[Figure 1.86] Saving your XMP data.

[Figure 1.87] Select your subset options.

When you have applied the settings and are satisfied with the results, you can save them as XMP data presets. In this example, a new preset is titled High Key Dunes (see Figure 1.86).

When you save your new preset, you’ll be asked what subsets to save with the file. From this list, you can simply check the options to be included and uncheck any options that you do not want attached (see Figure 1.87).

[Figure 1.88] Apply preset.

[Figure 1.89] Right-click the thumbnail and select Open in Camera Raw.

Now, if you open any other file in ACR and access the Presets tab, as shown in Figure 1.88, you can select any preset that you have created.

Since you are dealing with the raw file data, you have more information to experiment with than if it were formatted. In other words, you have at your command the raw 1s and 0s that the camera originally captured. After your adjustments are applied and you save the file, it is formatted as a TIFF, JPEG, or PSD of your choice. In addition, the new ACR can open not only raw format but also both TIFF and JPEG file formats. To locate a thumbnail in Bridge, right-click it and select Open in Adobe Camera Raw or just click the shortcut icon listed below the menus on the top left side of the interface (see Figure 1.89).

Floating Point Capabilities
Previous versions of Photoshop have made use of the 16-bit capabilities of digital images. But technology keeps getting faster and better, and photographers demand the capability to record greater amounts of information than ever before. Now, Adobe has given you the capability to edit 32-bit images. This is, sometimes referred to as images with floating point designations. Let’s experiment.

1. Open a new file that is a 5°—5 square inch image with a resolution of 150 PPI.

2. Change it to a 32-bit file (Image > Mode > 32 Bit).

[Figure 1.90] View of 32-bit color picker.

[Figure 1.91] View of the changes to the Preview Stop Size.

3. Take your mouse and single-click your foreground color on the bottom of your Tools palette and take a look at the Color Picker (see Figure 1.90). You have added content to the interface. Focus your attention on the top portion of the interface. The 32-bit version of the color picker displays the selected color in the center of the graph. To the left and right are one-stop increment adjustments. The right adjustments are overexposures and the left are underexposures.

4. You can adjust the preview in Stop Size increments. Take a look at Figure 1.91A–C. Each one shows the results of selecting one, two, or three Stop increments. Randomly click each color box and observe the changes in color.