Many photographers have been buying expensive wide gamut monitors in order to take a full advantage of their ability to display over a billion of colors. What many do not realize, is that their actual workflow is most likely limited to just 16.7 million colors due to software and hardware limitations. How does one achieve a true 10 bit per channel, or 30 bit workflow? What are the advantages and is it worth the effort? To answer these questions, I decided to dig into the 30 bit photography workflow in detail and explain its advantages, disadvantages and also discuss its future.
“Of all tyrannies, a tyranny sincerely exercised for the good of its victims may be the most oppressive.” It would be better to live under robber barons than under omnipotent moral busybodies. The robber baron’s cruelty may sometimes sleep, his cupidity may at some point be satiated; but those who torment us for our own good will torment us without end for they do so with the approval of their own conscience.”
- C. S. Lewis
One would think that with the myriad of problems facing the United States and the rest of the world, our lawmakers might be content to prioritize them, determine which are best to be solved by the private sector, the public sector, or some combinations thereof. But alas, there seem to be some that believe every problem should be solved with some form of government intervention and control. Recently, Congressional Representatives Ileana Ros-Lehtinen (R -FL), with assistance from Ted Duetch (D – FL), and Lois Capps (D – CA), introduced a bill (H.R. 4341) allegedly to save our children from eating disorders and other mental problems by regulating the use of what essentially are labeled as “unrealistic Photoshop” alternations to pictures of models and others that are prominently displayed in advertising, magazine articles, etc. I was a bit surprised to find out that Ros-Lehtinen had sponsored this bill. I happen to be well-acquainted with her stances on many issues and often find myself in agreement with her.
They title the bill, “Truth in Advertising Act of 2014.” Don’t get me wrong – I am not advocating advertisers should be allowed to make blatant false representations regarding their products’ benefits. But policing every photo tied to an advertisement under the watchful eye of some government overseer seems to be fraught with it its own set of problems.
So how could anything go wrong with such a well-meaning piece of legislation? Read on…
For most people who just want to have some fun with their photography and have another ‘trick up their sleeve’ focus stacking can be an interesting technique to explore. To put this article in proper context, I’ve never used focus stacking for any of my client work, and I don’t profess to be an expert at the technique…but I have experimented with it. The following image is a quick focus stacking example I put together for this article. It was composed from 11 separate exposures. It’s far from perfect, but it does represent a typical result that most hobbyists can easily achieve.
Over the last several years operating this site, I have been incredibly lucky to meet many talented photographers from all over the world. Some I met face to face (whether in my workshops or other gatherings / conferences), while others I met and interacted with online. One interesting pattern that I noticed in the majority of photographers, and I am talking about the ones that understand light, composition and proper technique, is that they often lack the key component of completing the image and making it successful – post-processing skills. It turns out that most of us spend our time learning our gear and how to take good pictures, but we fail to take that beautifully captured photograph to the next level and make it look amazing by enhancing it further in post-processing. Yes, camera technique, light and composition are all extremely important and those are certainly key ingredients that each of us needs to learn and eventually master, but we need to understand that a captured photograph is just the beginning of making the image. What happens to the photograph after it is taken, is as important as the process of capturing it. I have seen many photos that would have looked breathtaking, had the person put some extra effort into making it work. Even worse, I have seen so many examples of great photos that get slaughtered by very poor post-processing techniques and ugly presets.
How many times have you seen an overdone HDR, over-saturated, over-sharpened, over-contrasted, over-recovered, over-preset, over-insert-any-photoshop-term-here mess? Unfortunately, I have seen too many. The worst examples are what I call “forced photos”, where the photographer takes a terrible image and thinks that it can look better when post-processed. So much time and effort is spent on making a terrible photo look absolutely horrendous. How do I know? Because I have done it many times myself.
This is a follow-up article to the tutorial I published a few days ago on how to create a panorama image in Lightroom. In the article, I used a very simple and straightforward panorama image which could be merged without any errors virtually on first try. The image did not have a main object of interest and only a few points that needed critical precision during stitching process. I chose this image for the sake of convenience – I didn’t want it to cause any apparent problems while I tried to explain how to seamlessly include Photoshop or any other panorama merging software in your Lightroom workflow. However, we all understand that, more often than not and especially with Brenizer method panoramas that I love so much, the stitching process is far from being perfectly accurate every time. More complex panoramas require several tries before the stitching is done properly, or manual correction. But how do you manually correct a panorama that you are trying to merge through Lightroom? It is actually easier than you may think and is unlikely to upset your workflow in any way.
A while ago, I posted an article on why I thought Adobe’s Creative Cloud model was a bad idea. The feedback from our readers was great, with over 300 comments and counting. Most agreed with my stance on why the “renting” model was not for everyone and talked about the risks associated with going to the cloud. Today, Adobe reported that its security was breached and hackers were able to obtain private information including customer names, encrypted credit/debit card numbers, expiration dates and other private data for 2.9 million customers, all part of the Creative Cloud subscription model.
A while ago, I wrote an article explaining how to use Lightroom with external editors. Since then, I’ve been asked specifically about merging panorama images. In this article, I will show you all the steps you need to take to successfully merge a panorama and have it back in your Library with minimal fuss. I will be using Lightroom 5.2 and Photoshop CS5, but the process is virtually identical with (reasonably) older versions of both software tools. This tutorial will focus on the process of stitching a panorama image while using Adobe Photoshop Lightroom as the heart of your post-processing and image management workflow.
If you are new to panorama photography, the best place to start is by reading our “Panoramic Photography Tutorial”. Manual panorama stitching technique will be discussed in a separate article.
1) There is a Catch
We start, unusually, with a problem. As a RAW file converter and photo manager, Lightroom has limited functionality when it comes to graphical editing. In fact, all its great flexibility is concentrated within the two mentioned main functions of the software. In many other respects, Lightroom is not the best choice. For example, I can edit 98% of my wedding photographs with Lightroom alone, no problem. However, the two remaining percent happen to be Brenizer method panoramas. This is where things, at first glance, get a bit more complicated. As I am sure a lot of you already know, you can’t stitch panorama images with Lightroom alone. If you didn’t yet know this and stumbled upon this article hoping to find a different answer, I am sorry to disappoint you. It lacks such functionality at its core. There is, of course, a workaround. What Lightroom can’t do on its own, it can do with the help of external editors and plug-ins. Panorama stitching happens to be one of those holes you can fill in quite easily if you own a Lightroom-compatible panorama stitching software which, in my case, is Photoshop. So, in order to create a panorama in Lightroom (sort of), you need to export those files to an external editor. Photoshop has a very powerful Photomerge tool for just such occasions, but the problem remains. You need to own another piece of software to perform such a task. I find that perplexing.
Today at Photoshop World conference in Las Vegas, Adobe announced a new packaged bundle tailored specifically for Photographers. It consists of the Photoshop CC, Lightroom 5, Behance ProSite and 20 GB of cloud storage – all for $9.99 per month. There are two conditions with this deal: you have to sign up before December 31, 2013 and you must currently own CS3 or a newer version of Photoshop. Many photographers complained about Adobe’s decision to move the Creative Suite platform to the cloud and their new subscription-based pricing model. We wrote a number of articles criticizing Adobe’s decision and talked about the pitfalls of going to the cloud, including the high monthly costs.
Previously, Adobe’s pricing model was to charge $20 per software application, or $50 for everything. So if you wanted to subscribe to Lightroom and Photoshop (which are the two most used applications among photographers), you had have to pay $40 per month. Starting from September 17, 2013, which is the projected launch date for Lightroom 5.2, you will be able to get both software packages, along with some other extras at quarter of the price. Adobe has already discounted Creative Cloud pricing before and it is doing it in a much more aggressive manner again.
Rather than taking a deeper look at an image, those of us who are just getting into photography might get carried away with thoughts of major post-processing. If given enough consideration, most photos do not need major editing or hardly need any editing at all. Before venturing into piling on every single editing trick you’ve learned on the photo of your choice, I call you to consider these basic tips to make your workflow faster and hopefully easier.
If you took workshops and coursework on photography, chances are you’ve heard every mentor talk about understanding composition and learning to crop within the camera. Doing so will yield greatly composed photos and will limit your time in post production. But from time to time, you will come back with badly cropped photos which might have distracting elements in the background and the composition may not look spot on. If you are photographing portraits, even the slightest distraction may draw the viewer’s attention to something else than what you originally intended the viewer to concentrate on. At times like these, instead of deleting the photo, I want to give it another chance. Memories are precious and I do not mind cropping the photo to preserve what is important. Cropping images in post production will give you another chance to re-frame your shots and there are a number of different ways you can do this to achieve desirable results.