Raw Justice: Camera Raw—Beyond the Basics - The Adobe Photoshop CC - page 75

However, what I found most puzzling was this: in the movie poster, Pamela Anderson
totally dominates the poster with a large, full-color, ¾-length pose of her wearing a skimpy
black dress, thigh-high boots, and holding a pistol at her side, yet the other actors ap-
pear only as tiny black-and-white, backscreened headshots. I have to admit, this really
puzzles me, because while Pamela Anderson is a fine actress—one of the best, in fact—I
feel, on some level, they were trying to fool you into watching a movie thinking it was
about Pamela Anderson's acting, when in fact it was really about the acting eye candy
that is Hays. This is called “bait and switch” (though you probably are more familiar with
the terms “tuck and roll” or perhaps “Bartles & Jaymes”). Anyway, I think, while “ Raw
Justice ” makes a great title for a chapter on going beyond the basics of Camera Raw, there
is no real justice in that this finely crafted classic of modern cinematography wound up go-
ing straight to DVD.
Double-Processing to Create the Uncapturable
As good as digital cameras have become these days, when it comes to exposure, the human
eye totally kicks their butt. That's why we shoot so many photos where our subject is back-
lit, because with our naked eye we can see the subject just fine (our eye adjusts). But when
we open the photo, the subject is basically in silhouette. Or how about sunsets, where we
have to choose which part of the scene to expose for—the ground or the sky—because our
camera can't expose for both? Well, here's how to use Camera Raw to overcome this ex-
posure limitation:
Step One:
Open the photo you want to double-process. In this example, the camera properly exposed
for the sky in the background, so the bridge in the foreground is a silhouette. Of course,
our goal is to create something more like what our eye sees, but our camera can't—a photo
where both the bridge and the sky are each exposed properly. Plus, by double-processing
(editing the same RAW photo twice), we can choose one set ofedits forthe skyand another
for the bridge, to create just what we want.