Join Mikkel Aaland for an in-depth discussion in this video Camera Raw workflow options, part of Getting Started with Adobe Camera Raw 5.
Let's take a look at the camera workflow options which are found by clicking on this link at the bottom of the camera line or phase and you can see here in the window that appears that we have choices from space, depth size, resolution sharpening, and here under Space, we have a couple choices. This is the color space that your image will be opened in when you say, go to Photoshop, or if you export your image out.
WRGB, Color Match RGB, Pro-photo, and SRGB. It really depends on where you're going with your image, what you choose here. I work a lot with RGB, Adobe RGB in Photoshop. So I tend to keep my color space as Adobe RGB. People that are working with the web and monitors, SRG probably is a better choice for them, with the smaller color gamut. If you're really going for the most color gamma you possibly can get, you'll be working in Photoshop in this space as well, then the pro-photo RGB setting is probably your best choice.
Here under Depth you have a choice between 8-bit and 16-bits. Most digital cameras save approximately 12-bits per channel of color data. So to get the most out of the raw data when it's open from Camera Raw into Photoshop, I usually set my setting to 16-bits per channel. And I keep it there for as long as possible through the workflow, even though it results in larger file sizes. Generally when I go to share the images or export them out from Photoshop, that's when I'll convert back down to 8-bits.
Under size your camera is capable of a specific maximum image size and you can either reduce that size via camera raw settings here or do it later in Photoshop and here you can see any of the numbers with the minus sign are reduction in the file size or the resolution. And also anything with a plus sign means there's going to be a interpolation up of the file of the resolution.
Here resolution and pixels per inch and sharpening, these are all settings that have to do with output and they're really only relevant when you're going to output to a printer. Since I do most of that from Photoshop and not from camera raw, I generally don't usually pay too much attention to those settings there. At the very bottom, you can chose to open in Photoshop as smart objects. And, if you do that, when the camera raw file's open in Photoshop it'll open automatically as a smart object.
A smart object is a photo shop layer which enable you to work non-destrutively on image content much like you do in camera raw. You can't paint, dodge, burn or clown smart objects unless you rasterize it first. But many other Photoshop functions such as mask and filters can be applied without changing the original characteristics of the image. Then you can reopen the smart object in the Camera Raw and make nondestructive changes there as well. Once you have your settings in the workflow options dialog log sheet, okay? And these settings will remain.
This is so the next time I open an image the last settings will be used.
- The Camera Raw interface
- Opening RAW, JPEG, and TIFF files in Camera Raw
- The Toolbar
- Workflow tips
- Basic image processing
- Using the Parametric and Point curves
- Managing noise reduction
- Working with hue, saturation, and luminance
- Creating a split-toned image
- Removing chromatic aberrations