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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.
Before we actually begin to work with Adobe Camera Raw, I thought it would be helpful to take just a couple of minutes to talk about how Adobe Camera Raw fits into our larger digital photographic workflow. And you know whenever we start to talk about digital photography and workflow, we begin to think of these different elements of our workflow whether capture or postproduction or output. And here as we start to focus in on postproduction, inevitably a question surfaces or arises. You know. Should I work with Adobe Camera Raw or should I work with Photoshop? And a lot of times this question surfaces because people discover that working in Adobe Camera Raw is incredibly flexible, it doesn't increase your file size, it's non-destructive and there are all these other benefits as well.
Therefore they ask, well, should I work with Camera Raw or Photoshop? And from my perspective, I don't think it's an either or question, rather it's a both end solution. Let me show you what I mean. Well, one of the things that we want to do is really focus in on what Adobe Camera Raw is good at and also what Photoshop is good at. I like the way one of my friends puts it. He says you know Camera Raw is really good for making global adjustments. Now we can of course make really specific and fine tune adjustment as well, but primarily when we're raw processing our photographs we're thinking about the larger picture.
Then on the other hand, when we want to make more specific adjustments, I mean we want to fine tune something or we want to create some really unique and distinct effect. Well, in that case we're going to need to go to Photoshop. Another way to think about this is the difference between precision versus speed, we can work incredibly quickly in Adobe Camera Raw, yet if we want to make some real precise edits we need to go over to Photoshop. All right, well, how then these two programs will really work together, where do we begin? Well, for most photographers, the typical digital photographic workflow works like this.
We start off with raw processing whether in Adobe Camera Raw or in Lightroom. We make all the global type of adjustments that we can make and then from there we send our images off to Photoshop and in Photoshop, we finish those files off. Well, then you maybe thinking, okay well how then does this work for you Chris, you're a photographer? Well, in my own context, I always start off with raw processing, and I do a lot with raw processing, because it's so flexible and it's so fast, and almost always, I finish my images off in Photoshop, and that finishing work is really important.
What I find I can do is, I can push my image to about 80% in Adobe Camera Raw, but then if I really want to sweeten up the FA, I mean I want to make it compelling and engaging and lively, and if I really want to create an image that connects with people. Well, in that case I definitely need to go to Adobe Photoshop. So keep in mind that, as we learn more and more about Adobe Camera Raw what we're doing here is foundational work and the better the foundation the better we can finish our files later. Now I should say of course, that there are some images that you can completely finish off in Adobe Camera Raw, like this particular black-and-white photograph here, it looks phenomenal and it's only been processed in Adobe Camera Raw.
Yeah, as we begin to work more and more with Camera Raw, just keep in mind that this tool isn't the only solution. Rather it fits into our larger digital photographic workflow context.`
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