Working on your photos in Photoshop, you might have come across the situation where you begin to see weird lines appear in places where they shouldn’t be and weren’t before. This issue is especially common for very smooth gradients, such as skies, and can undoubtedly destroy even the most beautiful photo. And unlike other problems, this issue doesn’t seem to be triggered by anything particular; one moment it’s not there and the next time you look at the image – there it is. So, let’s figure out what this is, why it happens and how to fix it.
During the past week, I have been very busy with some university work and with preparations for a month-long road trip through ex-Yugoslavia. However, I still wanted to capture the passage of the Perseids meteors, possibly from a great location. Then, I remembered that two of my friends and I wanted to climb the Monviso, which is the third highest peak in my region at 3841 meters (12602 feet). I combined the two and there we were, driving a two-days journey in the Italian eastern Alps. Astronomers tell us that the peak of the falling star has moved from the former 10th of August to the 12th, but the weather forecast for the 12th was depressing to say the least. Unfortunately, since my camera can’t see behind clouds (yet!) and I don’t like to walk under a torrential rain, the weather was in charge and the departure was moved to the morning of the 13th. Our gear included a tent, sleeping bags and mats, not enough food and water, and some photographic gear: my tripod, a Canon 1200D/T5 and two lenses: a Canon 10-18mm f/4.5-5.6 and a Tamron 17-50mm f/2.8 VC, along with a remote and three spare batteries. My photographic goal was to make a timelapse of the shower of meteors and possibly capture some images along the way, whereas my climbing goal was to go up as high as possible and maybe coming back alive.
DIY projects are always popular, so we’ve decided to throw another one into the mix. This particular little idea comes from a problem that many photographers have – where do you get a good, small, white/gray surface to use for white balancing your RAW shots in conversion?
I think that so many of us love photography because of its inherently dichotomous nature. On one hand photography is an art form which allows each of us incredible creative latitude for visual expression. That is counterbalanced by the complexity of the technical considerations that can come into play when creating images.
Today Apple unveiled the brand new iPhone 7 and iPhone 7 Plus mobile phones and it looks like a lot of attention has been given to the camera features of the two devices. With the “Shot on iPhone” campaign showing huge billboards featuring iPhone images, it is no wonder that Apple has been spending quite a bit of R&D towards the image capture capabilities of the new iPhone. The keynote presentation was filled with camera verbiage – in fact, the Apple team specifically used such words as “bokeh” to describe the new dual lens design of the iPhone 7 Plus. Speaking of which, it will only be the Plus model that will have two lenses – one wide-angle f/1.8 lens for wide shots and a 56mm equivalent telephoto lens for zooming in and capturing portraits (the regular iPhone 7 will have a single wide angle lens).
One of the largest debates in the world of photography is split into two main camps. On one side are people who strive to take photos with the highest technical level of image quality — in everything from their equipment to their camera settings — for most of their photos. The other side of the debate says that photographs are more about the subject and emotion of the scene, and the image quality is only a minor factor. Neither side is always right or always wrong, of course, but this is a question worth discussing. When does image quality truly matter, and when is “good enough” more than enough?
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.
Valerie Jardin is not only an accomplished street photographer, but also a podcaster, teacher, speaker and writer. Originally from France, Valerie currently lives in the United States. Valerie’s international workshops and speaking engagements often sell out over a year in advance. This is why I feel so lucky to have been able to attend one of her workshops this August in Vancouver, Canada.
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!
Many Photography Life readers already know how much our team likes the Tamron 150-600mm f/5-6.3 lens – we have written a few articles on how amazing the lens is for reach and our detailed review of the Tamron 150-600mm attracted a lot of people, with over 200 comments in the review. Today, Tamron announced a big update to this lens in the form of SP 150-600mm F5-6.3 Di VC USD G2. This second generation (G2) lens went through a number of changes, including improved image stabilization, faster AF speed and a few other mechanical and design tweaks. The biggest changes, however, are in the updated optical formula and weather sealing – the G2 now features better optical design with improved overall sharpness and a fluorine coated front element, while the lens barrel has been reworked in order to reduce both dust and moisture from entering the lens (which is one of the biggest issues of the previous design). Lastly, the new 150-600mm now joins the list of lenses compatible with Tamron’s TAP-in console, for future firmware upgrades and customization. The lens will retail for $1,399 and it is scheduled to start shipping at the end of this month. In addition to this lens, Tamron has also announced two new 1.4x and 2.0x teleconverters, both of which will be compatible with the lens.