[Figure 1.92] View of the numerical representation for black as being 0,0,0.

[Figure 1.93] View of the numerical representation for white as being 1,1,1.

[Figure 1.94] View of the numerical representation for medium gray as being .5, .5, .5.

[Figure 1.95] View of the numerical representation for red as being 1,0,0.

[Figure 1.96] View of the numerical representation for green as being 0,1,0.

[Figure 1.97] View of the numerical representation for blue as being 0,0,1.

5. Take a look at the numerical equivalents and notice that you no longer have tonal designation in numerical increments of 0 to 255. Since we are working in floating point mode, we have designations from zero to one. Zero represents the absence of color and 1 represents the absolute saturation of that color. Figures 1.92 through 1.97 show the numerical representation of black, white, medium gray, red, green, and blue.

The floating point system works in fractions where before we were working with whole numbers such as 0, 128, 255, and so on. In 32-bit mode, you are working with decimals (thus floating points), which allow you to capture subtler shades of color and tone if your digital camera or scanner has the capability to record this amount of information.

Photo Downloader
To assist you with better workflow, Adobe has included the Photo Downloader. This is a feature that has been part of Photoshop Elements and has found its way into Photoshop. The concept is that when you insert your storage card into your card reader, it will immediately recognize the files on the card and download them to a location of your choice. In addition, you can rename your photos or convert them into Adobe’s new raw file designation called DNG.

1. Access the photo downloader through Bridge (File > Get Photos from Camera).

[Figure 1.98] View of the Photo Downloader dialog box.

2. Take a look at Figure 1.98, which shows the basic interface of the photo downloader. Here, you can tell the program where to retrieve the photos, where to download them, or how to name the photos.

3. Click the Settings tab for Convert to DNG to view your options. In this example, the JPEG preview is set to medium. The compression box is checked in an effort to save space on the hard drive. Also check Preserve Camera Raw to preserve the original data. Finally, you have the option to embed the original raw file and the DNG file during the conversion. When done, click OK.

4. On the bottom left-hand corner of the dialog box, you’ll see a button titled Advanced Dialog. Click this to customize how the photos are downloaded. When you access your card to preview your images, you can select the photos to be processed by clicking the check box.

[Figure 1.99] Photo Downloader options.

5. Figure 1.99A gives you the location of where Photo Downloader will retrieve the photos. Figure 1.99B gives you the option to create a subfolder, as well as to rename your photos. Figure 1.99C converts the photos to DNG in the process of downloading, and Figure 1.99D gives you the choice of adding metadata while downloading. What are the advantages of converting a file to DNG? When you make changes through ACR 5.2, the data is often saved in a sidecar in a form of XMP data. With DNG, all ACR data, including metadata, are embedded within the file itself, which is a more organized way to work.

What You Have Learned

• To use the Wacom tablet to improve workflow.

• How the CS4 interface is organized.

• The interface has only three sections to access all your commands.

• How to use the Tools palette.

• How to use cascading menus.

• The command palettes are shortcuts to what can be accessed in the cascading menus.

• The floating point is a decimal-based system.

• The new features in Bridge.

• ACR is an invaluable tool for editing raw files.

• ACR and Bridge work together.

Stephen Burns' passion for the digital medium as an art form is as great as his passion for photography. His background began as a photographer 28 years ago and, in time, progressed toward the digital medium. In addition to being the president of the prestigious San Diego Photoshop Users Group, of which there are currently 3,000 members, Stephen Burns has been an instructor and lecturer in the application of digital art and design for the past 13 years. He has authored several books, including the first two editions of this book, and has written numerous articles, including some for HDRI 3D magazine about using creative digital techniques with Photoshop and 3D applications. His work has been shown at fine art galleries worldwide and at www.chromeallusion.com.