A huge step in the right direction and acknowledgement of the still ground-breaking impact of digital photography in the design world.. No longer are you as a digital photographer or you as a designer provided with a fresh-out-of-the-camera file required to go to another application to bring in your image. Corel has long been the Swiss Army Knife of file formats and adding RAW to the mix continues this fine tradion. Welcome to X4
That is another step in the right direction. The camera and the tagalong RAW format proliferation is a never ending tide against which to swim. There is much work yet to do…
<Rikk Flohr> wrote in message news:11845@coreldraw.com... That is another step in the right direction. The camera and the tagalong RAW format proliferation is a never ending tide against which to swim. There is much work yet to do… How true but Corel's finally in the game....Batter' up Ted Rikk FlohrFleeting Glimpse Imageswww.fleetingglimpse.comVisit my on-line print store! Click Here http://community.coreldraw.com/forums/p/3310/11845.aspx#11845
How true but Corel's finally in the game....Batter' up
Ted
Edward Thurston said:How true but Corel's finally in the game
I for one would like to see eyedropper tools and color information displayed so we can gray balance straight from our RAW conversion. Those additional features would make RAW conversions sing as it is now all RAW convertes lack true professional features. For now we have a start, as long as Corel continues to have service releases for RAW the expand camera support.
I fully agree with you David! My push for getting a info palette with color markers, which will work with all tools, will be ongoing.
I tried many different RAW converters and I applaud Corels effort to add RAW support into PP in my opinion Corel needs to either go all the way and do it correctly or partner with a 3rd party vendor who will. If you can't gray balance in the RAW converter during the conversion process you're guessing at color and unfortunately no RAW converter has this feature at this time.
This may be why Corel added the RAW Lab as it is just so there is some support PP until some RAW converter provider does it right and they can then partner with them.
Hi again, David,
can you tell me a little more about your meaning of correct grey balance? What is the difference between your meaning of grey balance and the white balance tool found in most RAW software (which can sample any shade of grey, not just white)?
Another question, out of curiosity: what would you do if you were given an image that was taken in sunset lighting? The image would have most likely have been taken in that lighting for deliberate effect; it is very flattering and gives lovely warm skintones. Would you neutralise a known white object, and in effect completely destroy the whole purpose of shooting in sunset light? i.e. make it look like it was taken earlier in the day? I have often wondered about how people go about processing that type of image. I, personally, adjust my images to retain the warmth I intended at the time of shooting, and mainly only make adjustments to enhance contrast, or to retrieve lost details in less than perfectly exposed images.
I asked that question because I once shot a bikini model in sunset light at a place called Red Rock, for her business cards. We went out of our way to choose the location and time of day for the colour/angle of light we wanted in her shot. It was a rush job and we had to take the film to a one-hour lab, and I chose one that usually gave excellent prints. Their machine was fairly automated, and consequently the warmth was all but removed from the image. I told the lab operator my client would not accept these images and he let me have them free of charge anyway. The machine would not give him enough control to leave the warmth in the image.