Real World Camera Raw with Adobe Photoshop CS- P5

Real World Camera Raw with Adobe Photoshop CS- P5: If youre reading this book because you want to be told that digital really isbetter than film, look elsewhere. Those discussions tend to generate a lotmore heat thanlight, andifyouarent at least contemplatingshootingdigitalfor some or all of your work, this book isnt relevant.
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Real World Camera Raw with Adobe Photoshop CS- P5102 Real World Camera Raw wi(h Adobe Photoshop CS Figure 3 4 Chromatic Aberration mrrectlons,continued These settings eliminate the wbrfring. The Calibrate tab. Ive already covered the intendeduse of the Calibrate tab contro16he-tuning the color rendering for a specific camera- in detail earlier in this chapter. Here Ill look at some creative uses of the controls. One non-obvioususeof the Calibrate tab, which I must credit to Adobe evangelist, raconteur, bon vivant and demomeister Russell Brown, is in color-to-grayscaleconversions.Start by reducing the Saturation control in the Adjust tab to -100, and then move to the Calibrate tab. The Hue slid- ers control the panchromatic response, while the Saturation controls let you modulate the strength of the Hue controls effect. Figure 3-44 shows examples of different blackand white conversions, along with the settings that produced them. Note that the ideal values will vary from camera to camera, but the ones shown here should get you in the ballpark. These conversions approximate the use of traditionalcolor filters, but you arent limited to this approach--you can create intermediatesettings or make image-specific conversions. If youre going for natural coicu,its probably a bad idea to use the Calibrate controls as selective color correction tools-selective color cor- rections are better left for Photo&opbut you can certainly use them for creative color effects like the one in Figure 3-45! - * I Chapter 3: Using Camera Raw 103 Figure 3-44Color to grayscale Starting with the color image, reduce the Saturation slider in the Adjust tab to zero to get a grayscale image, and then adjust the Calibmtecontmls to vary the panchromatic response.104 Real World Camera Raw wilh Adobe Photoshop CS Figure 3-45 Creative color wlth Calibrate The image as shot Theimageafter drastic m o m with the Calibmte conholsSaving Settings If you had to adjust every slider on every image, you might reasonably conclude that Camera Raw was an instrument of torture rather than a productivity tool. Fortunately, Camera Raw offers great flexibility in sav- ing and applying settings (and, as youll learn in thenext chapter, the File Browser lets you apply CameraRawsettings to one or moreimages without even opening Camera Raw). Dependingon howyou set CameraRawsSaveimage settingsin: Prefer- ence, settings get saved either in the Camera Raw Database, or as individual sidecar .xmp files--see The Camera Raw Menu. earlier in this chapter. m Chapter 3: Using Camera Raw 105The Camera Raw database (file name is Adobe Camera Raw Database)lives in the Application Data folder as Document and Settings1user name1ApplicationDatalAdobelCame~aRawonWmdows systems, andin theusersPreferences folder as Usersluser namelLibrarylPreferenceson Mac OS.Camera Raw DatabaseIf you want to do absolutely no lile management, and you workon only onecomputer, the advantage of saving settings in the Camera Raw databaseis that theyre indexed by file content rather than name. You can renameyour raw images and move them anywhere on your computer, and CameraRaw will still associate the correct settings with each image. The significant downside is that you rely on a single file on a singlecomputer to hold all your image settings. If you move the images to a dif-ferent machine, or even just bum them on a CD, the settings wont travelwith the images. So while settings saved in the Camera Raw database areeasy to handle in terms of file management on a single machine, theyrevery inflexible. This inflexibility leads me to always save my settings assidecar xmp files.Sidecar XMP FilesAdobes XMP (Extensible Metadata Platform) is an open, documented,W3C-compliant standard for saving metadata (literally,data about data),including all the W E data generated by the camera; IPTC informationsuch as captioning, keywording, and copyright notices; and, last but notleast, all the settings you used in Camera Raw on a given image. When you elect to save image settings as .xmpsidecar liles, theyre savedin a small lile with the same name as the image and a .xmp extension. Thesidecar file is automatically saved in the same folder as the image, whichis usually what you want. As youll learn in the next chapter, Photoshops File Browser offers fea-tures that automatically keep the sidecar files with ...