June '20

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2 4 G R A P H I C S P R O J U N E 2 0 2 0 G R A P H I C S - P R O. C O M S I G N A G E & P R I N T I N G T H E D I G I T A L E Y E LENS CORRECTION Every lens produces a certain amount of distortion as a result of the bending of light waves through the varied thickness of the glass. The Lens Correction feature corrects optical distortions that the cam- era lens produces. The Profile tab corrects lens distortion based on the make (Canon, Nikon, Mi- nolta, etc.), model, and optical profile of the lens. The Manual sliders adjust hori- zontal and vertical distortion. There are also sliders in the Manual tab for eliminat- ing lens vignette-ing (the dark areas that sometimes form in the corners of the pic- ture), and a check box option for remov- ing chromatic aberrations (the col- ored fringe that sometimes appears around the edges of image elements). OTHER ADJUSTMENT CONTROLS HSL Adjustments: Use color sliders to target and refine specific color rang- es. Three characteristics of each color can be manipulated: hue, saturation, and luminance. Split Toning: Targets adjustments to either highlights or shadows. FX: Has two features that give the image a more distressed appearance. The top controls apply grain to the image. The bottom controls create a vignette effect, darkening the edges surrounding the pic- ture (Figure 9). Calibration: This feature applies a color profile to the image. Choose a version from (1- 5) in the menu. The color range of the profile can be adjusted using the sliders. Presets: Apply specific Camera Raw set- tings to the image. The Presets tab is de- signed for quick adjustments. Snapshots: Record a collection of cus- tom settings that can be applied to any image. To make a snapshot, click on the New Snapshot icon at the bottom of the panel. TOOLS Some of the Camera Raw tools closely re- semble the tools in Photoshop in their be- havior, like the Hand, the Zoom, the Eye- droppers, the Crop tool, and the Spot Removal tool. Other tools work in sync with the controls, such as the Adjustment Brush that targets specific regions in which to apply Camera Raw adjustments. Choose the brush, establish the location(s) of the adjustment, adjust the brush size, feather, flow, and density, and make the adjustment. SYNCHRONIZE If adjustments are applied to a single im- age, they can be applied to other images by synchronizing them. Start by open- ing all of the images in Camera Raw by selecting them in Bridge. Choose Open in Camera Raw from the File menu. Re- member they have to be in either JPEG or unlayered TIFF formats, or in one of the Camera Raw formats. When the images open, they appear as a list on the left side of the interface. Select one of the images and make the adjust- ments. Then select the additional images by pressing the shift key and clicking on additional consecutive images in the list or the Command (Mac) or Control (Win- dows) to add the individual images that you want to apply the adjustments to. If you want to apply the settings to all of the open images, choose Select All from the pulldown menu. Then choose Sync Settings from the pulldown menu. A dialog box appears to be able to pick and choose which adjustments to apply. Click OK and all images are affected in the same way (Figure 10). 'TWAS EVER THUS… This overview was presented to help you to decide whether or not to shoot your images in Camera Raw format. Is it the be-all, end-all wonder tool? Well, it certainly offers a lot of essential fea- tures for enhancing those not-so-hot pictures. Of course, experimentation is always the key to create the perfect image, and I'm sure you can agree that Camera Raw has the potential to make your im- ages pop off the page. Here's a tip. You've worked an image in Camera Raw, ex- perimented with its many features, and applied the settings by clicking Done to save the changes, or Open Image to open it in Photoshop. It is highly recommend- ed that you open it in Photoshop to ap- ply additional tweaks and enhancements. Camera Raw doesn't do everything that Photoshop can do, but it is a great begin- ning to your workflow. It gives you an edge from the get-go to get the most out of your pictures. GP STEPHEN ROMANIELLO is an artist and educator, teaching digital art at Pima Community College in Tucson, Arizona for more than 30 years. He is a cer- tified instructor in Adobe Photoshop and the author of numerous books and articles on the creative use of digital graphics software. Steve is the founder of GlobalEye Systems, a company that offers training and consulting in digital graphics software and creative imaging. FIGURE 9. The FX control has two features that give the image a more distressed appearance. The top controls apply grain to the image. The bottom con- trols create a vignette effect. FIGURE 10. If adjust- ments are applied to a single image, they can be applied to other images by synchronizing them.

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