Click here for Part 1<\/a>.
\n<\/strong><\/p>\n![\"\"](\"http:\/\/www.apogeephoto.com\/wp-content\/uploads\/2016\/july2013\/Watts_photos\/RAW1.jpg\")
<\/p>\n
THE ACR WORKSPACE<\/strong><\/p>\n(ACR for CS6 Shown)<\/em><\/p>\nAccessing the ACR Plug-In: <\/strong><\/p>\nThe easiest way to access the Adobe Camera RAW (ACR) Plug-in <\/strong>is to go to the \u201cFile\u201d <\/em>menu ->\u201dOpen\u201d<\/em>in Photoshop. Choose a RAW file<\/strong>, and the ACR Plug-in Workspace <\/strong>will automatically open. <\/em><\/p>\nSet your Preferences: <\/em><\/strong><\/p>\n1. <\/em> In the “Preferences” <\/em>menu<\/strong>, choose “Apply sharpening to preview images only”<\/em>.<\/p>\nYou should sharpen only in Photoshop (except for the Clarity <\/strong>slider in ACR, discussed later), not by using the sharpening in ACR. The algorithm for sharpening and the techniques used are much better in Photoshop. You\u2019ll only have to set this preference once. <\/em><\/p>\n2. <\/em> In the “Workflow Options” <\/em>Menu<\/strong>, choose:<\/p>\n“Adobe RGB (1998)” <\/em>for “Space”<\/em>,<\/p>\n\u201c16-Bits\/Channel” <\/em>for “Depth” <\/em><\/p>\n“300 pixels\/inch” <\/em>for “Resolution”<\/em>.<\/p>\nFor “Size”<\/em>, choose the size without the \u201c+\u201d or \u201c-\u201c<\/strong> beside it. This is the native size of your camera sensor. It\u2019s better to use Photoshop, not the RAW plug-in, to enlarge your image to the desired size as the sharpening algorithm in Photoshop is so much better.<\/p>\nUnless you have more than one camera, you\u2019ll only have to do this once. <\/em><\/p>\nACR Workspace Features: <\/strong><\/p>\nLet’s look at some features of the Workspace <\/strong>before working with the adjustments. This list is far from complete. In the spirit of K.I.S.S. (Keep It Super Simple), stick to the basics, master those, and grow into the other functions of ACR.<\/p>\n~ Near the upper right-hand corner, you\u2019ll notice this “Preview\u201d Toggle <\/strong>– use this for before-and-after scenarios. This only previews the tab that you\u2019re currently using, not the overall image<\/em>.<\/p>\n~ You can check for Clipping <\/strong>by using the “Clipping” Toggles <\/strong>(explained below)<\/p>\n~ All of the most popular Speed Keys <\/strong>and Navigation Tools <\/strong>that are available in Photoshop are also available in ACR.<\/p>\n~ When all of your adjustments are completed in ACR<\/strong>, click on the “Open Image”<\/em>button to close ACR and open your image in Photoshop.<\/p>\nBy the way, what is Clipping? <\/strong><\/p>\nClipping <\/strong>is \u201cthe unwanted elimination of digital information<\/em>\u201d. Because a RAW file has so much information, it needs to be optimized. As you do so, you\u2019ll be using the Clipping Warnings <\/strong>in ACR, similar to the ones in Levels<\/strong>.<\/p>\nBy making the proper adjustments in ACR with the Clipping Warning turned on<\/strong>, you\u2019ll take advantage of the full range of tonal values available to you in your imag<\/em>e. You can set the brightest parts of your image as close to pure white as possible and the darkest parts as close to pure black as possible, without \u201cclipping\u201d pixels. <\/em><\/p>\nTo Correct for Clipping<\/strong>:<\/p>\nWith the Clipping Warnings activated, move the appropriate sliders in the \u201cExposure \/ Contrast\u201d <\/strong>group (discussed shortly) until the clipping masks disappear (or as close as you can, if it\u2019s not possible to completely eliminate clipping).<\/p>\nTHE \u201cBASIC\u201d TAB: <\/strong><\/p>\nThe “Basic” Tab <\/strong>is the default Tab when ACR opens. It\u2019s where you’ll do the vast majority of your work in ACR <\/strong>by moving the Adjustment Sliders. <\/strong><\/p>\n~ It\u2019s important to get in the habit of making small adjustments at first<\/strong>, then using the “Preview”<\/em>toggle to see your results as you go along.<\/p>\n~ You’ll notice that the horizontal line that forms each slider is a visual representation <\/strong>of what that slider can accomplish, color and density-wise. For example, the “Exposure”<\/em>sliders’ horizontal line goes from dark to light, the “Tint”<\/em>sliders’ horizontal line goes from green to magenta, and so on.<\/p>\n~ Photoshop has conveniently grouped these adjustment sliders into 3 groups by function:
\n* Color Balance
\n* Group Exposure \/ Contrast Group
\n* Miscellaneous Group <\/strong>
\n<\/em><\/strong><\/p>\nThe \u201cColor Balance\u201d Group: <\/em><\/strong><\/p>\nWhite Balance: <\/strong>These are presets for the “Temperature” and “Tint” sliders, discussed below. From the drop-down menu, you can choose from a number of presets. This will also give you an idea of how the Temperature” and “Tint” sliders work and interact. Once you move any slider, this changes from \u201cAs Shot<\/em>\u201d to \u201cCustom\u201d<\/em>. <\/em><\/p>\nTemperature: <\/strong>Move this slider to the right to warm up the color of your image (adds a yellow cast), and move it to the left to cool your image down (adds a blue cast).<\/p>\nTint: <\/strong>Move the slider to the right to increase the overall magenta bias, and to the left to increase the overall green bias.<\/p>\nThe \u201cExposure \/ Contrast\u201d Group:<\/em><\/strong>(Process 2010\u2019s closest equivalent in italics and parentheses) <\/em><\/p>\nAuto \/ Default<\/strong>: It\u2019s been my experience that you get better results with manual adjustments, but you can use these as a guide. <\/em> Click on the “Auto” button to see if it improves your image: if not, simply click on the “Default” button, and continue with the manual adjustments below.<\/p>\nExposure: <\/strong>This affects mostly the mid-tones of your image. Move to the left to darken your image, and to the right to lighten.<\/p>\nContrast: <\/strong>I rarely use this slider. You\u2019ll get better results by adjusting your final contrast in Photoshop. I generally leave it at the default setting.<\/p>\nHighlights: <\/strong>This slider will recover highlights that are washed out. Move the slider to the left to increase the highlight detail (Recovery Slider). <\/em><\/p>\nShadows: <\/strong>Move the slider to the right to open up shadow detail (Fill Light Slider)<\/em>.<\/p>\nWhites: <\/strong>This slider will recover extremely bright details. I use it after using the Highlights slider to \u201cfine-tune\u201d (Recovery Slider)<\/em>.<\/p>\nBlacks: <\/strong>Move the slider to the left to increase the amount of black in your image. Be careful with this one –It’s easy to block out shadow detail if you use too much of it.<\/p>\nMiscellaneous Group: <\/em><\/strong><\/p>\nClarity: <\/strong>\u201cEdge Sharpening\u201d \u2013 In CS6<\/em><\/strong>, <\/em> it also increases Contrast, so be careful!<\/p>\nVibrance: <\/strong>This is \u201cSaturation on Steroids\u201d, preferred to Saturation below.<\/p>\nSaturation: <\/strong>I rarely use this.<\/p>\n![\"\"](\"http:\/\/www.apogeephoto.com\/wp-content\/uploads\/2016\/july2013\/Watts_photos\/RAW-4.jpg\")
<\/p>\n
NOTE: For users of previous versions of ACR – Process 2012 (CS6) vs. 2010 (CS5): <\/strong><\/p>\nIf you previously worked on an image in either ACR 6.x or earlier (CS5), then your image will open in the \u201cProcess 2010\u201d <\/strong> ton-mapping configuration by default when opened in ACR 7.x (CS6).<\/p>\nTo update to \u201cProcess 2012\u201d<\/strong>, click on the \u201cexclamation point\u201d<\/em>icon shown in the image to the right.<\/p>\nIf you update, expect your image to change! If this is a problem, just leave your file in \u201cProcess 2010\u201d<\/strong>.<\/p>\nBy the way, your image will default to \u201cProcess 2012\u201d <\/strong>if you\u2019ve never worked on it in an older version of ACR.<\/p>\n Until the next column, have fun and stay well!<\/em><\/p>\nby John Watts, Watts Digital Imaging
\nAll text & photos \/ screen shots: \u00a9 2013 John Watts, Watts Digital Imaging. All rights reserved.<\/p>\n","protected":false},"excerpt":{"rendered":"
Ever wonder why that sunset image you made is flat, lifeless, and \u201clooks digital\u201d because of artifacts? Why is it that you can\u2019t get detail in the highlights of that [read more]<\/a><\/p>\n<\/div>","protected":false},"author":2,"featured_media":1906,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[5],"tags":[],"yoast_head":"\nRAW Fundamentals in Photoshop, Part 2 - Apogee Photo Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.apogeephoto.com\/raw-fundamentals-in-photoshop-part-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"RAW Fundamentals in Photoshop, Part 2 - Apogee Photo Magazine\" \/>\n<meta property=\"og:description\" content=\"Ever wonder why that sunset image you made is flat, lifeless, and \u201clooks digital\u201d because of artifacts? 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