![\"RAW](\"http:\/\/www.apogeephoto.com\/wp-content\/uploads\/2016\/june2013\/Watts_photos\/RAW1.jpg\")
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The more digital information you\u2019re able to capture in the field, the more information you have to effectively create your image.<\/p>\n
We\u2019ll discuss this critical subject in two articles – look for Part 2 next month!<\/p>\n
~ <\/strong>A Camera RAW file <\/strong>contains unprocessed, uncompressed data from your digital camera. It\u2019s just information, but lots of it. It isn\u2019t really a file \u201cformat\u201d, like JPG or TIFF.<\/p>\n ~ You can\u2019t open a RAW file directly in Photoshop:<\/strong> You must first work with it in The Adobe Camera RAW Plug-in (ACR) before \u201csending\u201d it to Photoshop. <\/strong>By the way, ACR is a separate program, but included with (and \u201clinked to\u201d) Photoshop.<\/em><\/p>\n ~ If your Camera has the option of shooting \u201cRAW\u201d + JPG\u201d<\/strong>, then you should do so. It takes up little in memory, and gives you a quick \u201clook-see\u201d image that\u2019s been \u201cprocessed\u201d for contrast, color, etc (albeit by a computer chip!). Oh, and I frequently hear folks say \u201cMy JPG looks better!\u201d Read on, and you\u2019ll never believe that again!<\/p>\n ~ Tonal Compression: <\/strong> This is the inevitable reduction \/degradation of the original scene from your eyes to the print. It\u2019s pure physics. The range of colors reproduced shrinks throughout the process. Let\u2019s say, for example, that our eyes see 100 shades of red. The camera, shot in RAW, may see 70 shades. Then Photoshop may see 50 shades of red, and the printer may only print 30 shades of the original 100 shades available.<\/p>\n So, how can you minimize some of the effects of tonal compression? Three things: <\/em><\/strong><\/p>\n 1.) Shoot in RAW (or scan in 16 bit)<\/p>\n 2.) Use a proper Color Working Space in Photoshop (discussed in chapter 4 of the book).<\/p>\n 3.) Have your Color Management \u201chouse\u201d in order (discussed in the \u201cColor Management\u201d section of the book).<\/p>\n ~ A RAW file is different from a JPEG in 2 major respects: <\/strong><\/p>\n There\u2019s much more information in RAW (16 bit vs. JPG\u2019s 8 bit).<\/p>\n There\u2019s automatic \u201cfile compression & processing\u201d built into the creation of a JPG, whether you want it or not.<\/p>\n ~ 16 bit vs. 8 bit: <\/strong><\/p>\n The more information there is in a photographic capture, the better.<\/p>\n (JPG) 8 Bit: <\/em><\/strong> 255 values of each color x 3 (RGB) = 17.7 Million <\/em><\/strong>combinations<\/p>\n (RAW) 16 Bit<\/em><\/strong>: 65,000+ values of each color x 3 (RGB) = 281 Trillion <\/em><\/strong> combinations.<\/p>\n ~ What is an .xmp file? <\/strong><\/p>\n It\u2019s a separate (\u201csidecar\u201d), tiny, glorified \u201ctext\u201d file that contains \u201cmetadata\u201d. You never need to directly open it. Think of it as the \u201cinstructions\u201d for all of that RAW information (which is never directly \u201cchanged\u201d). It\u2019s generated as soon as you make any \u201cmodifications\u201d to your RAW file, and saves those \u201cinstructions\u201d in the same folder as your RAW file.<\/p>\n Note: A few things to remember.<\/em><\/strong><\/p>\n 1.) If you back up your RAW file, back up your .xmp file, too; it\u2019s in the same folder\/location as your RAW file.<\/p>\n 2.) If you\u2019re working in \u201cBridge\u201d and can\u2019t see the .xmp file, simply go to \u201cView\u201d <\/em>Menu -> \u201cShow Hidden Files\u201d.<\/em><\/p>\n 3.) If you want to start over with your original \u201cas shot\u201d RAW capture, simply \u201ctrash\u201d the .xmp file.<\/p>\n RAW (ACR) to Photoshop Workflow<\/strong> – ACR to Photoshop: What should be done in each program?<\/strong><\/p>\n Generally, I\u2019d suggest that you make as many global Hue, Saturation and Brightness corrections as you can in ACR, leaving Contrast adjustments, localized corrections, \u201cfine-tuning\u201d, cropping and sharpening to Photoshop.<\/em><\/strong><\/p>\n ~ There are actually quite a few advanced tools in the Adobe Camera RAW (ACR) <\/strong>Plug-in. However, both in Workflow and the spirit of K.I.S.S. (Keep It Super Simple), you should avoid using the more advanced functions \u2013 <\/strong>at least for now. Grow into the program!<\/p>\n ~ You should strike a balance of time spent with your file in both ACR and Photoshop, using the strengths of each program. Typically, I\u2019ll spend 25 to 30% of my \u201cfile\u201d time in ACR, with the balance in Photoshop.<\/em><\/p>\n ~ You\u2019ll find that ACR <\/strong>is wonderful for global Hue, Saturation and Brightness corrections<\/strong>, using the appropriate sliders in the \u201cBasic\u201d <\/em> Tab, then moving to the \u201cHSL\/Grayscale\u201d <\/em>Tab to make further critical adjustments.<\/p>\n ~ I rarely use any of the various tools and brushes in ACR \u2013 3 reasons:<\/strong><\/p>\n 1) There\u2019s not a true \u201cHistory\u201d Panel <\/strong>to fall back on if I don\u2019t like what I see.<\/p>\n 2) There are no \u201cLayers\u201d <\/strong>in ACR.<\/p>\n 3) Photoshop does a much better job of these functions than ACR.<\/p>\n ~ Once you are done in ACR with your file, open the image in Photoshop<\/strong>, concentrating on Contrast and Color corrections<\/strong>, both local and global (taking advantage of the power of adjustment layers and layer masks), making any necessary \u201cfine-tuning\u201d, such as cloning and horizon-straightening, and then saving your image as an un-flattened 16-bit Master File <\/strong>(we\u2019ll discuss the concept of Master Files in future articles).<\/p>\n ~ Now you can task your Master file <\/strong>for many uses. You can crop, sharpen and convert to 8-bit for printing on my inkjet printer or through a custom lab; you can reduce the size and PPI to save as a JPG for the web, and so on…<\/p>\n How much extra time does it take, and what\u2019s the goal of working in ACR?<\/em><\/strong><\/p>\n While it\u2019s true that you\u2019ll spend a bit more time in your overall Photoshop Workflow by shooting in RAW, it\u2019s really not that much more. You\u2019ll probably spend less time in Photoshop by spending a few more minutes in ACR first, and the results are worth it!<\/p>\n Besides, the goal is NOT to make a perfect image in ACR. The goal is to take advantage of the strengths of both ACR and Photoshop in your overall workflow to optimize your final desired image. <\/em><\/strong><\/p>\n So, the goal is to bring your final RAW image into Photoshop by: <\/strong><\/p>\n 1.) Slightly Over-Saturated – <\/strong>It\u2019s easier to de-saturate in Photoshop.<\/em><\/p>\n 2.) <\/em> Slightly Low or <\/strong>\u201cFlat\u201d in Contrast – <\/strong>It\u2019s easier to increase your contrast in Photoshop.<\/em><\/p>\n 3.) <\/em> Slightly Under-Exposed – <\/strong>It\u2019s easier to lighten in Photoshop.<\/em><\/p>\n Note:<\/em> By bringing your file from ACR into Photoshop as suggested, your histogram in Photoshop should reflect it <\/strong>(depending on the subject matter, of course) with a bias of extra pixels to the left hand side, similar to the Levels dialog box shown.<\/p>\n “OK, I\u2019ve got it in Photoshop, now what?\u201d<\/em><\/strong><\/p>\n Here\u2019s where you save your image to begin building your Master File.<\/p>\n ~ Notice the Filename <\/strong>and File Extension\u2019s <\/strong>evolution: When you bring the file into Photoshop from ACR, the file extension (.NEF & .CR2 <\/strong> or similar) leads you to believe it\u2019s still a RAW file (for the propeller-heads amongst us, it\u2019s not really \u2013 it\u2019s<\/em>16-bit TIFF)<\/em>.<\/p>\n ~ <\/strong> Next, you save your image as a Master File <\/strong>(with the \u201c_M\u201d at the end of the filename) <\/em>\u2013 your image shows up with the \u201c.TIFF\u201d extension.<\/p>\n ~ By bringing your file from ACR into Photoshop as suggested, the \u201c.xmp\u201d file is generated.<\/strong><\/p>\n Until the next column, have fun and stay well! <\/em><\/p>\n
\n<\/em>What is RAW and why do I need it?<\/strong><\/p>\n![\"RAW](\"http:\/\/www.apogeephoto.com\/wp-content\/uploads\/2016\/june2013\/Watts_photos\/RAW2.jpg\")
<\/p>\n![\"RAW](\"http:\/\/www.apogeephoto.com\/wp-content\/uploads\/2016\/june2013\/Watts_photos\/RAW3.jpg\")
<\/p>\n![\"RAW](\"http:\/\/www.apogeephoto.com\/wp-content\/uploads\/2016\/june2013\/Watts_photos\/RAW4.jpg\")
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