As we already mentioned in the previous article “Where are my Mid-tones?“, most raw converters apply some hidden adjustments to a raw shot, often resulting in a bumped mid-tone, clipped highlights, and compressed shadows. This is done to make the shot look good, but can also lead to all sorts of confusion. If you are using or planning to use some raw converter, you may want to know what “beautifiers” it applies, and their price.
Today Adobe released a bunch of updates to its Creative Cloud suite, along with a new Lightroom 6.4 update. Aside from the regular bugfixes and new camera and lens profiles, Adobe introduced a new feature to its panorama stitching option within Lightroom called “Boundary Warp”, which is basically a tool that allows straightening the curves we usually see in panoramas. As we have seen before, while bugfixes and camera / lens profiles are available for all versions, new features are only available for Creative Cloud subscribers, so the Lightroom 6.4 standalone update won’t include the “Boundary Warp” feature. In addition, Adobe promises to double the speed of the panorama merging process, as well as much faster thumbnail updates when settings are copy pasted to multiple images at once. I have been running Lightroom CC 2015.4 for a few hours today and while I cannot yet state if it is more stable than the previous version, the panorama stitching process is indeed much faster in comparison. Let’s take a look at the new “Boundary Warp” update in more detail.
Determining the ideal JPEG quality setting in both Photoshop and Lightroom can be challenging, because we often see two different values to choose from. Photoshop gives us compression levels from 0 to 12 when saving JPEG images through the “Save” or “Save As” dialog, while Lightroom only allows us to input a percentage. While percentages are easier to understand than numbers from 0 to 12, as we relate to 100% being the “best image quality” easier, Adobe also created a confusion as to what number represents what percentage, since the ranges of numbers are not provided in any of the help documents. The truth is, the percentages we see in Lightroom do not really scale from real 0 to 100 in single digits. Adobe simply mapped the 0 to 12 scale to the percentage scale. This ultimately means that changing from one number to another, like from 85% to 90% might make no difference whatsoever in compression or image size, while changing from 84% to 85% would make a big difference.
One of the biggest issues many of us photographers face is the gigantic size of our photo libraries, which creates a lot of issues for backing up and restoring images. While we have written a number of articles on properly backing up images, with a recent article on a backup workflow, we have not spent much time on managing the backup size and reducing it. After-all, if the backup size itself is significantly reduced, the time it takes to back up those images improves drastically as well! Let’s talk about some of the tips, techniques and potential changes to your workflow you can administer today in order to reduce your backup needs in the future.
After a huge backlash from its user base when Adobe released a very buggy Lightroom update featuring its new Import tool, the company officially apologized and promised not only to address the bugs, but also to bring back the old Import tool and all the features it previously had. It took a bit of time, but the update is finally out! After testing the new CC 2015.3 release, I am pleased to see much better performance, particularly when using a dual monitor setup (the previous release was extremely buggy in a dual monitor setup). In addition to fixing a slew of bugs, Adobe also provided a rather big list of newly supported cameras and lenses.
There are two kinds of photographers. Those who admit they crop, and those who claim they don’t. The latter are glistening bastions of photographic purity whose souls glow at a constant Zone 10. They graciously lecture us heathens on the evils of cropping and try to exorcise the post-processing devils from our souls. They abhor us croppers, whom they consider inferior photographers – low down scum worse than fixer stains or a piece of grit in a bulk loader. They realize that cropping leads to even more sinful behavior, such as high speed bursts and shamelessly shooting above base ISO. I could go on, but they’ll pick up where I left off in the comments section.
I am currently in the beautiful San Juan Mountains of Colorado, getting ready to conduct my annual Colorado Fall Workshops. Although some of the areas have not turned in their full fall color glory yet, it is just a matter of days at this point to witness the stunning transformation of the scenery before winter rolls its cold in. A breathtaking visual spectacle; something I love indulging myself in, together with some of the most amazing people from all over the world – our readers who will be arriving later this week to join the workshops. As I was trying to catch up with work earlier today, I realized that I was about 30 minutes away from sunset. I looked outside and was disappointed to see a bunch of thick clouds covering the sky. At first, I thought I would just stay and work, but then the thought of potentially losing a sunset opportunity crossed my mind, so I grabbed the Sony A7R II (which I am currently testing) and off I went to quickly get to the first overlook of the glorious Mt Sneffels.
Choosing the right storage option can be a rather challenging process due to the sheer number of options available on the market today. The good news is, there is a solution for practically every need out there – from a simple low-cost backup solution to high-end and versatile storage arrays for multi-user environments, all depending on one’s needs. The bad news is, even when you know exactly what you need in terms of storage space, you might find yourself lost fairly quickly, particularly if you are not well-versed in storage solutions. The process of selecting the best solution is often frustrating for many photographers for this particular reason. Last year, a good friend of mine, who has been doing both photography and videography professionally for a number of years now, asked me for a suggestion on a solid and robust storage solution that could be used in a workgroup environment, with more than 2 people accessing the same data simultaneously. He told me about the challenges his team was experiencing when needing to share photos and videos in a network environment, often resorting to very slow and ineffective methods that only created frustration. Having been working with storage solutions for many years, my proposal was to use the Synology DS1815+ network attached storage (NAS) in a Gigabit network environment. I have personally used a number of Synology NAS devices in the past both on personal and professional levels and I have always loved the architecture, the simple to use software, the reliability and the performance of Synology storage solutions. Since implementation, my friend and his co-workers have been very happy, praising Synology and recommending the company to others. In this review, I will be taking a closer look at the Synology DS1815+ and talk about my experience using the unit for my work during the past 6 months.
As the number of photos taken each year continues to increase at a nearly exponential rate, infrared photography remains a relatively small niche in the photography world, one that allows us to see and capture the world in a unique manner. Because of my infrared articles and photos, I often receive emails from others struggling to achieve good IR processing results, sometimes even from our illustrious leader. ;) Recently, I received a spate of questions regarding my technique and seeking assistance. I thought that sharing a detailed example of my workflow might be helpful for those of you who have an interest in this style of photography and are looking for some tips and pointers.
Today adobe rolled out the much anticipated update to its Lightroom photo management and editing software. Two new versions of Lightroom are immediately available for both standalone and Creative Cloud subscribers. Lightroom 6 will be offered as an update to Lightroom 5 for perpetual users (both regular and upgrade licenses are already available) and those who subscribe to the Creative Cloud will get a cloud-specific version called Lightroom CC (which in its core is the same as Lightroom 6). This update is a rather significant one, because it brings very important and much-needed performance improvements, new camera / lens support and a few new notable features. Let’s discuss those in more detail now.