![]() In something like a sky or areas of similar colour, this is fairly straightforward, but when you get into busier parts of a photograph where there are lots of textures, patterns etc. Your software then goes through a process called demosaicing (or de-mosaicing, demosaicking or debayering) where it (using an algorithm) looks at neighbouring pixels to make a judgement about how much of that colour the light would contained (called interpolation). Whichever colour it records, it’ll disregard the other two. ![]() To understand how Super Resolution works, you need to know about Raw Details Enhancer as it uses a similar technique.Įach pixel your camera captures is only one of three colours: red, green or blue. Likewise, you might have images on an old camera, or even on your phone, that look great but are so few megapixels that they don’t lend well to being increased in size for print. Or if you’re in a position where you’ve had to shoot from a distance (photographing wild animals for example) then that extra crop would be really useful in getting the image you really want. If you’ve got an archive of images taken with older generation DSLR cameras, Super Resolution can open them up to new potential. It doesn’t just work on RAW files either, you can run this on JPEG and TIFF, meaning you can, in theory, now get a lot more mileage out of your photographs. This is the equivalent of increasing your pixel count a whopping 4 times. In a similar way to Raw Details (formerly Enhance Details) it sharpens edges, improves colour and reduces artifacts, but its biggest claim is to do all of this plus 2x the linear resolution (twice the width and height of the original). 2.Super Resolution is fairly new, having been introduced in ACR 13.2. ![]() I will often come back to a file after a few days to find that I want to reduce the highlights and whites before I get started properly. This works great if you want to make quick adjustments to things like the overall exposure, contrast or vibrancy in an image. Once there, you can make any adjustments you might want and click Okay. A quick and easy solution is to stamp the layers to a new layer and run the Camera Raw Filter. Of course, you could always go back into Lightroom and start again, but what happens if you have already started making adjustments to your image?Ĭhances are, you don’t want to lose those. However, if you leave it for a day or two before you come to it, you might find that you no longer like the decisions you made. This is fine when you process your raw file and move it into Photoshop immediately. If you’re like me, you mostly make decisions about adjustments on the spot. To not lose the healing work, I used the Photoshop Camera Raw Filter to make a quick adjustment. Once in Photoshop, and after a bit of healing work, I decided that I wanted to make the image a touch cooler and reduce the vibrancy as well. Final tweaks before finishing your image.Make quick, extreme adjustments for certain parts of your image.Make certain adjustments easier than in Photoshop.But here are a few potential uses that I find myself using often. With all of the power of ACR behind the Photoshop Camera Raw filter, there is no way to make anything resembling a complete list of what you could do with it. However, it illustrates the importance of getting things as close to right as possible while in the raw stage of post-processing. This means you will have less information to work with, such as, dynamic range. Instead, the process will be more akin to working on a JPG file in Lightroom or ACR. It’s also important to realize that because you are not working with a raw file at this stage, you won’t have the same versatility that you would with a raw file in ACR. In the various menus of the Photoshop Camera Raw Filter, you will find there are a few options missing that you would see in ACR.
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