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Camera Raw is the next generation of high-fidelity imaging; it s affordable, most cameras you don t buy at a drugstore can write a Raw file format, and as with any comparatively new technology, there s a small learning curve we ll tackle in this section A Raw image is similar to an unprocessed physical piece of camera film; although it contains a lot of data about exposure, light temperature, f-stop, lens, and other conditions, the Raw image does not have locked data about pixel colors Raw offers the ultimate in flexibility if the light was too low or the wrong temperature, you can adjust for these and other flaws through CorelDRAW s Camera Raw Lab The Camera Raw Lab appears after you choose to import a Raw camera image; a Raw image cannot be placed in a CorelDRAW composition before it passes through the Lab (even if you choose not to do anything to the image) Depending on your camera settings, you ll most likely be working with a 48-bit image, 16 bits per channel; this offers a color space of several trillion unique colors and is part of the reason why Raw images can be adjusted to make dramatic lighting changes while retaining high image fidelity

But there is still the problem of the missing propellers, the ones I told you to forget about as you outlined the plane We cut them because they should be turning,

CHAPTER 26:

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Working with the Raw Lab in CorelDRAW is an experience you won t want to miss If you don t have a Raw image handy or if your camera cannot take Raw file format images, you can download the example image of a historic factory Because no two manufacturers could agree on a file extension, a Raw image could have CRW, DNG, or scores of other extensions The good news is that CorelDRAW doesn t care about the file extension you just choose Raw-Camera RAW from the Files Of Type dropdown list in the Import dialog, and then navigate to the location of a Raw image, in the following example, Future factorydng The better news is that CorelDRAW can import Raw images from a three-page list of manufacturers just short of photos on a View-Master reel, you re assured that CorelDRAW can import most Raw files Let s dig right into the features and options available to you when you import a Raw image; follow these steps and guidelines to import the image, and then perform minor processing enhancements There s nothing truly wrong with the image, but this tutorial is instead an opportunity to gain hands-on experience with the Camera Raw Lab features

You can emulate the look and feel of an Active Directory central store without having to extend your Active Directory schema Yet, you can take advantage of your existing Active Directory hierarchy or groups

1 Choose File | Import, or click the Import button on the Property Bar 2 Choose All File Formats from the Files Of Type drop-down list, and then choose

Future factorydng from the folder you downloaded the file to Now you need to tell CorelDRAW s import filter that the image you chose is a Raw file; choose Raw-Camera Raw now from the Files Of Type box Click Import or press ENTER

NOTE: Associating user configurations to groups is supported only in Active Directory domains that use Active Directory authentication User data is always up to date because it is stored in a central location to avoid any data replication latency associated with Active Directory You can load-balance your shares among multiple computers that can each host an NTFS network share for higher availability Helps reduce the authentication task workload from your Active Directory environment When using the NTFS file share for a Central Store, consider the

properties of this unprocessed photograph The Properties tab of the interface tells the day and date of the photo, the camera, whether or not flash was used, aperture, and ISO-equivalent film speed If you re familiar at all with cameras, the info shown here will give you a clue to what, if anything, needs adjusting in the image For example, at ISO 50 at an f-stop of 40, the image probably doesn t require sharpening the depth of field looks good and the Properties tab confirms this Also, because a flash wasn t used, when you get to the Color tab, you can rule out Flash as a choice from the White Balance options

unless we want to say the plane s flying into a storm with an engine out And a turning propeller is a blur, not distinct vanes sticking out and steady

Ill 26-5

Considerations following:

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