Datasheet

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■ BASIC DIGITAL CAPTURE WORKFLOW
The shooting procedure for ACR is the same. Once you have shot the exposure
sequence, open the RAW captures in ACR, either from Photoshop or Bridge. Make
sure you have all your slider settings at “zero” and your tone curve set to “linear,”
and then do a white balance and synchronize all the captures before you start look-
ing for the best exposure. ACR does not display the same Linear ProPhoto feedback
numbers that Lightroom uses. (The engines are identical, but the RGB numbers are
not.) Instead, it displays RGB numbers according to the workflow settings. I recom-
mend using Adobe RGB as your preferred workspace (Figure 1.20). This is the best
compromise between working with the ludicrously wide ProPhotoRGB and the gamut
constrained sRGB. It is not so narrow that significant printable colors fall outside of
its color gamut, but not so wide as to make editing in Photoshop difficult.
After you set your workflow preferences, the RGB numbers display will exhibit
numbers that represent the chosen workspace in standard RGB from 0 to 255. In
Adobe RGB, you will look for the exposure that renders the medium-gray patch clos-
est to 121 without pushing the white patch past 245 (Figure 1.21). Once you identify
the exposure, you can calculate your exposure compensation much as in Lightroom.
Figure 1.20 The Workow Options dialog in Adobe Camera Raw
Figure 1.21 Evaluate the exposure in ACR using the RGB numbers just under the histogram.
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