1. Digital Photo RAW Workflow Digital Photo SIG Apr 5 2007

3. Organize Photoshop Elements Organizer Picasa Windows

4. Back up CD / DVD External Drive Internal Drive

5. JPG vs. TIFF vs. RAW JPG –Choose Max Quality, Largest File size Memory is economical Data yields editing dividends TIFF –Minimal advantage vs. highest quality JPG RAW –Requires post-camera conversion Maximum editing control and options

6. RAW Conversion A RAW file is an “Unprocessed” image file –N Million pixels 50% Green Pixels 25% Red Pixels 25% Blue pixels A “Processed” image file –N Million (RBG) pixels –N Million Luminance values (50% Green, 39% Red and 11% Blue)

7. RAW Converters Every digital camera has a converter to “Process” the RAW file –Not as refined nor as precise compared to a personal computer application Limited to 24 bit (8bit/color x 3 colors) Photoshop includes a RAW converter –Adobe Camera Raw (ACR)

8. Photoshop ACR The RAW converter in Photoshop Elements is a simplified ( but more complex than any camera ) version of Photoshop CS2 ACR Adobe also recently introduced a new product, Lightroom, that includes a RAW converter with a control set comparable to Photoshop CS3 ACR, although it operates in a different manner. (meta-data instruction set vs pixel-based conversion)

9. PSE Raw Converter

10. ACR view in PSE

11. ACR Settings

12. ACR Setting Options Elements reads information in the file to see which model of camera created it, and then applies the appropriate camera settings to the image. The Auto checkboxes automatically adjust the sliders based on the image data. If you find that you always need to make similar adjustments, you can change the default setting for your camera.

13. Setting Options Cont’d From the Editor, open a camera raw file and make adjustments to the image. To save the current setting as the default setting for the camera that created the image, press the triangle next to the Setting menu and choose Set Camera Default. To use the Photoshop Elements default settings for your camera, press the triangle next to the Settings menu and choose Reset Camera Default.

14. Setting Options Cont’d Tip: By default, the Auto checkboxes are always selected when the Camera Raw dialog box opens. You can change this default so the Auto checkboxes are always unselected. –Uncheck all the Autocheckboxes, then press the triangle next to the Setting menu and choose Set Camera Default. You can reset an option that you’ve changed to its original setting by clicking its Auto checkbox. To reset all options to their original settings, press Alt and click Reset.

15. RAW Processing Order

16. White Balance

17. White Balance Cont’d

18. White Balance Options

20. Exposure & Shadow

23. Brightness & Contrast

26. Saturation & Sharpness

27. Elements3 Noise Reduction Filter Alternate (free) Noise filter –Noiseware Community Edition –http://www.imagenomic.com/download.aspxhttp://www.imagenomic.com/download.aspx

28. Composite File (summarized color-metric) Save As a copy (.PSD) file –Uncompressed file with all the layers intact –Now flatten the working file OR—(preferred) Create a composite layer –Create New Layer then

29. Lens-centric Adjustments Rotate –Find “correct” amount –Image > Rotate > Custom… Perspective –Image > Transform > Perspective Distortion –Filter > Distort > Spherize

30. Finding the correct rotate angle

31. Rotate the custom file

32. Perspective

33. Perspective adjust

34. Lens Barrel or Distortion Filter

35. Barrel Pincushion (Spherize) filter

36. Spherize filter results (30%)

37. Selective Enhancements Enhancements that don’t involve the entire image – some a simple as spot removal or cloning a distraction – but it’s best to create a layer for each enhancement so if a later change is required, only a single layer needs to be modified or replaced Select (if needed), copy and paste a selection for each enhancement from the composite layer (or background) to a new layer. –Selection boundaries should be blurred a few (2-5) pixels so each enhanced layer blends naturally with the underlying layer(s) Perform the enhancement(s) on the copied layer

38. Selective Enhancement (Local sharpen)

39. Selective Enhancement Summary Save the Multi-layer PSD file –This becomes the new master for subsequent actions that are output dependent –Make a flattened copy of the PSD file for final output action(s) Each Final output format generally requires a unique crop,re-size and final sharpen

40. Final Output (Crop) Select a desired aspect ratio –4 wide X 3 high is common for the web –3 wide X 2 high works for 4in. x 6in. small prints –9.5 wide X 7.5 high for for 8 x 10 matted prints Make the selection –Fine adjust the selection location with the arrow keys Edit > crop

41. Re-size High quality prints require 240 to 300 pixels/inch (ppi) –Good quality can be obtained with 150 ppi Web photos should be limited to 768 pixels high –Most monitors can display that size photo full size after allowing for view application “real estate”

42. IMAGE SIZE

43. SHARPEN OUTPUT USM (Unsharp Mask Tool) preferred Basic USM guidelines –Duplicate the Background layer Using s separate layer allows fine control of the effect by varying the layer opacity and / or the layer blend mode –Set mode to luminosity Minimize chance of “snowflakes” or ‘freckles”

44. SHARPEN OUTPUT GUIDELINES Set image magnification to 100% (for web) or to 50% or 25% for prints so that displayed image size is nearest the desired printed image size –Photoshop renders reduced image sizes with “fuzzy” edges except ½, ¼ size Fuzzy edges make it impossible to gauge the effect of sharpening

45. Sharpen Output Continued Starting values –Radius: ~0.005 X output pixels per inch (ppi) Web:.005 X 96 = 0.5 Print:.005 X 300 = 1.5 –Amount: ~ 300-400 - The effect can be reduced later by changing the layer opacity Check the 100% preview window for evidence of freckles or snowflakes and reduce the amount if needed to eliminate them –Threshold: ~ 10 – 20 levels Check skin tones sky etc, increase if sharpening artifacts are visible in the 100% preview window

46. Access USM Tool

47. Normal Sharpen Result

48. “ PRO” SHARPEN TECHNIQUE By default, USM increase edge acuity by lightening and darkening in equal amounts –This often causes “crunchy” textures in some parts of the image when the amount is “just right” for another part. By duplicating the sharpened layer, then setting the blend mode to “Darken” in the copied layer and changing the original sharpened layer blend mode to “lighten”, the lighten/darken ratio can be changed to more suitable values –Change the “Lighten” layer opacity to ~ 20 % +/- 10% –Change the “Darken” layer opacity to ~ 80 % +/- 10%

49. Pro vs. Normal Sharpen