With so many editing / post-processing software packages on the market today, photographers might find it rather difficult to go through them all and compare key features in order to pick something that would ultimately work for their needs. Many of us go through that stage, especially when starting out. What is the best software for photo editing? What features does it have? Is it easy to learn and how much does it cost? These are just some of the questions photographers seek answers for. While John Bosley and I have been working hard on producing our PL Level 1: Post-Processing Basics course, we have decided to share one of the charts that we will be including in the course with our readers, which compares the most popular non-destructive editing tools on the market. It took us a while to compile all this data, since there are so many different features and considerations one must go through to make a meaningful comparison. The chart has not been fully finalized yet, since we are currently looking for your feedback and ideas, so that we can hopefully make the chart complete and comprehensive enough for those who are interested in such a comparison.
Sharpening remains a particularly confusing topic among photographers, especially given the tremendous number of post-processing options available. Some post-processing software has so many options that it is hard to know where to start; others do not let you use optimal methods in the first place. If you are trying to use the best sharpening settings – including the lowest possible levels of noise and other artifacts – the ideal method is three-step sharpening.
Your earliest photographic habits naturally will build over time, including the ways that you name and organize your images. What seems like a small issue at first – say, keeping your camera’s default file names – could spiral out of control when you have tens of thousands of images. It can be easy to delete photographs on accident when they have the same file name, potentially deleting some of your favorite photos. Although a good backup system helps you recover a photo that has been lost, it is far better to prevent such a mistake from happening in the first place. While there is no perfect naming system, I will cover some useful tips that help you avoid duplicating the file names of your own photographs.
One of Lightroom’s simplest, most useful post-processing options is the humble split-toning panel. Buried between the HSL and Detail sidebars, split-toning isn’t exactly a go-to tool for most photographers. And why should it be? From tint to saturation, Lightroom already offers several ways to change the colors of an image; another option seems unnecessary. In truth, though, split-toning is far more useful than it may first appear, and certainly more valuable than some photographers believe it to be. In this article, I will cover in-depth the uses of split-toning, as well as the issues that arise from this interesting tool.
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.