the Hand tool, and then I'll click- and-drag to reposition so I can see my daughter's big blue eyes there. Well, here is the image in a 1:1, 100% view. Yet, if we go back to those Workflow Options and if we change our image size, let's say that we know that this image is going to be viewed on a tablet or mobile phone or maybe online, well, we may decide to resize it.

When we choose that new size and then click OK, well, it will then change what our 100% or our 1:1 view is. Now, this is the detail that everyone will see in the photograph. And by changing this perspective, it then may modify how we sharpen or reduce the noise with this photograph. It also may lead us to making other changes as well. So as you work on your photographs, before you even get to Photoshop, you will want to click on your Workflow Options and choose the sizing option which will work best for your own workflow.

Next, we have some controls for Resolution. Here we can dial in a specific Resolution. We can change that by simply typing. And then we have some Sharpening options. If you click on this pull-down menu, you notice you have Sharpen For Screen, Glossy, or Matte Paper. Now, all of this sharpening, it's called input sharpening. This is the sharpening that you do when you're really starting off to work on your file. At the end of your workflow in Photoshop you'll do something which is called output sharpening. Yet, before you even get to that step, in order to get this file to Photoshop so that it looks good, you want to choose one of these options, and when you choose an option, you notice that you have different Amounts.

Typically, Standard will work best. Now, while these controls seem a little bit limited, don't underestimate their power. They actually perform a really good and clean amount of sharpening. This isn't going to be over the top, rather it's going to get your image to a good starting point so that you can then further sharpen or work on that photograph in Photoshop. All right! Well, next we have an option for Open in Photoshop as Smart Objects, we are going to talk about that in another movie, so here I'll go ahead and skip that option.

Next, I am going to click OK in order to apply all of those settings. After having done that, we can click Open Image. This will then open this file with all of these settings straight into Photoshop. Now that this file is open in Photoshop, I am going to double-click the tab for Mini Bridge to close that, and then I'll zoom in on the image a little bit by pressing Cmd++ on a Mac or Ctrl++ on Windows. If we navigate to our image and then Image Size dialog, what we'll see here is that we have this file based on these pixel dimensions and also the resolution that we defined.

We'll also see that this file has that new Color Space, that ProPhoto Color Space and it has 16 Bits/Channel. In other words, all of the Workflow Options that we selected are applied to the image as it is being sent to and then opened in Photoshop. If ever we want to change something, well, we can always go back to Bridge here, I'll reopen this file by double- clicking it, and then here I'll click on my Workflow Options and do something which is a little bit more straightforward or maybe a little bit easier to work with, Adobe RGB and 8 Bits/Channel, and here I'll click OK to apply those settings and then I'll click Open Image.

In doing this I'm now going to have two images open and I just want to compare these two. Here you can see that this one has 8 Bits/Channel, the other one 16. Down below we can see that this document is about 36 megs, the first one, well, that's about 70 megs. In other words, those Workflow Options directly control or affect how much data we have to work with. So then what Workflow Options are best? Well, that's obviously up to your own preference. So let's quickly jump back to Browse in Bridge and then let's double-click this image to open this up and then re-open these Workflow Options.

Typically, the default settings of Adobe RGB (1998), 8 Bits/Channel, the native file size, and a Resolution of 240, will really work well for most people, in most situations. That being said, in my own workflow, I use the Color Space of ProPhoto and the Bit Depth of 16 when I'm working on those really important photographs, when I want to have all of that extra detail and data. And then once again in closing, what I want to do here is show you the different options that you have so that you can choose those options which will work best for your own workflow.

There are currently no FAQs about Photoshop CS6 for Photographers: Camera Raw 7.

 
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