By Rob Sheppard
Specialist photographer Rob Sheppard explains the main points of digicam uncooked, the stairs for utilizing it, the workflow strategy, and likely most sensible practices that demonstrates how digicam uncooked can empower the electronic photographer. Encouraging you to exploit it as you notice healthy, he explores the improvements within the most recent new release and is helping you take care of RAW's obstacles, deal with white stability and publicity, lessen noise (especially in evening shots,) and learn how to use digicam settings that utilize uncooked features.
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Additional resources for Adobe Camera Raw for Digital Photographers Only
PRO TIP 1 When should you shoot RAW or JPEG? Make that your own choice. Know that you can get top quality from both — figure 1-13 came from a JPEG file. RAW gives you a great deal of flexibility and control in processing your images to get the most from your subject, but it requires more work, more storage space, and slows down a camera. JPEG offers far less flexibility and control, but it is fast, requires less work, and needs less storage space. One reason I shoot both is because I can get prints anywhere from a JPEG almost immediately, which I can then give to people I have promised prints to, even while shooting in remote locations.
Its 16-bit capabilities allow much more adjustment of such tonalities than the 8-bit capacity of JPEG. This format is also very valuable when you’re shooting under changing conditions where you cannot precisely control exposure or white balance. Its versatility and adaptability mean even problem images can often be brought under control. Can any photographer use the DNG format? 1 What are RAW Files Really About? Absolutely. It just is not being used by any of the major camera manufacturers. What many photographers are doing is using this format as an archival RAW format.
Of course, you could fix the ladder by moving the rungs. But like an exposure that has only limited steps left when it is reduced, the problem is you can only use the rungs that are on the ladder; this is demonstrated in figure 2-11. Because you can allow more than six inches between rungs, you can get away with moving them farther apart, but to stretch them all the way to the top requires you to move them a couple of feet apart. This is a real problem with poor exposure, or underexposure, with JPEG.