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Practical PhotoshopPractical Photoshop

Practical Photoshop

October 2019

Practical Photoshop is the world’s premier Photoshop magazine, a monthly guide to the best Photoshop techniques, tips and tricks. Inside each issue you’ll find an array of inspirational tutorials and accompanying video lessons that will help you master Adobe’s collection of industry standard photo-editing software. What’s more, there’s a selection of amazing images from the world’s best Photoshop creatives, free downloadable content, and a beginner’s guide to the basics. If you love photography and you want to learn more about digital imaging, then Practical Photoshop will help you to unleash your creative potential.

Land:
United Kingdom
Sprache:
English
Verlag:
Future Publishing Ltd
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13 Ausgaben

IN DIESER AUSGABE

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raw power

If you want more control over your images and greater headroom for editing, then choosing to shoot in your camera’s raw format is the best option. Rather than letting your camera decide the look of the image, it puts the decision-making squarely in your hands. But making the switch from JPEG to raw means a ommitment to a different way of editing, and a slightly more involved workflow. A switch in mindset is necessary, but the results are worth it. Here we’ll explore the benefits to shooting and editing in raw, the advantages it has over JPEG, the practicalities of editing in raw, and the best tools for the job… Download the project files here http://bit.ly/pho_103 on your pc or mac…

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raws and dynamic range

The dynamic range of an image is the scale from the lightest to darkest area. In high-contrast scenes—like a landscape with a bright sky and a foreground in deep shade—the difference between the very brightest spot and the very darkest spot can be extreme. By shooting in raw, you can record detail in a greater part of the range than you can with a JPEG. It means there’s less chance of blown-out highlights or shadows clipped to pure black. TEASE OUT DETAILS For many photographers, the increased dynamic range raw provides is the main reason to shoot in the format. Compared to JPEG, raw formats hold greater detail in the highlights and the shadows. A good camera can record around 14 stops of light in a raw file, while a jpeg maxes…

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in practice rescuing highlights

This experiment demonstrates the difference in highlight detail between a raw and a JPEG shot on the same camera. The camera (a Nikon D850) was set to record Raw+JPEG at the highest quality setting, and the image was intentionally overexposed to blow out the sky. Straight out-of-camera, both the JPEG and raw look near-identical, although the JPEG has slightly more vibrancy. Now look what happens if we attempt to recover detail in the highlights by using a Graduated Filter in Camera Raw. The JPEG on the left holds little to no detail in the sky. By contrast, in the raw on the right we’re able to recover some of the blown-out cloud detail.…

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in practice shadow detail

Now let’s look at shadow detail, again with a shot taken on a D850. In this underexposed image, the shadows are seemingly pure black. If we attempt to lift the shadows in Camera Raw by increasing both the Shadows and Exposure sliders in the Basic Panel, we can tease detail out of the darkest areas. Both the JPEG and the raw hold a surprising amount of shadow detail. (This is down to the quality of the sensor on the D850: a more basic camera would hold much less detail.) But again, the raw is the clear winner. In the close-up, you can see how we’re able to pull detail out of the bushes, whereas in the JPEG we end up with a detail-less blotchy area.…

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raw is a safety net

So it’s clear that raws have a wider dynamic range, and hold more detail at the tonal extremes. This can be helpful for scenes like landscapes, where the imbalance between land and sky can often be a challenge to capture. But it’s helpful in other situations too. If you’re shooting in a fast-paced environment like a wedding, there isn’t always time to check the metering is spot-on. In these circumstances, raw acts as a safety net if your exposure goes awry. If the image is badly under- or over-exposed, it can usually still be rescued. It’s not an excuse for sloppy technique, but it’s a handy safety net. THE DIGITAL NEGATIVE Raws are often referred to as ‘digital negatives’, and with good reason. Like a folder of negatives, a hard drive of raws…

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raw’s non-destructive workflow

By nature, raws necessitate a nondestructive workflow. The data contained within a raw can’t be edited or overwritten. Instead, any changes you make in Camera Raw or Lightroom are saved alongside the original image data. Imagine watching a DVD on your TV. You can adjust the brightness or contrast of your TV set to alter how the film looks, but you can’t change the original DVD. Raws are the same. When you edit a raw file, you’re simply changing the way it looks within your raw editor, not altering the original data within the file. Any changes are only ‘burnt in’ when you save the file in another format like a JPEG or TIFF—and even then you always have the original raw to go back to if you need to make…

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