Sizing and Resolution in Camera Raw


Since you're creating and processing your own images, it only makes sense that you get to choose what resolution, what size, which color space, and how many bits per channel your photo will be, right? Adobe calls these "workflow" decisions, which is why in order to make these decisions you have to turn on the checkbox for Show Workflow Options. Once you do that, the workflow options are revealed. Here's how to know what to put where:

Step One

Once you've made all your exposure and tonal settings, fixed any lens-related problems, and generally have the photo looking the way you want it to in the Camera Raw dialog, it's time to fine-tune your resolution, size, etc. (In the bottom left of the dialog, make sure the Show Workflow Options checkbox is turned on.) First we'll start with choosing your size. By default, the size that appears in the Size pop-up menu is the original size dictated by your digital camera's megapixel capacity (in this case it's 2560x1920 pixels).

Step Two (Size)

If you click-and-hold on the Size pop-up menu, you'll see a list of image sizes that Camera Raw can generate from your RAW original. The ones with a plus sign (+) by them indicate that you're scaling the image up in size. The minus sign (-) means the image will be smaller than the original size taken by the camera, which quality-wise isn't a problem. The number in parentheses shows the equivalent megapixels that size represents. Usually, it's fairly safe to increase the size to the next largest choiceanything above that and you risk having the image look soft or pixelated.

Step Three (Resolution)

Just under the Size pop-up menu, you'll see the Resolution field. The topic of resolution is something entire training DVDs are dedicated to, so we won't go in-depth about it here, but I'll give you some quick guidelines. If your photo will wind up on a printing press, use 300 ppi (you don't really need that much, but many print shops still think you do, so just play it safe at 300 ppi). If you're printing 87x10" or smaller to an inkjet printer, you can also use 300 ppi (or even 360 if you're really picky). For larger prints (like 13x19"), you can get away with 240 ppi or less (I've used as little as 180). Either way, you're not locked in because you can always change the size and resolution in Photoshop.

Step Four (Space and Depth)

The color space choice is easy: Choose Adobe RGB 1998. It's the most popular choice with photographers because the range (gamut) of colors it supports is greater than sRGB (giving you more color), and it's big enough to get the most out of your inkjet prints (unlike ProPhoto RGB, which lets you add colors your printer can't reproduce). As for the Depth pop-up menu, generally choose 8 Bits/Channel. Although some high-end photographers insist on 16-bit, you don't get the full use of Photoshop's tools and features, plus the file sizes are approximately double in size, which makes Photoshop run a lot slower (not to mention they take up more room on your hard disk).



    The Photoshop CS2 Book(c) for Digital Photographers
    The Photoshop CS2 Book for Digital Photographers (Voices That Matter)
    ISBN: B002DMJUBS
    EAN: N/A
    Year: 2006
    Pages: 187
    Authors: Scott Kelby

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