The Photoshop Lightroom Workbook- P2

The Photoshop Lightroom Workbook- P2: Why did Adobe developed Lightroom as a new product?Photoshop’s core engine really wasn’t designed for rawimage processing or digital asset management. To answer theneeds of photographers, Adobe introduced Bridge, which was fi rstfeatured in Photoshop CS2.
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The Photoshop Lightroom Workbook- P2 The Photoshop Lightroom Workbook and every photographer used Polaroid film on a shoot. Operating systems continually change. On the MAC side, we have gone from Panther to Tiger to Leopard in less than 5 years. No camera manufacturer has guaranteed that all current software will be backward compatible. Files that opened up on your OS 9 system may not open up today. Digital needs to be as stable as film. Only a standard file format can assure this for the future. 32Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. CHAPTER 3 Color Spaces for Digital The Four Color Spaces for Digital T here are four color spaces that we will discuss: sRGB, Adobe98, ColorMatch and ProPhoto. First, think about color spaces as boxes of Crayola crayons. sRGB is the smallest box of crayons. It has 256 tones. The large box that many people choose can be thought of as Adobe98. It is like the big box of crayons with many shades of the same color. The ColorMatch space can be thought of as a much bigger box than sRGB but not as big as Adobe98. Finally, there is the ProPhoto color space, which is so big that not all the colors can even fit in the box. 33Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. The Photoshop Lightroom Workbook Understanding Raw Digital Capture Raw files contain no color profile upon capture. Once you bring those raw files into an image-processing software such as Lightroom, a color space needs to be designated. ProPhoto is D-65’s choice for processing raw files. We also set up our color settings in Photoshop with ProPhoto as our working RGB. Why? Digital cameras today have come a long way in a very short time. The sensors today are capable of capturing a very wide tonal range, but unfortunately, the majority of photographers simply don’t take advantage of the capabilities of their camera sensors and inadvertently throw out very important color information without even realizing it. Your camera captures a wider range of colors than you can see. The profile associated with the camera determines the colors available to be processed. Your camera captures a wider range of colors than your monitor can display. The profile associated with the monitor determines what colors presented to it are actually to be displayed. Your camera captures a wider range of colors than your printer can print. The profile associated with the printer determines which of the colors presented to it will be printed. Let’s start with how most cameras actually capture color or rather don’t capture color. The camera sensor doesn’t actually capture color at all. The sensor captures in grayscale only. It captures the intensity of the light in grayscale. There are colored filters on the sensor such that a given pixel only sees light through a single colored filter: either red or green or blue. Assuming you are shooting RAW, the job of the converter such as Lightroom, Adobe Camera Raw or Capture One is to interpolate data and render it as color. If the pixel being interpolated is a ‘red’ pixel, that value is assigned red. If the pixel being interpolated is a ‘green’ pixel, ...