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.
Just a few years ago, if you wanted more saturated colours in your landscapes or any other sort of photography, there was one basic adjustment to apply – saturation. Especially for beginner photographers, the Saturation slider in Photoshop was one of the most useful tricks to learn and seemed to change everything. You start with a boring, flat looking sundown, and you end up with this magnificent landscape to behold.
Last update: January 1, 2015
I did the first Lightroom Q&A session over a year ago and I think it is about time I do one again. As before, you are welcome to ask any question you like about Lightroom. I very much hope to answer all of them by updating this article. I will run this session for up to a week and update the article regularly with answers. If there are any questions very specific to a certain case, I may answer them in the comments section. Specific, to-the-point questions will be answered in this article, while questions requiring more extensive explanation may be covered in separate articles in the near future. As always, our readers are very much welcome to pitch in and participate actively in this Q&A session by helping with the inquiries (I doubt I will know all the answers!). If you are new to Adobe’s Lightroom and find it difficult learning what’s what, this is the time and place to ask for help!
A while ago, I wrote an article on low-contrast B&W conversions with Lightroom. After reading through some of the response the article received I was pleasantly surprised that so many of our readers actually prefer low-contrast look over the ever-popular high-contrast conversions. That is not to say high-contrast B&W photography is in some way inferior, not at all. It is merely the more popular, the more easily accepted sort of look, which is exactly the reason why I saw fit to go against the wave and start with the opposite. Now, ever since I wrote that piece, I’ve received several requests for a similar article on a high-contrast conversion. This topic is particularly tricky for me since I rarely do high-contrast B&W, but the requests did remind me of one occasion where I was deliberately working towards such a result from the very start. And so, as always, we begin with a photograph.
As some of our readers have found out, there is an issue with the high-resolution, high-density screen of the Surface Pro 3. You see, the more resolution you pack into a small screen, the smaller the elements then appear – buttons, text, just about any content on the Internet. I am certain that the issue is temporary – as high-density screens spread and become common technology, these issues are bound to be resolved at some point. Still, if you are using Lightroom with the Surface Pro 3 now, waiting is not really an option. And I have some good news – there is no need to wait. An issue is only an issue if you can’t solve it. Luckily, there are at least two ways to make the user interface of Adobe’s popular RAW converter more friendly to both mouse and touch input, and both are as easy to set up.
Before we start, thought, let’s see what the issue is all about.
I will be honest, I am not a fan of Adobe as a company. I never liked their business model: their practice of gobbling up competition (sometimes out of fear), their Creative Cloud extortion and their sleazy management that only cares about their next quarter revenues. But most of all, I never liked Adobe’s poor software development practices. In my past tech life, Adobe products were always a big pain due to numerous security holes and huge, frequent updates. In fact, Adobe has been notoriously bad with releasing poorly tested software with too many security holes. In 2011, Adobe dominated Kaspersky Lab’s top ten PC vulnerabilities list, with “extremely critical” security vulnerabilities that allowed attackers to gain access to computer systems and execute arbitrary code. These security vulnerabilities spanned several Adobe products, which most PCs had at the time and even today: Adobe Reader and Adobe Flash Player. No wonder Apple did not want to support flash in its iOS (which thankfully resulted in the slow demise of the Adobe Flash), since Flash was a very badly written, resource intensive platform to begin with. Although Steve Jobs mostly blamed Adobe Flash for being a PC-era platform, two of the biggest reasons why Flash support was excluded from iOS were in fact related to security and stability concerns.
If you have been waiting for Adobe to release full RAW support for the new Nikon D750 (see our detailed Nikon D750 review), for the new Canon 7D Mark II (see our first impressions preview), or for a number of other new cameras from Fuji, Leica, Olympus, Panasonic, Pentax, Samsung and Sony, you will be happy to know that Adobe has just delivered the final production version of Lightroom 5.7 and Camera RAW 8.7 that not only provide the RAW support, but also come with a huge list of newly supported lenses. Along with these updates, Adobe also delivered some updates to the Synced Collections in Lightroom, integrated a utility to import images from Apple Aperture and Apple iPhoto Libraries, enabled support for HiDPI displays in ACR 8.7 and provided a number of bug fixes for both Lightroom and ACR. For those who like to shoot tethered, both the Nikon D4s and the D810 are now fully supported. Another huge news is for Nikon D810 owners – the color profiles have now been finally fixed, so you will not see any banding issues when using Nikon camera profiles anymore!