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Cory! Thank you very much! i am downloading as we speak, I live on big island Hawaii and this will help me practice before making the long journey up Mauna Kea! I just purchased a 12mm f2.0 for capturing the stars and i will share its results upon the next new moon.
Think of a camera raw file as your photo negative. You can reprocessthe file at any time, achieving the results that you want by makingadjustments for white balance, tonal range, contrast, color saturation,and sharpening. When you adjust a camera raw image, the originalcamera raw data is preserved. Adjustments are stored as metadatain an accompanying sidecar file, in a database, or in the file itself(in the case of DNG format).
When you shoot JPEG files with your camera, the camera automaticallyprocesses the JPEG file to enhance and compress the image. You generallyhave little control over how this processing occurs. Shooting cameraraw images with your camera gives you greater control than shootingJPEG images, because camera raw does not lock you into processingdone by your camera. You can still edit JPEG and TIFF images inCamera Raw, but you will be editing pixels that were already processedby the camera. Camera raw files always contain the original, unprocessedpixels from the camera.
Camera Raw software is included as a plug-in with AdobeAfter Effects and Adobe Photoshop,and also adds functionality to Adobe Bridge. Camera Raw giveseach of these applications the ability to import and work with cameraraw files. You can also use Camera Raw to work with JPEG and TIFFfiles.
Camera Raw supports images up to 65,000 pixels long or wideand up to 512 megapixels. Camera Raw converts CMYK images to RGBupon opening. For a list of supported cameras, see Digital camera raw file support.
Using Adobe Bridge, you can apply, copy, and clear image settings, and you can see previews and metadata for camera raw files without opening them in the Camera Raw dialog box. The preview in Adobe Bridge is a JPEG image generated using the current image settings; the preview is not the raw camera data itself, which would appear as a very dark grayscale image.
If you open a camera raw file in Photoshop, you can save the image in other image formats, such as PSD, JPEG, Large Document Format (PSB), TIFF, Cineon, Photoshop Raw, PNG, or PBM. From the Camera Raw dialog box in Photoshop, you can save the processed files in Digital Negative (DNG), JPEG, TIFF, or Photoshop (PSD) formats. Although Adobe Camera Raw software can open and edit a camera raw image file, it cannot save an image in a camera raw format.
Because DNG metadata is publicly documented, software readers such as Camera Raw do not need camera-specific knowledge to decode and process files created by a camera that supports DNG. If support for a proprietary format is discontinued, users may not be able to access images stored in that format, and the images may be lost forever. Because DNG is publicly documented, it is far more likely that raw images stored as DNG files will be readable by software in the distant future, making DNG a safer choice for archival storage.
You can convert camera raw files to the DNG format by using the Adobe DNG Converter or the Camera Raw dialog box. For more information on the DNG format and DNG Converter, see the Digital Negative (DNG) product page. To download the latest DNG Converter, go to the Adobe downloads page.
When you finish adjustingthe image in Camera Raw, you can apply the adjustments to the cameraraw file, open the adjusted image in Photoshop or After Effects,save the adjusted image to another format, or cancel and discardadjustments. If you open the Camera Raw dialog box from AfterEffects, the Save Image and Donebuttons are unavailable.
Open or collapse the panels as you need. Once you make adjustments in a panel, long-press the eye icon to hide that panel's adjustments in the preview. You can also select a profile from the Profile drop-down menu. Once you're made your desired adjustments, click Done.
When you view camera raw files in Adobe Bridge,the thumbnails and previews use either the default settings or youradjusted settings. The Adobe Bridge cache stores data forthe file thumbnails, metadata, and file information. Caching this datashortens the loading time when you return to a previously viewedfolder in Adobe Bridge. The Camera Raw cache speeds theopening of images in Camera Raw and rebuilds of previews in Adobe Bridgewhen image settings change in Camera Raw.
This opens the Load Layers dialog box, and this is where we tell Photoshop which files we want to load. Set the Use option to Files (the default setting), then click Browse:
If you captured your images in the raw format, you can load the raw files themselves into Photoshop. But keep in mind that raw files are much larger than JPEG files, and because of that, they'll take much longer to load. They will also take longer to align and to focus stack. I guess what I'm trying to say is, raw files will take longer. You may want to consider first converting the raw files into JPEGs which will greatly speed up the process, as I've done here (we can see the \".jpg\" extension at the end of each file name).
Depending on the number of images and their file type (raw or JPEG), the loading process may take a while. But when it's done, all of your images will be loaded into Photoshop and each one will appear on its own separate layer, as we can see here in my Layers panel. Photoshop uses the name of each image as the name of its layer:
Again, depending on the number of layers and whether you're working with raw files or JPEGs, it may take a while for Photoshop to align everything. A progress bar will keep you company while you wait. When Photoshop is done, the result will look something like this:
Click OK to close out of the dialog box and let Photoshop begin the focus stacking process. Again, it may take a while depending on the number of images and their file type. When it's done, you should see the depth of field from each image blended together, bringing your entire subject (or scene) into focus. In my case, the shell is now entirely in focus from front to back:
And there we have it! That's how to easily focus stack images in Photoshop! If you found this tutorial helpful, please consider supporting Photoshop Essentials by downloading the PDF version! Check out our Photo Retouching section for more photo editing and retouching tutorials!
Raw Details, previously called Enhance Details produces crisp detail and more accurate renditions of edges, improves color rendering, and also reduces artifacts. The resolution of the enhanced image stays the same as the original image. This feature is especially useful for large displays and prints, where fine details are visible. The supported file types are raw mosaic files from cameras with Bayer sensors (Canon, Nikon, Sony, and others) and Fujifilm X-Trans sensors.
Super Resolution, introduced in Camera Raw 13.2, helps create an enhanced image with similar results as Raw Details but with 2x the linear resolution. This means that the enhanced image will have 2x the width and 2x the height of the original image, or 4x the total pixel count. This feature supports the same file types as Raw Details, plus additional file types such as JPEG and TIFF. Super Resolution is especially useful to increase the resolution of a cropped image.
Very well placed steps. On my A7S the AWB gets colors and sky glow colors very well. Everyone suggests Daylight or Tungsten but the milky way color is 3800/3900 you can set this on camera or use AWB. I do a lot of capture over the ocean and on beaches and have found selecting portrait to get the color of sand and MW best (but just a starting point). But always do lens profile second. IF there are waves do a color pick on one, they will be white and MW/sky colors better. If AWB was used then the graduated filter down for sky adjust for temp and saturation reduced for a geryer like is seen a black but a shade of blue brings out the Dark Horse Nebula Magenta side and baby Blue side pop and reducing highlights and whites can rid light pollution but not much it will look dull. Instead of D&B use the Radial filter (invert 100%) dot on the lowest wing (pegasus) but elongate the entire MW side to side and above and below a bit. This is where everything is in reverse of global. Increase temp and tone just a bit to get the magenta to pop just a bit and reducing saturation will kind of lighten. Texture/Clarity/Dehaze can deepen the path/dark horse legs and shapen the wings and highlights and whites stars along path and within sparkly. Noise has been a problem for ever and using in camera NR gets rid of hot and dead pixels, LR NR can soften but the best that everyone is trying to copy with an AI is Topaz Denoise using low light nails noise and sharpens stars and after you can start from zero again to brighten shadows and reduce highlight using again all sliders to get a better image. And if using a 12MP camera using Gigapixel AI will get you a 300MP image to cover a rooms wall. As far as the silhouette I like a bright foreground ground, If you use a f/2.8 of faster it will be bright like daytime and exposure will have to be reduced and shadows increased anyway to your liking.
TIP: Always shoot raw files for the widest dynamic range and flexibility in recovering details in the highlights and shadows. Even so, each segment has to be well exposed and focused out in the field.
Stitching with ON1 PhotoRAWThe Adobe competitor ON1 PhotoRAW also provides a good panorama stitching feature that can work with both simple and many multi-tier panos. It provides a flattened result, even when exporting as a .PSD Photoshop file.Two programs popular as Adobe alternatives, ON1 PhotoRAW (above) and the aforementioned Affinity Photo (below), also have very capable panorama stitching functions.
Opening with AffinityAffinity Photo is one of the few non-Adobe programs that can open large Photos