 |
||||||||||||
 |
||||||||||||
 |
||||||||||||
| February 23, 2010 |
||||||||||||
 In
This eNewsletter: How-To – Hard & Soft Light Industry Perspective – USB 3.0 to the Rescue What's New This Month – Nik, Samsung, Delkin, Brightscreen, and LowePro How-To – The Raw Facts About Infrared Vote! – Briefly on your experience with video with a D-SLR. Workshops – Learn and Show Shutterbug Forums – Your Photo & Digital Imaging Source |
||||||||||||
|
||||||||||||
|
||||||||||||
|
||||||||||||
 |
||||||||||||
|
||||||||||||
When you walk outside on a sunny day you’re looking at hard light. The shadows have a lot of edge detail and are very dark. Reflections are small and very bright. In light like this we can see a lot of texture in surfaces. The shadows, if the light is coming from the right direction, can be a dramatic and important part of an image. |
||||||||||||
One of the best ways to squeeze the maximum image quality from your digital infrared files is to first capture them in your camera’s Raw format and process them in your favorite Raw software. In my case that’s Adobe Camera Raw (ACR) that’s part of every recent copy of Photoshop and Photoshop Elements, so even if you’re using Adobe’s inexpensive image-editor you’ll have access to the same tools. I use this product for a few simple reasons: As a Photoshop user it’s already part of the software that I use every day and doesn’t cost extra. When working on the first edition of “Raw Workflow: From Capture To Archive” (www.focalpress.com) I tried other Raw processing programs and found that ACR produced results consistent with the goals I am trying to achieve with my digital infrared photography. You may have different goals and may require different software, but for those of you who want to try the simple steps I use with Adobe Camera Raw to produce the digital infrared images you see in Shutterbug and my books, read on.
