One of the biggest frustrations with Lightroom’s built-in watermarking tool, is the fact that it often ends up making watermarks appear too soft / blurry, especially when extracting smaller JPEG images. This happens due to Lightroom’s rather poor implementation of watermarking on images. Not only does Lightroom seem to apply sharpening to images before adding a watermark, but also, the resizing algorithm used by the software appears to be pretty bad. No matter what image dimensions one chooses, Adobe has not provided a way to turn off scaling in Watermark Editor, even if one provides transparent PNG / GIF images with the correct dimensions. For this reason, many photographers end up using Photoshop for adding watermarks to images, which certainly does take more time and effort, but certainly delivers much sharper results in comparison. After seeing poor watermarking results, I decided to look into alternative methods to see if there is a way to make watermarks sharper using the same tools. After some experimentation, I came up with two methods that ended up working well and that’s what I am going to share with our readers in this article.
While it seems that adding watermarks to images does little nowadays to deter image theft, watermarks can still be very useful for photographers and business owners for promoting their work and their brands across websites and social media. Unfortunately, for those who are just starting out, adding a simple watermark to images can be a rather painful experience, especially if they are not already familiar with the process using such software tools as Photoshop. Thankfully, Adobe has made it easy to add watermarks to images in Lightroom, allowing one to not only add a watermark to a single image, but also to apply it to all images during the export process, which can save a lot of time and frustration when dealing with batches of images. In this article, I will show how to use the built-in watermark tool that is readily available in Lightroom in order to quickly add watermarks to images.
Although we have already published a detailed review of the JPEGmini Pro software a while ago, a number of readers have reached out to me, asking how to effectively use the software, specifically when extracting images for clients from Lightroom. I have now been using JPEGmini for over a year and both Lola and I have been extracting images from Lightroom in a specific way to get the highest quality JPEG images to our clients, while retaining the smallest file size possible. Previously, we would extract everything at particular resolutions (typically 2048 for smaller JPEGs and full size for print) using 100% JPEG compression for the full sized images for the best possible quality, but extracting hundreds and sometimes even thousands of images turned out to be a headache when it came to storage and file transmission. With JPEGmini, we were able to continue delivering the best images to our clients, with a much smaller footprint. This resulted in both time and cost savings in the long run for us, as we did not have to deal with time-consuming uploads and large USB drives. In this article, I will show how both Lola and I we have been utilizing JPEGmini as part of our Lightroom workflow.
A strength of Photoshop is being able to perform edits non-destructively. Most edits can be performed on their own layer, preserving the original background layer. The Spot Healing Brush, Clone Stamp, and Patch tools all work this way and they can all be used to remove unwanted objects non-destructively. However, if you have ever tried to remove an object from an image using Content-Aware Fill, you will have noticed that you can’t do this on a new blank layer. This tool requires pixels to work. But if you use Content-Aware Fill on your background layer, you end up changing those pixels permanently. You could create a copy of the background and use the tool here. However, this needlessly increases the size of your document. In this short article, I want to show you an easy workaround, which will keep your original background layer intact.
The Lightroom import dialog is one of the most essential components of the software, not just because that’s how one gets images into Lightroom, but also because with the proper use of the import dialog, it is possible to properly organize images and apply specific presets that can potentially save quite a bit of time when post-processing images. In this article, I will go over the import dialog and cover its settings to hopefully help our readers in understanding its use and advantages.
Adobe Lightroom is arguably the most widely-used image editing software around these days. While most of our readers are probably quite familiar with it, a piece of software as complex as Lightroom is sure to have some tricks and features that not everyone knows about. What I’d like to do today is share a few of those with you. If some of these are new to you, enjoy having some new tricks up your sleeve! If these are old news to you and you already knew them all, please leave one of your favorite tips or tricks in the comments section.
Ever since I started using Lightroom back in 2007, I have been keeping a backup of every single version on my computer, making sure that I had the latest version of that particular release. With the very first version of Lightroom having a few issues and not having 64-bit architecture support, I ended up deleting it, so the first release of Lightroom I actually preserved was Lightroom 2 (the latest build of that release was Lightroom 2.7). The next stable build I preserved was Lightroom 3.6. From there, it was Lightroom 4.4 that I used the most before Adobe released Lightroom 5. With the release of LR 5, Adobe introduced Lightroom CC, which was the first cloud version of Lightroom. From there, Lightroom CC 2014 was rolled out, which was equivalent to version 5.4 of LR standalone. The big release was Lightroom 6 (CC 2015), which is the most current version, the latest release being Lightroom 6.6.1, or Lightroom CC 2015.6.1 if you use the cloud version of the software. So what do you do when you have all these versions of the software? Well, I installed them all on my Windows 10 PC and decided to give them all a try and see how much Adobe has been improving the performance of the software over the years. The results are quite interesting to say the least!
One of the things that always tends to surprise me is how differently I edit images that were taken with my phone versus images that were taken with my DSLR. Of course, there are obvious differences between the equipment used, the editing software that is available and the overall quality of the final image, but after giving it some thought, I realized that this isn’t why I edit images differently depending on what was used to capture an image. It turns out that the main differences come down to my intended audience.
Most of you are probably already familiar with the different tools that are available to use while editing your images in post-processing software. I’m referring to the various brushes and filters that can be found in Lightroom, Capture One Pro and other similar programs. Well, did you know that in addition to using these tools to adjust things like exposure and saturation, you can also use them to add a bit of color to your images? In this post I’ll show you a few of my favorite ways to use these tools along with some subtle additions of color, which will make your image editing a bit more colorful. Keep in mind… I’m a Lightroom user, so I can’t promise that these techniques are available in all post-processing software.
Lens distortion is a common issue we photographers deal with on a daily basis. It can be split into two groups – distortion by perspective and distortion by optics. Be it one or the other, it often causes unnatural-looking deformation of photos we take. As a result, we end up searching for ways to address distortion issues in the field, or afterwards in post-production. Usually lenses with longer focal lengths produce less distorted results than wide-angle lenses. And as you might already know, distortion is much more noticeable closer to the edges of the frame than in the middle. If you shoot landscapes or cityscapes at wider focal lengths and you have straight vertical elements near the corners of the frame, distortion might significantly bend and skew those elements, making them look very strange. There are several ways you can address such problems, so let’s talk about those now.