The typical advice for capture sharpening in Adobe Camera Raw is to set the Radius setting based on the details in a photograph.

For photos with lots of tiny details, a smaller Radius setting is suggested. A wider Radius can obliterate tiny details. For photos with larger details and wider edges -- for example, portraits -- a wider Radius setting is usually preferred.

This is the first episode in a new TLR video series on understanding color from the perspective of a digital photographer.

This is the second episode in a new TLR video series on understanding color from the perspective of a digital photographer. In this episode, Mitch explains how color is relative to the light source, the subject, the observer, and even to nearby colors.

This is the third episode in a TLR video series on understanding color from the perspective of a digital photographer. In this episode, Mitch discusses lightness, how it is relative when viewing a photograph, and why it is such a critical color component.

After a long delay, this is the fourth episode in a TLR video series on understanding color from the perspective of a digital photographer. In this episode, Mitch considers saturation, how (like lightness) it's relative when viewing a photograph, and how we can use it to draw the viewer's eye to features we want to emphasize.

In this episode, Mitch wraps up his discussion of basic theory with a look at hue. From here, the video series will turn to practical applications of basic color theory.

Episode 6 moves the discussion from the abstract ideas of color theory to more practical ideas, like how changes to saturation and lightness are not isolated in RGB (nor, in L*a*b, as we'll learn in episode 7 and even the Photoshop layer blends for hue, saturation, color, and lightness are not as effective as one might expect (more about this in episode 7).

There are fans of working in L*a*b mode and there are skeptics. In episode 7, Mitch discusses the practical implications of making a round-trip to L*a*b for some advanced color editing.

Making selective adjustments to the contrast of an image is possible with Photoshop’s Burn and Dodge tools. But that's not the only way to make selective adjustments to the tones in your photographs. This video explores three options for dodging and burning, showing you techniques that give you a lot more control over the process.

Using Photoshop I take three images from three very different camera's and form this composite image. This video outlines the simple process of how this was done.