Raw Workflow from Capture to Archives
A Complete Digital Photographer's Guide to Raw Imaging
Published on 18. August 2006
Book
Paperback/Softback
304 pages
978-0-240-80752-2 (ISBN)
Description
'Raw Workflow from Capture to Archives' provides specific, practical explanations and how-to instructions for the digital photographer mastering this process. The most comprehensive book devoted to simplifying raw workflow, this guide will demystify raw functions in the camera, raw converter, image processing and enhancement software, and digital asset management programs. Not restricting itself to a single workflow this valuable resource discusses the latest applications that deal with raw files, including special plug-ins, stand alone programs and custom applications. Shooting raw gives you complete creative control over your images and is the hottest topic in digital photography today. Learn how to take advantage of the benefits of raw to increase your creative control and streamline your raw workflow in this informative guide.
Reviews / Votes
"With this new book everyone can learn how to use all of [that] data to do the same thing. It has very easy to follow instructions, and it takes all of the mystery out of the Raw process. Everything is fully illustrated to make it even easier to see what it all means as you go step by step through each chapter." - Apogee Photo Magazine, November 2006"A book devoted to RAW imaging? That's right. They are few and far between but RAW is a central aspect of any professional photographer's working day. Learn how to take advantage of the format and customise it to work for you." Digital Photographer Magazine, Issue 47
You'll find good workflow and management techniques, backed up with solid foundational explanations of theory. If you want to understand how RAW works, and how best to make it work for you, this is a good option.- Photoshop User, Oldsmar, FL, March, 2007
More details
Language
English
Place of publication
Oxford
United Kingdom
Publishing group
Taylor & Francis Ltd
Target group
Professional and scholarly
Dimensions
Height: 229 mm
Width: 178 mm
ISBN-13
978-0-240-80752-2 (9780240807522)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Persons
Philip Andrews is Adobe Australia's official Photoshop and Elements Ambassador. He is an experienced photographer, author, magazine editor and online course creator. He was previously a lecturer at the Queensland School of Printing and Graphic Arts, Australia and Nescot, England. He is a beta tester for Photoshop, an alpha tester for Photoshop Elements and a Photoshop specialist demonstrator for Adobe Australia. Contributing numerous articles and videos to AdobeTV and the inspirational browser, Philip is a leading source in adobe information and instruction.
Philip is also co-founder of photo-college.com an online photography training college. He's a regular contributor to several magazines including Shutterbug, Amateur Photographer, Australian Photography and Better Photography, he is senior contributing editor for Better Digital, columnist for What Digital Camera and Co-editor and publisher of Better Photoshop Techniques magazine.
Yvonne Butler is a professional photographer, writer, consultant, and digital workshop trainer. Yvonne's passion for photography is closely followed by her ongoing sense of urgency to capture the beauty of people, objects, and special locations around the world. She has amassed a representative body of black-and-white and color images taken in over thirty countries, many of them so-called third world countries, while she works on specialty abstracts and close-ups as fine art form. Her work has appeared in several magazines, websites, brochures, and collateral materials of the digital workshop groups for whom she leads workshops or consults.
Yvonne was the creator and former director of the four-year-old Shutterbug magazine digital workshop series. Forever falling back on her foundation in teaching, professional platform presentation and group facilitation, information technology, and photography, she now conducts her own digital workshops throughout the US and the world. Her platform and training skills have been honed over the past 35 years. She specializes in presenting technically difficult subject matter in simple, clear, friendly language, almost always using hands-on approaches.
Yvonne is a member of Professional Photographers of America and she is a Charter Member of the Bellamax Advisory Board of Professional Photographers (www.bellamax.com). She is represented by galleries on Cape Cod and in Toronto, Canada. She holds a master's degree in information systems from Northeastern University School of Engineering and has taken extensive doctoral-level coursework in communication at the University of South Florida. Send her an email message at Yvonne@yvonnebutler.com.
Author of more than 25 books and over 1600 magazine articles, Joe Farace has been a regular contributor to Shutterbug magazine since 1994 with his Digital Innovations and Web Profiles columns. He was the original editor of eDigitalPhoto magazine and contributes to magazines such as Photo District News and PHOTO Techniques. He holds workshops and seminars at FOTOfusion, Palm Beach Photo Workshop, Shutterbug and Popular Photography and Imaging, has spoken at the PPA national events and New England Council of Camera Club's annual conference.
Philip is also co-founder of photo-college.com an online photography training college. He's a regular contributor to several magazines including Shutterbug, Amateur Photographer, Australian Photography and Better Photography, he is senior contributing editor for Better Digital, columnist for What Digital Camera and Co-editor and publisher of Better Photoshop Techniques magazine.
Yvonne Butler is a professional photographer, writer, consultant, and digital workshop trainer. Yvonne's passion for photography is closely followed by her ongoing sense of urgency to capture the beauty of people, objects, and special locations around the world. She has amassed a representative body of black-and-white and color images taken in over thirty countries, many of them so-called third world countries, while she works on specialty abstracts and close-ups as fine art form. Her work has appeared in several magazines, websites, brochures, and collateral materials of the digital workshop groups for whom she leads workshops or consults.
Yvonne was the creator and former director of the four-year-old Shutterbug magazine digital workshop series. Forever falling back on her foundation in teaching, professional platform presentation and group facilitation, information technology, and photography, she now conducts her own digital workshops throughout the US and the world. Her platform and training skills have been honed over the past 35 years. She specializes in presenting technically difficult subject matter in simple, clear, friendly language, almost always using hands-on approaches.
Yvonne is a member of Professional Photographers of America and she is a Charter Member of the Bellamax Advisory Board of Professional Photographers (www.bellamax.com). She is represented by galleries on Cape Cod and in Toronto, Canada. She holds a master's degree in information systems from Northeastern University School of Engineering and has taken extensive doctoral-level coursework in communication at the University of South Florida. Send her an email message at Yvonne@yvonnebutler.com.
Author of more than 25 books and over 1600 magazine articles, Joe Farace has been a regular contributor to Shutterbug magazine since 1994 with his Digital Innovations and Web Profiles columns. He was the original editor of eDigitalPhoto magazine and contributes to magazines such as Photo District News and PHOTO Techniques. He holds workshops and seminars at FOTOfusion, Palm Beach Photo Workshop, Shutterbug and Popular Photography and Imaging, has spoken at the PPA national events and New England Council of Camera Club's annual conference.
Content
Section One: Raw Basics
Raw School 101
What is Raw?
An extra processing step
Behold the new negative
Why bother with Raw? Why not just stick to JPEG?
When only the best will do!
Making the switch
Raw as a Learning Tool
Advantages of Shooting Raw
Raw Disadvantages
Proprietary and Open RAW file formats
A little more background information please!
I'll be back with you in a byte
Working with bit files?
Eight or sixteen?
EXIF? What is EXIF?
sRGB Color space: You Pays Your Money and Takes Yer Chance
Perfection?
Shooting in Raw Mode
Getting set to shoot in the Raw
Changing your wokflow to accommodate
Implications for capture variables or camera parameters
Capturing your fist Raw picture
01 Enablling the Camera
02 Determining pixel dimensions
03 Picking bit depth
04 Adjusting color settings-saturation, white balance and color space
05 Managing the tones-contrast control
06 Applyigng sharpening and noise reduction
08 Establishing exposure
Exposure essentials
Shooting tethered
Raw versus non-raw capture workflow
Raw Capable Cameras
Other considerations when capturing Raw
Downloading Raw Files
Camera to computer
Card Reader to Computer
Connections
Operation System based downloads
Windows step by step
The Microsoft Raw Image Thumbnailer and Viewer for Windows XP
Macintosh Step by step
Camera specific download
Nikon's download manager
Software specific download
Photoshop Elements and the Adobe Photo Downloader
Photoshop and Bridge
Adobe LightRoom
Shooting Tethered - Capture and download in one step
Raw Editor Round UP
How to choose:
Figuring out what is best for you
Raw converter selection criteria
Raw software common features
'What are my options?' Editor round up
New developments
Doing it yourself
Nikon Capture Editor
SharpRaw
Capture One
Raw Shooter
Adobe Camera Raw (Bridge, Photoshop and Photoshop Elements)
Bibble
SilverFast
Aperture
Lightroom
Establishing a Raw Workflow
What is a digital raw workflow anyway?
Establishing a workflow that works for you
The 'Convert Then Edit' approach
Full Raw Workflow options
More details later
Workflow components
Basic workflow components:
Workflow timesavers
Synchronize settings across images
Step by step synchronization:
Section Two: Processing Raw Files
Camera Based Convertors
Camera based convertors software
Advantages and disadvantages of a camera based system
Different levels of support - the Nikon system
Basic features
More sophisticated control
A hybrid approach
Processing with Photoshop Elements
Making Tonal Adjustments
Sharpening, Luminance Smoothing and Color Noise Reduction
Save to DNG
Differences between Adobe Camera Raw (ACR) in Photoshop/Bridge and Photoshop Elements
Processing with Photoshop Elements and Adobe Camera Raw
Opening
Rotate
Adjusting White Balance
Tonal Control
Color strength adjustments
Sharpness/Smoothness and Noise Reduction
Output options
Save, Open or Done
ACR, Photoshop and Bridge
Keeping ACR up to date
The knowledge
Back to the future: Using the File Browser in CS
In Photoshop CS
A Bridge to image making - Photoshop CS2
Raw enhancements before Photoshop
What's new pussycat?
Show Workflow options
The right hand side
Settings? Not more settings?
To save a settings subset:
The Adjust tab
Who is the Kelvin Guy?
Pro's No Clip tip-Exposure
Pro's No Clip Tip-Shadow
The Detail tab
The Lens tab
Super Curve
Calibrate, calibrate, dance to the music
Converting to black-and-white
Processing with Photoshop, Bridge and Adobe Camera Raw
Opening
Adjusting White Balance
Tonal Control
Color strength adjustments
Lens Corrections
Curve Controls
Fine Tune Color with Calibration
Sharpness/Smoothness and Noise Reduction
Output options
Save, Open or Done
Beyond ACR basics
Technique 1: Curves provide advanced tonal control
Quick Start curves summary:
Technique 2: Color fine-tuning with the Calibrate feature
Technique 3: Applying Raw conversion settings without opening files
One step further
Managing ACR Settings
Technique 4: Correcting color fringes and vignetting
Stand Alone Convertors
Raw Shooter
Pixmantec Raw Shooter
Conversion and Processing Using Dx0 Software
Capture One and iView
iView Mediapro & Capture One Pro:
The iView MediaPro-Capture One Pro Workflow
Section Three: Complete Raw Workflow Options
Lossless Image Enhancement Comes of Age
But how does it work?
What happens when I want to print or create a slideshow?
State of play
Bridge and Photoshop Combine
Options for screen output
Instant slideshows
Portable slideshows
Exporting to other file formats:
Automated Conversions using the Image Processor
Printing from RAW files
Producing a Contact Sheet
Picture package
Printing individual photos without conversion
Making changes to an embedded file
But you can't edit a Smart Object. Not True!
Tonal and color changes via the raw file
Convert to grey
Step by step
Adding texture
Reintroducing some color
When you have no choice but to rasterize
LightRoom Walkthrough
What Is LightRoom?
Enough talk, let's get to it!
The workspace
The workflow modules
Library:
Develop:
Slideshow
Print:
Where to from here?
Aperture step-by-step
Aperture core components
Auto or Manual Adjustments?
The Knowledge:
A manual approach
Aperture in Action:
Output options
Section Four: Raw File Management
Organizing Your Raw Files
It starts in-camera
And continues when downloading
Organizing and searching software:
Grouping and keyword strategies:
In action:
Now we can search
Managing raw files within Bridge
Protecting Your Raw Assets
Decide what to backup
Making your first backup
Back up regularly
Store the duplicates securely
Which format should I use for backups
Backup Jargon Buster
Backup Hardware options
Versioning your edits
Save me from myself
Versions and Photoshop Elements
Photoshop CS2 and versioning
Aperture and editing versions
Last appeal
Appendix
Raw School 101
What is Raw?
An extra processing step
Behold the new negative
Why bother with Raw? Why not just stick to JPEG?
When only the best will do!
Making the switch
Raw as a Learning Tool
Advantages of Shooting Raw
Raw Disadvantages
Proprietary and Open RAW file formats
A little more background information please!
I'll be back with you in a byte
Working with bit files?
Eight or sixteen?
EXIF? What is EXIF?
sRGB Color space: You Pays Your Money and Takes Yer Chance
Perfection?
Shooting in Raw Mode
Getting set to shoot in the Raw
Changing your wokflow to accommodate
Implications for capture variables or camera parameters
Capturing your fist Raw picture
01 Enablling the Camera
02 Determining pixel dimensions
03 Picking bit depth
04 Adjusting color settings-saturation, white balance and color space
05 Managing the tones-contrast control
06 Applyigng sharpening and noise reduction
08 Establishing exposure
Exposure essentials
Shooting tethered
Raw versus non-raw capture workflow
Raw Capable Cameras
Other considerations when capturing Raw
Downloading Raw Files
Camera to computer
Card Reader to Computer
Connections
Operation System based downloads
Windows step by step
The Microsoft Raw Image Thumbnailer and Viewer for Windows XP
Macintosh Step by step
Camera specific download
Nikon's download manager
Software specific download
Photoshop Elements and the Adobe Photo Downloader
Photoshop and Bridge
Adobe LightRoom
Shooting Tethered - Capture and download in one step
Raw Editor Round UP
How to choose:
Figuring out what is best for you
Raw converter selection criteria
Raw software common features
'What are my options?' Editor round up
New developments
Doing it yourself
Nikon Capture Editor
SharpRaw
Capture One
Raw Shooter
Adobe Camera Raw (Bridge, Photoshop and Photoshop Elements)
Bibble
SilverFast
Aperture
Lightroom
Establishing a Raw Workflow
What is a digital raw workflow anyway?
Establishing a workflow that works for you
The 'Convert Then Edit' approach
Full Raw Workflow options
More details later
Workflow components
Basic workflow components:
Workflow timesavers
Synchronize settings across images
Step by step synchronization:
Section Two: Processing Raw Files
Camera Based Convertors
Camera based convertors software
Advantages and disadvantages of a camera based system
Different levels of support - the Nikon system
Basic features
More sophisticated control
A hybrid approach
Processing with Photoshop Elements
Making Tonal Adjustments
Sharpening, Luminance Smoothing and Color Noise Reduction
Save to DNG
Differences between Adobe Camera Raw (ACR) in Photoshop/Bridge and Photoshop Elements
Processing with Photoshop Elements and Adobe Camera Raw
Opening
Rotate
Adjusting White Balance
Tonal Control
Color strength adjustments
Sharpness/Smoothness and Noise Reduction
Output options
Save, Open or Done
ACR, Photoshop and Bridge
Keeping ACR up to date
The knowledge
Back to the future: Using the File Browser in CS
In Photoshop CS
A Bridge to image making - Photoshop CS2
Raw enhancements before Photoshop
What's new pussycat?
Show Workflow options
The right hand side
Settings? Not more settings?
To save a settings subset:
The Adjust tab
Who is the Kelvin Guy?
Pro's No Clip tip-Exposure
Pro's No Clip Tip-Shadow
The Detail tab
The Lens tab
Super Curve
Calibrate, calibrate, dance to the music
Converting to black-and-white
Processing with Photoshop, Bridge and Adobe Camera Raw
Opening
Adjusting White Balance
Tonal Control
Color strength adjustments
Lens Corrections
Curve Controls
Fine Tune Color with Calibration
Sharpness/Smoothness and Noise Reduction
Output options
Save, Open or Done
Beyond ACR basics
Technique 1: Curves provide advanced tonal control
Quick Start curves summary:
Technique 2: Color fine-tuning with the Calibrate feature
Technique 3: Applying Raw conversion settings without opening files
One step further
Managing ACR Settings
Technique 4: Correcting color fringes and vignetting
Stand Alone Convertors
Raw Shooter
Pixmantec Raw Shooter
Conversion and Processing Using Dx0 Software
Capture One and iView
iView Mediapro & Capture One Pro:
The iView MediaPro-Capture One Pro Workflow
Section Three: Complete Raw Workflow Options
Lossless Image Enhancement Comes of Age
But how does it work?
What happens when I want to print or create a slideshow?
State of play
Bridge and Photoshop Combine
Options for screen output
Instant slideshows
Portable slideshows
Exporting to other file formats:
Automated Conversions using the Image Processor
Printing from RAW files
Producing a Contact Sheet
Picture package
Printing individual photos without conversion
Making changes to an embedded file
But you can't edit a Smart Object. Not True!
Tonal and color changes via the raw file
Convert to grey
Step by step
Adding texture
Reintroducing some color
When you have no choice but to rasterize
LightRoom Walkthrough
What Is LightRoom?
Enough talk, let's get to it!
The workspace
The workflow modules
Library:
Develop:
Slideshow
Print:
Where to from here?
Aperture step-by-step
Aperture core components
Auto or Manual Adjustments?
The Knowledge:
A manual approach
Aperture in Action:
Output options
Section Four: Raw File Management
Organizing Your Raw Files
It starts in-camera
And continues when downloading
Organizing and searching software:
Grouping and keyword strategies:
In action:
Now we can search
Managing raw files within Bridge
Protecting Your Raw Assets
Decide what to backup
Making your first backup
Back up regularly
Store the duplicates securely
Which format should I use for backups
Backup Jargon Buster
Backup Hardware options
Versioning your edits
Save me from myself
Versions and Photoshop Elements
Photoshop CS2 and versioning
Aperture and editing versions
Last appeal
Appendix