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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.
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.
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