about the author -- foreword -- contents -- introduction -- Part I: CAPTURE WORKFLOW -- Chapter 1: WHAT ARE RAW FILES REALLY ABOUT? -- A RAW START -- WHY USE RAW -- UNDERSTANDING RAW -- RAW CAPABILITIES -- DO NOT SHORTCHANGE RAW -- WHAT IS 16-BIT ALL ABOUT? -- PROPRIETARY FORMATS -- THE VALUE OF DNG -- DOES JPEG HAVE A PLACE? -- Q& A -- Chapter 2: SHOOT RAW RIGHT FROM THE START -- THE DIGITAL DARKROOM -- UNDERSTANDING THE SENSOR -- DEALING WITH LIMITATIONS -- EXPOSURE - MORE THAN GETTING BRIGHTNESS CORRECT -- READING THE HISTOGRAM WITHOUT BEING AN ENGINEER -- INTERPRETING THE HISTOGRAM -- LOOKING AT HISTOGRAMS: EXAMPLES OF GOOD AND BAD EXPOSURES -- FILTERS ARE STILL NECESSARY -- NOISE RAISES ITS UGLY HEAD -- VARIATIONS AMONG CAMERAS -- Q& A -- Chapter 3: COLOR AND RAW -- GOOD RAW IS GOOD COLOR -- ADOBE RGB VERSUS SRGB -- COLOR SPACE FOR THE PURPOSE NEEDED -- WHITE BALANCE: A RAW WORKFLOW ISSUE -- Q& A -- Chapter 4: WHAT'S NEW IN ADOBE CAMERA RAW? -- MAKING RAW PROCESSING MORE PHOTOGRAPHIC -- SOME CHANGES TO THE INTERFACE -- HOW LIGHTROOM AFFECTS CAMERA RAW -- Q& A -- Part II: CAMERA RAW WORKFLOW -- Chapter 5: A QUICK LOOK AT CAMERA RAW TOOLS AND WORKFLOW -- FINDING YOUR RAW PHOTOS -- BRIDGE CAPABILITIES -- OPENING CAMERA RAW -- THE IMPORTANCE OF RESET AND UNDO -- CAMERA RAW IN SIX-PART HARMONY -- CAMERA RAW TOOLBAR -- PREVIEW OPTIONS -- THE IDEAL WORKFLOW -- BASE SETTINGS -- HOW TO APPROACH CAMERA RAW -- MONITOR CALIBRATION -- Q& A -- Chapter 6: WORKFLOW APPLIED -- WHAT IS YOUR PHOTO ABOUT? -- AUTO SETTINGS -- WORKFLOW OPTIONS -- TONAL ADJUSTMENTS -- COLOR ADJUSTMENTS -- DETAIL ADJUSTMENTS - SHARPENING -- DETAIL ADJUSTMENTS - NOISE REDUCTION -- SAVE YOUR WORK -- SETTING UP CAMERA RAW FOR YOUR CAMERA RAW -- Q& A -- Chapter 7: ADVANCED TONAL CONTROL -- EVALUATE THE IMAGE -- FIRST ADJUSTMENTS - BLACKS AND HIGHLIGHTS -- TONE CURVE ADJUSTMENTS.

BACK TO BASIC AND CLARITY -- BACK TO COLOR -- REFINING COLOR -- SHARPENING WITH THE DETAIL TAB -- EVALUATE, AND THEN OPEN OR SAVE -- Q& A -- Chapter 8: WHITE BALANCE DECISIONS -- A NEUTRAL SUBJECT IS RARELY NEUTRAL -- DUSK LIGHT -- AQUARIUM GREENERY -- EVALUATING COLOR -- Q& A -- Chapter 9: THE NOISE PROBLEMS NO ONE TALKS ABOUT -- WHEN NOISE BECOMES A PROBLEM -- WATCHING FOR NOISE -- REDUCING NOISE IN CAMERA RAW -- WORKING TO CONTROL THE NOISE -- READJUSTING THE IMAGE -- Q & A -- Chapter 10: SPECIAL FEATURES OF CAMERA RAW -- SPECIAL TABS OF CAMERA RAW -- FIXING LENS PROBLEMS -- USING THE RETOUCH TOOL -- USING THE RED EYE REMOVAL TOOL -- INFLUENCING COLOR CHANGES -- BATCH PROCESSING -- DUPLICATING PROCESSING: SAVING SETTINGS AND PRESETS -- Q & A -- Part III: MAKING CAMERA RAW WORK HARDER FOR YOU -- Chapter 11: TOUGH DECISIONS -- SOFT COLORS -- BACKLIT CONTRAST -- COLOR ENHANCEMENT -- NOT THE NORMAL LIGHT -- Q & A -- Chapter 12: BLACK-AND-WHITE PROCESSING -- CAMERA RAW OR PHOTOSHOP FOR BLACK-AND-WHITE -- CAMERA RAW DOES BLACK-AND-WHITE RIGHT -- HOW TO THINK BLACK-AND WHITE -- SHOOTING FOR BLACK-AND-WHITE -- CONVERTING TO GRAYSCALE -- OPTIMUM USE OF COLOR SLIDERS -- USING SPLIT TONING -- Q & A -- Chapter 13: DOUBLE PROCESSING FOR EXPOSURE -- ONE SIZE MAY NOT FIT ALL -- PROCESSING THE BRIGHT AREAS -- PROCESSING THE DARK AREAS -- THE MERGING PROCESS -- PROCESS FOR THE MAIN PHOTO -- DOUBLE PROCESSING FOR COLOR AND TONAL RANGE TECHNIQUES -- TWO-SHOT PROCESSING -- INTO CAMERA RAW -- MAKING THE PHOTO WORK -- Q& A -- Chapter 14: POST CAMERA RAW PROCESSING -- ANSEL ADAMS AND IMAGE PROCESSING -- INTERPRETING AN IMAGE -- SHARPENING -- Q & A -- Appendix A: ALTERNATIVES TO CAMERA RAW -- WHY USE OTHER PROGRAMS? -- ADOBE PHOTOSHOP LIGHTROOM OR APPLE APERTURE VERSUS CAMERA RAW -- CAMERA-SPECIFIC RAW CONVERTERS -- INDEPENDENT RAW CONVERTERS -- Glossary -- index.