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Adobe Camera Raw for Digital Photographers Only 2nd edition [Pehme köide]

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(Los Angeles, CA)
  • Formaat: Paperback / softback, 362 pages, kõrgus x laius x paksus: 235x191x21 mm, kaal: 889 g, Photos: 0 B&W, 200 Color; Screen captures: 0 B&W, 200 Color
  • Sari: For Only
  • Ilmumisaeg: 25-Jan-2008
  • Kirjastus: John Wiley & Sons Inc
  • ISBN-10: 0470224576
  • ISBN-13: 9780470224571
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Adobe Camera Raw for Digital Photographers Only 2nd editionSuurem pilt
  • Formaat: Paperback / softback, 362 pages, kõrgus x laius x paksus: 235x191x21 mm, kaal: 889 g, Photos: 0 B&W, 200 Color; Screen captures: 0 B&W, 200 Color
  • Sari: For Only
  • Ilmumisaeg: 25-Jan-2008
  • Kirjastus: John Wiley & Sons Inc
  • ISBN-10: 0470224576
  • ISBN-13: 9780470224571
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780470224571.html
Märksõnad:
An introduction to the Camera Raw for digital photographers explains how to use the cutting-edge format to perform such operations as white balance, exposure adjustment, and sharpening--normally performed inside the camera--after the photo is taken, offering detailed instructions and expert advice on how Camera Raw works and how to use it effectively to create outstanding photographs. Original. (All Users)An introduction to the Camera Raw for digital photographers explains how to use the cutting-edge format to perform such operations as white balance, exposure adjustment, and sharpening after the photo is taken.
about the author v
credits vii
foreword ix
acknowledgments xi
introduction xxi
Part I Capture Workflow
1(68)
What are Raw Files Really About?
3(14)
A Raw Start
4(1)
Why use RAW?
5(1)
Understanding RAW
6(1)
RAW Capabilities
7(1)
Do not Shortchange RAW
8(2)
What is 16-Bit all About?
10(2)
Proprietary Formats
12(1)
The Value of DNG
12(1)
Does JPEG have a Place?
13(3)
Q&A
16(1)
Shoot Raw Right from the Start
17(26)
The Digital Darkroom
19(1)
Understanding the Sensor
19(2)
Dealing with Limitations
21(1)
Exposure - More than Getting Brightness Correct
21(3)
Reading the Histogram without Being an Engineer
24(2)
Interpreting the Histogram
26(1)
Looking at Histograms: Examples of Good and Bad Exposures
27(6)
Perfect exposure with ideal histogram
27(1)
Nice range of tones from left to right
28(1)
Histogram has visual relationship to scene
28(1)
Light tones kept in range
29(1)
Black-and-white challenge
30(1)
Restricted tonal range still needs good exposure
30(1)
Poor exposure causes color problems
31(1)
Bad light causes exposure problems
31(1)
Poor exposure causes background problems
32(1)
Exposure for shadows washes out highlights
33(1)
Filters are Still Necessary
33(2)
Noise Raises its Ugly Head
35(4)
Variations among Cameras
39(2)
Q&A
41(2)
Color and RAW
43(12)
Good Raw is Good Color
45(1)
Adobe RGB versus sRGB
46(1)
Color Space for the Purpose Needed
47(1)
White Balance: A Raw Workflow Issue
48(6)
White balance in the camera
49(1)
Auto white balance
50(1)
Preset white balance
51(1)
Custom white balance
52(2)
Q&A
54(1)
What's New in Adobe Camera Raw?
55(14)
Making Raw Processing More Photographic
56(2)
Some Changes to the Interface
58(8)
First tab changes - tonal adjustments
60(1)
First tab changes - color adjustments
61(1)
Tone Curve changes
62(1)
Changes to the Detail tab
62(1)
The new HSL and Grayscale tab
63(1)
The new Split Toning tab
64(1)
Presets
64(2)
How Lightroom Affects Camera Raw
66(2)
Q&A
68(1)
Part II Camera Raw Workflow
69(154)
A Quick Look at Camera Raw Tools and Workflow
71(32)
Finding Your Raw Photos
73(1)
Bridge Capabilities
74(7)
Opening Camera Raw
81(2)
The Importance of Reset and Undo
83(2)
Camera Raw in Six-Part Harmony
85(1)
Camera Raw Toolbar
86(4)
Preview Options
90(2)
The Ideal Workflow
92(4)
Base Settings
96(2)
How to Approach Camera Raw
98(1)
Monitor Calibration
99(2)
Q&A
101(2)
Workflow Applied
103(34)
What is Your Photo About?
105(1)
Auto Settings
105(1)
Workflow Options
106(4)
Tonal Adjustments
110(11)
Color Adjustments
121(4)
Detail Adjustments - Sharpening
125(5)
Detail Adjustments - Noise Reduction
130(1)
Save Your Work
131(2)
Setting Up Camera Raw for Your Camera
133(3)
Q&A
136(1)
Advanced Tonal Control
137(20)
Evaluate the Image
138(2)
First Adjustments - Blacks and Highlights
140(2)
Tone Curve Adjustments
142(3)
Back to Basic and Clarity
145(1)
Back to Color
146(3)
Refining Color
149(2)
Sharpening with the Detail Tab
151(4)
Evaluate, and then Open or Save
155(1)
Q&A
156(1)
White Balance Decisions
157(28)
A Neutral Subject is Rarely Neutral
160(5)
Wave tonalities interpreted and more
161(3)
Cloud, water, and rocks color
164(1)
Dusk Light
165(8)
Dusk interpreted
165(5)
Dusk color revealed
170(3)
Aquarium Greenery
173(7)
Evaluating Color
180(4)
Key colors
180(1)
Critical colors
181(1)
Memory colors
181(1)
Colorcasts
181(1)
Weak color
182(1)
Color interactions
182(1)
Creative colors
183(1)
Q&A
184(1)
The Noise Problems No One Talks About
185(14)
When Noise Becomes a Problem
187(1)
Watching for Noise
188(1)
Reducing Noise in Camera Raw
189(2)
Working to Control the Noise
191(6)
Looking deeper at noise
195(2)
Readjusting the Image
197(1)
Q&A
198(1)
Special Features of Camera Raw
199(24)
Special Tabs of Camera Raw
200(2)
Fixing Lens Problems
202(5)
Correcting aberrations
203(2)
Vignetting adjustments
205(2)
Using the Retouch Tool
207(2)
Using the Red Eye Removal Tool
209(1)
Influencing Color Changes
209(2)
Batch Processing
211(8)
Simple batching renaming
212(3)
Group processing
215(4)
Duplicating Processing: Saving Settings and Presets
219(3)
Q&A
222(1)
Part III Making Camera Raw Work Harder for You
223(114)
Tough Decisions
225(28)
Soft Colors
226(9)
No harsh contrasts
227(2)
Adjusting with soft in mind
229(3)
Color enhancement
232(1)
The Detail tab
232(3)
Backlit Contrast
235(5)
Core decisions
236(4)
Color enhancement
240(3)
Not the Normal Light
243(9)
Color or tonalities first?
243(3)
Night tone interpretation
246(1)
Adjusting for the night
247(1)
Crop for evaluation
248(1)
Night noise
249(2)
Final check
251(1)
Q&A
252(1)
Black-and-White Processing
253(18)
Camera Raw or Photoshop for Black-and-White
254(2)
Camera Raw does Black-and-White Right
256(3)
How to Think Black-and-White
259(2)
Shooting for Black-and-White
261(1)
Converting to Grayscale
262(4)
Optimum use of Color Sliders
266(1)
Using Split Toning
267(3)
Q&A
270(1)
Double Processing for Exposure
271(46)
One Size May Not Fit All
273(2)
Bright sky, dark ground
273(1)
Bringing out the scene
274(1)
Processing the Bright Areas
275(5)
Processing the Dark Areas
280(6)
The Merging Process
286(7)
Putting two images into one
287(5)
Small area changes
292(1)
Process for the Main Photo
293(8)
Process for the detail
296(2)
Put them together again
298(3)
Double Processing for Color and Tonal Range Techniques
301(1)
Two-Shot Processing
302(1)
Into Camera Raw
303(7)
Making the Photo Work
310(6)
Q&A
316(1)
Post Camera Raw Processing
317(20)
Ansel Adams and Image Processing
319(3)
What's a good image, anyway?
320(1)
Expressing what you want
320(2)
Interpreting an Image
322(10)
Sharpening
332(4)
Q&A
336(1)
appendix A Alternatives to Camera Raw
337(8)
Why Use Other Programs?
338(1)
Adobe Photoshop Lightroom or Apple Aperture versus Camera Raw
339(1)
Lightroom
339(1)
Aperture
339(1)
Camera-Specific Raw Converters
340(2)
Canon ZoomBrowser EX and Digital Photo Professional
340(1)
Nikon Capture
340(1)
Olympus Studio
341(1)
Pentax Photo Browser/Laboratory
341(1)
Sigma Photo Pro
341(1)
Sony Raw Software
342(1)
Independent Raw Converters
342(3)
DxO Raw Engine
342(1)
Phase One Capture One
342(1)
Photoshop Elements
343(1)
Pixmantec RawShooter
343(2)
Pro Glossary 345(6)
Index 351


Rob Sheppard is editor-at-large for Outdoor Photographer, and is author/photographer of over 20 books including The National Geographic Field Guide to Photography and Adobe Photoshop Lightroom for Digital Photographers Only. He is committed to bringing professional photographers together with technology that benefits their craft. His Web site is www.robsheppardphoto.com.