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But mostly what you want to buy this book for is the accuracy of the content. Digital color is often a confusing, sometimes controversial thing, with many people claiming to know answers that are often contradictory. Try asking a crowd why your prints come out too dark compared to your monitor! This book gives you information you can depend on. Andrew Kavanagh. Real World Adobe Photoshop CS5 for Photographers is a technical book clearly explained, and it seems like no theme has been omitted.

Conrad Chavez is the previous author or Color Management without the Jargon, and there is no doubt he is an imaging veteran who offers this book as a gift of his vast wisdom to any sincere photographer and student of Photoshop CS5 and Camera Raw. See all reviews. Top reviews from other countries. Report abuse. Through the pages of Photoshop technical material made for photographers, you will get you from basic dimension, pixel and resolution things to the digital darkroom side of of photography.

A good book if you are an enthusiast amateur photographer that wants to get a step further in his art. One person found this helpful. Not what I was expecting. Good book. Just what I was looking for and the price was right. Your recently viewed items and featured recommendations. Back to top. Get to Know Us.

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The Auto option seems pretty simple and straightforward, right? Why do these different Setup menu items matter? They will also play a role in the event you wish to have Camera Raw incorporate lens corrections automatically as the Camera Raw Default. This is incredibly useful and time-saving. However, you can make this even easier by having Camera Raw automatically lens correct whenever it sees a particular camera. We wondered as well. We usually give the chromatic aberration correction amount a boost to — Figure shows this menu option.

Figure shows the full Manual subpanel. This is an impressive addition to the Camera Raw toolset. The Manual Transform controls are as follows: Distortion. The manual controls correct between barrel and pincushion distortions only, however. Pressing the Up or Down arrow keys changes the units by a single digit. The Vertical correction transform will correct for keystoning, the distortion that occurs when you tilt a camera up to include the top of a building, for example.

The Horizontal correction transform is essentially the same as the Vertical transform but designed for lateral perspective corrections. Pressing the Up or Down arrow keys changes the units in increments of 0. The range is plus or minus 10 degrees. This is useful when trying to subtract or add to the image after manual transforms without using the crop tool.

The baseline image and the Manual subpanel of the Lens Corrections panel are shown in Figure ; the effects are shown in Figures a and b. This can be useful if the image correction results in a nonrectangular result. You can choose to keep the additional gray area or use the Scale control to make the overall image larger. Another alternative to using the Scale control is to use the Camera Raw Crop tool. Figure shows drawing out a rectangular crop of the image.

A new function of the Camera Raw Crop tool is the option to have the crop either constrained to the image or unconstrained depending on the option in the Crop dropdown menu. Figure The alignment grid overlay in the Lens Correction panel. Lateral chromatic aberration, however, Camera Raw can help with. In lateral chromatic aberration the lens does focus light at the sensor plane, but does so in a manner in which the image formed is slightly different in size by color; for example, the red channel may actually be larger than the other channels.

In addition to color fringing caused by chromatic aberration, certain additional fringing effects can often found near extreme specular highlights. Figure shows the Chromatic Aberration sliders and the Defringe control in use.

Remember to concentrate on one Chromatic Aberration slider at a time. To help with this, press the Option key as you move a slider to simplify the view. You will notice that even with the Chromatic Aberration corrections and a Defringe setting of All Edges, there is still some very slight fringe— but this is normal. Figure Fixing chromatic aberration and color fringing. Some extreme wide-angle lenses suffer from lens barrel shadows because the lenses are trying to see such a wide angle of view.

In either case, light falloff in the corners is common. Figure Using the Lens Vignetting controls. Uncorrected lens vignetting Corrected lens vignetting Adjusted settings Amount. Moving the Amount slider to the right lightens the corners; moving it to the left darkens them. Note that you apply the lens vignetting correction based on the total image size, not the cropped image. If you are cropping the image, the effect is also cropped.

The Midpoint adjustment varies the area over which the Amount is applied. You can adjust it to taste. Midpoint is grayed out until the Amount slider is moved from the 0 Default setting. Figure The Effects panel. The Post Crop Vignetting menu The Grain Effects It may seem ironic that in the same version of Camera Raw touted for its superior noise-reduction powers that the Camera Raw engineers would design an ability to actually add Grain back into a photographic image.

This setting controls how strong the grain effect will be. The Default setting is 0. This slider controls the size of the grain. The size of the grain is not dependent upon the resolution of your images, but the impact of the grain is. Larger grain sizes soften your image a lot. Also note that using a computer display is not a very accurate method of determining the optimal grain size. You may need to run tests on images all the way through your print processing to determine what size grain you wish to use.

The default size is The default is One additional use for the Grain effect is to match up multiple ISO digital captures in the event you need to do an image assembly. Trying to composite a high-speed ISO capture with a low-speed image is usually best done by knocking down as much of the high-speed ISO noise while adding a bit of grain to the lower ISO capture before assembly.

They operate on the image after it has been cropped rather than on the entire image, as the Lens Vignetting controls do. This is much more a creative tool than a correction tool.

As with any creative endeavor, however, a little can be good but a lot will not. Figure shows how the controls work on a synthetic gray image. While Lens Vignetting corrections are usually used to lighten darkened corners, Post Crop Vignetting tools are more often used to darken the corners to concentrate viewer interest toward the center.

The Amount setting is just that, the amount of darkening or lightening that will occur in the Post Crop Vignette. The Midpoint adjustment moves the effect in toward the center or out toward the corners. This control allows you to adjust how round or oval—or in the extreme, nearly rectangular—the resulting effect is applied. A value of will result in almost an image edge—only effect. This setting controls how hard or soft the effect will gradate in and out. The examples shown in Figure all use the Paint Overlay blending Style.

New to Camera Raw 6 is the ability to change the blending style of the Post Crop Vignetting and modify the way colors and highlights are handled in the vignette effect. Figure Post Crop Vignetting example image. This option simply darkens the image without regard to its contents.

Everything gets darker and often results in a rather drab effect. Color Priority. The Color Priority Style preserves the color appearance while making the corners darker. Color Priority also enables the Highlights slider to preserve the brightness of the highlights in the image that may be found in the corners.

We tend to use the Color Priority the most as it is the best at maintaining color purity. Highlight Priority. This control closely resembles the manual vignetting tools in the Lens Correction panel. The Highlights slider is available to help maintain the brightness of highlights in the corners.

Highlight Priority tends to contaminate saturated colors, however. Figure shows the upper right corner of our sample image with various blend Style settings and adjusted Highlight settings. The settings from Figure remain except for adjustments of the Highlights when using the Color Priority and Highlight Priority styles.

This panel also allows you to control what process version Camera Raw 6 will use when rendering your image. Figure The Camera Calibration panel. X-Rite www. We will be making short articles about both of these technologies available to our readers at the Real World Camera Raw Web site www.

Not all cameras will show all these options, and the naming of the camera-based options will vary based on the naming convention the camera makers use. Files from Sigma cameras will also have the readout set to Embedded. The camera saved both a raw and JPEG version of the exact same capture. The Camera Calibration Panel Adjustments Camera Raw can now simulate the color rendering that the cameras produce very accurately.

These adjustments can be used for accuracy as well as creative color rendering. Shadows Tint. This slider controls the green—magenta balance in the shadows. Negative values add green; positive values add magenta. Check the darkest patch on the target.

Red, Green, and Blue Hue. Negative values move the hue angle counterclockwise; positive values move it clockwise. Red, Green, and Blue Saturation. Negative values reduce the saturation; positive values increase it. Remember, on Macs, the keyboard shortcut is used by the system unless you change the system preferences. Not to be confused with the Camera Raw Default, presets are designed to be broken down by setting groups or individual subsettings.

As shown in Figure , we have a variety of saved presets listed in the panel. Examples vary between camera calibrations the 1Ds and Rebel presets , clarity settings, and sharpening settings, among others. So, you could apply a camera calibration preset, followed by a clarity setting, followed by additional presets to apply a custom mix of presets.

The presets you create and save also appear in the Develop Settings in Bridge. The Snapshots Panel Snapshots are multiple settings saved as.

Figure shows the Snapshots panel with a variety of snapshots already saved. However, you can press Command-Shift-S to create new snapshots from any panel. Figure The Snapshots panel shortened to save space. Figure shows a variety of previously saved snapshots. You can rename the snapshot by pressing Control-click to access the context menu.

Figure shows the active snapshot as well as the context menu and the Rename Snapshot dialog box. Figure Selecting a snapshot and renaming it. Snapshots panel showing the Color Adjusted snapshot selected Selecting Rename from the context menu The Rename Snapshot dialog box Once you adjust an image and save a snapshot, it would be nice to be able to change your mind.

Well, you can. Figure The Update with Current Settings option. Some of the items are occasionally grayed out when not in play or relevant. Figure The Camera Raw flyout menu. Here is what you would see when you have a raw image open with Camera Raw Defaults without any applied settings.

The current state indicates the settings are at the Camera Raw Defaults, which means nothing has yet been changed. This option can be useful if the current image shares properties with the previously converted image, but it can lead to unpredictable results if the most recently processed image bears no relation to the current image.

The Previous Conversion setting is constantly updated as you work through images. The Preset Settings, currently grayed out in Figure , would show the name of the Camera Raw preset if you had selected a preset either in Bridge before opening the image in Camera Raw or in Camera Raw.

This option will be checked if the image already had settings when you opened it. If you changed the settings after opening the image, selecting this option will return the settings to the state when the image was last opened. Camera Raw Defaults. If the image had no settings upon opening, this option will be checked. If, after making adjustments to an image, you want to return to the Camera Raw Default settings for this image, select this option.

Previous Conversion. Selecting this command will apply settings that match those of the most recent image opened in Camera Raw not the current image settings. Custom Settings. If you make any changes to an image, the Custom Settings will be checked. Preset Settings. If you select a Camera Raw preset or a snapshot to apply to the image, the name of that preset or snapshot will be displayed here.

Apply Preset. This list will be the same as the list available in Bridge as well as in the Presets panel. Remember, applying presets is cumulative as long as the settings do not overlap. In the event any settings overlap, the most recent setting prevails. Figure The Apply Presets flyout menu showing previously saved presets.

Clear Imported Settings. In Camera Raw 6, this menu choice is grayed out. However, it is active in other hosts, such as Photoshop Elements. Export Settings to XMP. Update DNG Previews. Choosing this menu item opens a dialog box that lets you choose the preview size. You select which settings will be saved if you want to save a subset.

That means that at the moment, the image inside of Camera Raw is at the Camera Raw Defaults currently set for this camera. Reset Camera Raw Defaults. Regardless of how the Camera Raw Defaults may happen to be set, you can always return them to the initial settings as they were originally designed by the Camera Raw team. Well, you would be wrong.

The main Open, Cancel, and Done buttons go a bit further than you might expect. As you can see in Figure , each of the main buttons can be in one of eight different potential conditions.

Holding down the Option key changes the Open button to Open Copy, which is useful if you want to open an image with different settings and not save the new settings in the metadata. For example, suppose you want to open an image twice: once with a lighter setting and again with darker settings for later blending in Photoshop. Using Open Copy opens the image without changing your previous settings. Figure shows both items. Filename Image count in filmstrip mode Figure Filename and image count.

Your options are as follows. Camera Raw can output into one of four color spaces or two grayscale spaces. Whether you resample in Photoshop or Camera Raw, the results should be very similar.

However, Photoshop offers more options for exact resampling. The size readout is measured in megapixels MP and pixel dimensions see Figure If you plan on doing any additional sizing, you should not apply sharpening at this stage.

The options for Screen shown in Figure apply to any image that will be viewed on a display—be it a computer display or video. The options for Print are divided between Glossy and Matte papers, and are designed for inkjet or photo lab prints, not halftone CMYK output. Sharpen Amount. If you have Sharpen For set to None, this menu option will be grayed out. If you do use Sharpen For: you can use this setting to select from one of three strengths.

Open in Photoshop as Smart Objects. Clicking the Save button brings up the Save Options dialog box see Figure There are three settings in Workflow Options that will vary from camera to camera: Size, Resolution, and Units. Format dropdown menu File Extension dropdown menu Destination. This setting is sticky until changed. File Naming. If you choose to add a renumbering option, you can set the starting number. If you need more extensive renaming, you can do so in Bridge after the Save process.

File Extension. Is it raw? Well, no. The same options apply here in the Camera Raw Save dialog. Figure DNG format options. Figure JPEG format options. Figure TIFF format options. Figure Photoshop format options.

Figure also shows how the Save button looks when you hold down the Option key. Holding the Option key allows Camera Raw to save images with the last set of save options while bypassing the Save dialog box. If you are serious about saving time, this is a good shortcut because Camera Raw will continue saving images and lining up additional images for a Photoshop processing queue.

In fact, you can even go back to Bridge, open more images, adjust their settings, and keep adding images to the processing queue. Figure Progress countdown when in filmstrip mode.

So we take a moment to explain another way Save can be useful. A lot will depend on how quickly you need to edit a shoot. If you are like us, time is often of the essence. Once we open selected images in Camera Raw, we scroll down in the Camera Raw filmstrip mode and make image adjustments as needed.

We set up the Workflow Options and the Save dialogs with the format and the save-to location and any renaming or sequence numbering needed. When we finish adjusting one image, we click the Save button, then move on to adjust the next image. Now, as we adjust subsequent images, in the background Camera Raw is processing and saving the previously adjusted images. Nor can you process out multiple file iterations like you can in Image Processor. But this batch-save workflow does give you one thing neither of the other processes does: the ability to multitask.

So when time really matters, try this alternative workflow. You might be surprised just how fast you can be. The Zoom Control Camera Raw will respond to the typical keyboard commands used in Photoshop for zooming. Figure Zoom menu. The last big set of controls for Camera Raw resides in the main toolbar. Figure shows the name and keyboard shortcut for each tool.

To go to the tool you need only press the letter key. Figure The Camera Raw toolbar. Wherever possible, we suggest using the keyboard commands to make working in Camera Raw as efficient as possible. Zoom and Hand Tools Zoom tool. Holding down the Option key turns the Zoom tool into the Zoom-out tool. Hand tool. As you might expect, the Hand tool allows you to move the image around in the preview window when zoomed in.

Holding down the spacebar will turn any other tool into the Hand tool for as long as the spacebar is held down. Clicking on an area in your image will instruct Camera Raw to set the Temperature and Tint settings to achieve a technically correct white balance setting of Neutral. This is only a starting point; you are free to make further adjustments for effect, but the White Balance tool is useful to establish a technically correct starting point.

He used the second-to-brightest swatch as the white balance sample point, as shown in Figure As a result, if you can include a ColorChecker card in your shot, you will have access to the same tools Thomas used. Alternatively, you can sample any nonspecular neutral in your image. If you receive this error, look for another area to sample. Trying to adjust the white balance using a gray that is too dark is not advised. Since you are working primarily with a linear capture when white balancing raw captures, a middle gray is too far down the tone scale to provide an optimal amount of image data to evaluate.

Third-party white balance cards are available whose spectral neutrality has been tested and found to be particularly useful when used as a white balance sample point for Camera Raw.

White balancing a warm sunset to be neutral will perhaps be technically correct but visually wrong. We will have examples of when and why you would want to alter the white balance for effect in the next chapter. The original image The original White Balance settings before adjustment Selecting an area in the image to sample The result of clicking on the image area The White Balance dropdown menu Manual adjustment warmer Figure Sampling on the ColorChecker and warnings for out of range.

They are persistent only for that single session in Camera Raw. You can place up to nine individual color samplers, as shown in Figure Figure The Color Sampler tool with multiple samples set. To remove any samplers, click the Clear Samplers button. Personally, we wish this was also how the Color Sampler tool behaved as well.

Maybe in the next Camera Raw version. The TAT lets you adjust parameters by simply clicking on the image and mousing up or down. The area of the image dictates what parameter will be adjusted. You access the TAT by selecting the Targeted Adjustment tool dropdown menu and choosing which adjustment panel to activate.

Even when you are in the Basic panel, clicking on the TAT tool activates the TAT adjustments in the Parametric panel, although you still have access to the Basic settings. To adjust one of the Parametric settings, click on a portion of the image. While holding down the mouse button, move the mouse up or down to increase or decrease the settings. If you have the Parametric Tone Curves panel visible, you can see which setting is active and watch as the settings go increase or decrease.

Figure shows all four of the Parametric Tone Curves settings being used. The lighter area of the sign activated the Lights parameter. Since the default TAT behavior is to use the Parametric curve, you must designate the change of that default. In Figure , the TAT was used to adjust the blue sky saturation as well as the luminance.

The blue saturation was increased and darkened. Then the mustard color hue was adjusted to be less orange. Whether you use the TAT for tone or color adjustments, this new usability greatly aids the speed in which you can make critical adjustments.

Activating the relevant panel, you simply click in the area of the image you want to adjust and slide the mouse up or down to make the changes.

This is good stuff! The Crop tool is used to set the image pixels that will be processed by Camera Raw. You can drag out a marquee selection to set the crop and use command keys to alter the behavior of the marquee selection. Holding the Shift key allows you to constrain to a current crop proportion, whereas holding the Option key allows the crop to move in or out from the center.

See Figure for basic crop and straighten tasks. Skip to main content. Start your free trial. Book description Today serious photographers shoot raw images only. This edition: Builds on the latest version of Camera Raw to extend control over your digital camera's raw file format to produce the best quality images.

Table of contents Product information. The History Brush is useful for brushing in edits. When you use either one, you can immediately use the Fade command on the Edit menu to adjust the edit's opacity and hence its strength.

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    Real world adobe photoshop cs5 for photographers free



    The Foveon X3 direct-image sensor captures color by exploiting the fact that blue light waves are shorter than green light waves, which in turn are shorter than red ones. Most cameras use analog gain to provide different ISO speeds, but some use digital gain instead—a high-ISO image from these cameras is essentially just an underexposed image with built-in positive exposure compensation applied—so a lot of highlight data can be recovered by undoing the positive exposure compensation. A more free-flowing, seat-of-the-pants alternative to layers is the History panel.

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    The perfect guide for intermediate to advanced photographers to set up an effective workflow and master the features of Photoshop CS5. Streamlined to focus on features of Photoshop CS5 and Photoshop CS5 Extended that are most relevant to intermediate and advanced digital photographers Four-color guide packed with essential tips and step-by-step techniques Includes unrivaled coverage of Photoshop CS5 color settings and color management principles.

    Smartphones and tablets. It syncs automatically with your account and allows you to read online or offline wherever you are. You can listen to audiobooks purchased on Google Play using your computer's web browser. It appears to be aimed at users who already have enough experience with Photoshop to have a rough idea of the kinds of problems they encounter and they are sufficiently familiar with the terminology so that they can find their way through the book.

    I do not see this as a beginner's book. In fact this book had a lot of similarities in form with the Illustrator book, however, given that its aim is to so support Photographers, it failed to provide one important aspect, a clear focus on workflow throughout the book. I returned the book and purchased books by Kelby and Evening with similar titles.

    While this book mentions workflow, it fails to provide a useful, coherent, model for photography workflow in Photoshop. As a light reference it is merely ok, but limited in detail - some people may like that, so i gave it 3 stars. I suggest you compare this book against the equivalent Kelby and Evening books.

    I own the CS4 equivalent Kelby book and it clearly falls into my "frequently occurring problems" with workflow class. Just to make clear my point, without workflow, and careful choices in the approach you take to problem solving, Photoshop's feature set can be overwhelming. We only have so many hours in a day, so establishing good workflow with the fewest possible useful solutions for each problem is key to having a good time and producing good work.

    While this book is an improvement over books of the past that were too feature centric, it still has too many feature discussions rather than presenting problem centric workflow based solutions. I reviewed this book by looking at the chapter and section titles to see what it covered, and, i reviewed in detail two problems: casts and sharpening.

    In both cases the solutions offered were a modest improvement on the explanation provided by Adobe's help and they weren't sufficient if your pictures failed to fall within a very typical range of problems. In the Kelby CS4 book they offered two different, very useful, solutions, so i ordered, but have not yet received, the Kelby CS5 book.

    I rated it three stars because there are better CS4 reference books i already own, yes they are missing the new features, but the fundamentals of problem solving are more accessible in those books. I have ordered the Kelby and Evening CS5 books but haven't received them, so again, my comparison was a new CS5 book against existing CS4 books that i own.

    I have no relationship with any of the publishers or authors of any books mentioned. Sorry, I've forgotten why I had to have this book. Not sorry I bought it though. It's a great book when you found everything about Photoshop. It's amazing. Any attempt to describe the current version of Photoshop in one book is a formidable task. Each new generation of Photoshop contains the features of the previous one as well as all the latest bells and whistles that make you want to go out and buy it.

    I am in technical support at a color management consultant firm, so this review is mainly aimed at the color management aspects of this book. In short, this book is: - Very readable, easy to understand, - Explains industry standards you need to know and best practices that you can trust are accurate, - A continuation of what has been considered the bible of color management in Photoshop. While Chavez is listed as the only author, it is clear that he continues in the same tradition as in previous books of this series Real World Photoshop CS4 for Photographers, CS3, etc.

    These men have been giants in this field - not just because of their thorough knowledge, but because of the way they communicate these complicated concepts in easy to understand ways. Many of the explanations of color management processes in this book have evidently been repurposed from earlier editions of this series.

    I consider this to be a good thing, because this series has commonly recommended for years to those who want good, readable, practical, "real-world" information on how to get good color in printing or viewing in Photoshop. What a new book in this series needs is to update the excellent information that has already been distilled through this series, so that we continue to understand CS5 and the new features it has.

    However, this layout does not seem dense or hard to read, so they did a good job with that. There are full color illustrations or screen shots on almost every page. Most of the screenshots are on the Mac platform; Windows will be similar. But mostly what you want to buy this book for is the accuracy of the content. Digital color is often a confusing, sometimes controversial thing, with many people claiming to know answers that are often contradictory. Try asking a crowd why your prints come out too dark compared to your monitor!

    This book gives you information you can depend on. Andrew Kavanagh. Real World Adobe Photoshop CS5 for Photographers is a technical book clearly explained, and it seems like no theme has been omitted.

    Conrad Chavez is the previous author or Color Management without the Jargon, and there is no doubt he is an imaging veteran who offers this book as a gift of his vast wisdom to any sincere photographer and student of Photoshop CS5 and Camera Raw. See all reviews. We use this information for support purposes and to monitor the health of the site, identify problems, improve service, detect unauthorized access and fraudulent activity, prevent and respond to security incidents and appropriately scale computing resources.

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    Jul 20,  · Today serious photographers shoot raw images only. Real World Camera Raw with Adobe Photoshop was the first book devoted exclusively to the topic, explaining the advantages and challenges of using Adobe Camera Raw to produce magnificent images. Real World Camera Raw in Adobe Photoshop CS5 keeps pace with new directions in digital . real-world-image-sharpening-with-adobe-photoshop-cs2-bruce-fraser 1/3 Downloaded from replace.me on August 8, by guest Photoshop CS5: The Missing Manual Lesa Snider Photoshop CS5 is more amazing than ever, but it can be Color Management for Photographers Andrew Rodney A guide to color management using .





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    The raw photographes applies tone mapping to redistribute the tonal information so that it corresponds more closely to the way our eyes see light and shade.