Check out the screenshot for all the settings. I also reduced the Exposure and boosted the Contrast.īy adjusting the Tint and a bunch of the other sliders I am able to brighten and pour in a bunch of contrast over the sand to give a neat look to the photograph. Drag a gradient straight down from the top of the image to apply the effect. Using the Graduated Filter tool (G), I will introduce much more orange and pink into the sky by boosting the Temperature and Tint to +20 and +100, respectively.
Other than the huge slider update and the massive back end performance boost with the much better prevention of artifacting, aberration, and noise worked in, ACR7 has included much better control of color and noise when using the Graduated Filter and Adjustment Brush tools. I am going to set my Whites to -100 and my Blacks to +50.Īrtifacting, Chromatic Aberrations, & Noise Reduction Bright, bright and dark, dark areas of the image will be targeted, respectively. There is a focus specifically on both ends of the histogram. The Whites and Blacks sliders target the highlights/shadows in a much tighter fashion than the Highlights/Shadows sliders did. Contrast and Curves will be there to help you. NOTE: The more you darken your highlights and brighten your shadows the less contrast your image will have. I want to pour a little more light into the shadows so I’m going to push this up to +55.
The Shadows slider is really going to target the darker portions of the image. Highlights control the brighter portion of your image (we’ll talk about “Whites” in just a second) and because the sky is getting blown out here I’m going to pull this way back, all the way back to -100. All that stuff in the middle of your histogram.Ĭontrast is Contrast and I’m going to bump mine up to an even +55. Exposure controls the mid-tones in your image. The sliders in ACR7 all have the ability for positive and negative values for any of these settings (plus/minus Whites, Blacks, Contrast, etc... etc…) and allows for a much broader range of option. Typically you will need to make some adjustments to tweak your picture a bit more. The panel of sliders on the right will update and ACR7 will try to use settings that are somewhere near what the image previously had. We want to edit this in ACR7 and we can do this by telling Camera RAW to update this image to the current process (Adobe Camera RAW 7 is current!) by clicking the little exclamation point in the bottom right of the image. The image that I opened with Camera RAW has previously been edited in ACR6-which ships with Adobe Photoshop CS5. Things like artifacting, chromatic aberrations, and noise all are kept under much, much better control in Adobe Camera Raw 7.0, or ACR7 as we’ll call it. Long story short, Adobe did some serious overhauling to this dialog and you will be able to beautifully push the limits of your images beyond anything you could in previous versions of Adobe Camera RAW. What you will see is the Camera RAW editor. NEF, Adobe even has a RAW format (which I love!). NOTE: RAW file formats vary depending on the camera you use. To open a Camera RAW file using Photoshop, go File>Open and double click the RAW file you would like to open. TIP: In addition to your camera’s native Camera RAW files, you can use the Camera RAW editor to edit JPEG and TIFF files by right clicking those files in The Adobe Bridge and choosing “Open in Camera Raw…” Most importantly, Camera RAW allows us to pass images into Photoshop where we can further edit them! Camera RAW allows you to edit images outside of Photoshop in a very refined way, much different from the normal interface of Photoshop. If you purchased (or ‘acquired’) Photoshop, you will have Camera RAW. The Camera RAW editor is included with Photoshop. This allows you to work on RAW files in the Bridge while Photoshop batch processes or renders large images, etc… To open an image using Camera RAW in the Bridge simply select that image and hit Cmd/Ctrl + R. One of my favorite things about the Camera RAW editor is that you can open it with either Photoshop or the Bridge.