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Adobe’s new Lightroom offers even more power, but Camera Raw shares the same processing engine and isn’t far behind.Īfter the Camera Raw environment, Photoshop’s own colour-correction capabilities seem underpowered and over-fussy, but they remain central.
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This provides a host of centralised power, including adjustment sliders for Highlight Recovery, Fill Light and Colour Vibrance, options for Split Toning, integrated clipping preview and even hands-on red-eye removal, spot healing and cloning retouch tools. More importantly, it lets you take advantage of the excellent Camera Raw environment for dedicated image enhancement. Obviously, this doesn’t magically turn the JPEG into a real RAW file, but it does mean any initial colour corrections are non-destructive. With increased support for a wider range of native camera formats (over 150), as well as for Adobe’s own open and universal DNG (Digital Negative) standard, the new Camera Raw will be of interest to more people than ever. Most importantly, Bridge CS3 acts as a natural portal to the latest version of the Adobe Camera Raw Photoshop plug-in, designed for non-destructively processing the raw sensor data captured by high-end cameras. Alongside acting as a front end for finding and opening images, Bridge CS3 provides access to a range of Photoshop features such as the ability to merge multiple bracketed exposures into a single 32-bit high dynamic range image – a capability enhanced in this latest release with automatic image alignment and richer results.
CS3 PHOTOSHOP PHOTO EFFECTS FULL
The new system is a massive improvement but immediately familiar – excellent.Īs well as benefiting from the new shared CS3 interface, Photoshop CS3 takes full advantage of the new shared media management provided by Bridge CS3. Advanced features, which Photoshop CS3 takes full advantage of, include the ability to swap the toolbar between one- and two-column layouts, to set up multiple dockers side-by-side, the option to indicate those palettes available in collapsed dockers as either icons or text, and the ability to quickly open and re-shut individual palettes. This dual approach means all power is easily accessible, while the interface remains streamlined and focused.
CS3 PHOTOSHOP PHOTO EFFECTS WINDOWS
What makes the new working environment so successful is that Adobe has taken the existing system of floating palettes and incorporated them into a system of docker windows that can be neatly docked to either side of the screen and collapsed or expanded as needed. To begin with, it sports the new interface shared by all the main CS3 applications, and this time Adobe has got it absolutely right.