| about the author credits foreword acknowledgments introduction part ⅰ capture workflow chapter 1 what are raw files really about？ a raw start why use raw？ understanding raw raw capabilities do not shortchange raw what is 16-bit all about？ proprietary formats the value of dng does jpeg have a place？ chapter 2 shoot raw right from the start the digital darkroom understanding the sensor dealing with limitations . exposure – more than getting brightness correct reading the histogram without being an engineer interpreting the histogram looking at histograms: examples of good and bad exposures perfect exposure with ideal histogram nice range of tones from left to right histogram has visual relationship to scene light tones kept in range black-and-white challenge restricted tonal range still needs good exposure poor exposure causes color problems bad light causes exposure problems poor exposure causes background problems exposure for shadows washes out highlights filters are still necessary noise raises its ugly head variations among cameras chapter 3 color and raw chapter 4 what’s new in adobe camera raw？ part ⅱ camera raw workflow chapter 5 a quick look at camera raw tools and workflow chapter 6 workflow applied chapter 7 advanced tonal control chapter 8 white balance decisions chapter 9 the noise problems no one talks about chapter 10 special features of camera raw part ⅲ making camera raw work harder for you chapter 11 tough decisions chapter 12 black-and-white processing chapter 13 double processing for exposure chapter 14 post camera raw processing appendix a: aalternatives to camera raw pro glossary index |
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