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Would it be correct to think of ACR as the Adobe Transfer Function Builder? Because what you are doing by making adjustments in ACR is designing and building a custom transfer function that is used to map the raw data to a PS image.
If this is true wouldn’t it be more intuitive for PS to display the raw image as a layer below the ‘background layer’ in the ‘Layers’ palette with the mapping functions as an associated layers mask?
Having the raw data embedded inside the Tiff or PSD would not increase the file size that much and they could even embed it in the DNG format and call it the negative layer. I can think of lots of advantages to having raw data inside PS.
Just curious, and this is potentially a very stupid question, but do most PS images originate from sources other than digital cameras – like software, cinematography or film? Obviously I am new to PS I am wondering if dSLR photography is central to PS or more of a sideline?
Thanks,
Ron
If this is true wouldn’t it be more intuitive for PS to display the raw image as a layer below the ‘background layer’ in the ‘Layers’ palette with the mapping functions as an associated layers mask?
Having the raw data embedded inside the Tiff or PSD would not increase the file size that much and they could even embed it in the DNG format and call it the negative layer. I can think of lots of advantages to having raw data inside PS.
Just curious, and this is potentially a very stupid question, but do most PS images originate from sources other than digital cameras – like software, cinematography or film? Obviously I am new to PS I am wondering if dSLR photography is central to PS or more of a sideline?
Thanks,
Ron
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