I recently decided to upgrade from my current infrared-converted Nikon D7100 to a Nikon D7200, taking advantage of Kolari Vision‘s Anti-Reflective coated glass (article to follow). In the process, I once again considered my filter choices. Although I had some decent results from a 665nm filter from another infrared conversion house, I was not satisfied with the overall results and had Kolari Vision swap the 665nm out and install a 720nm filter. I always thought the 720nm filter provided the best overall balance of bright white vegetation and false color processing capabilities, but admit suffering from occasional bouts of ICE – Infrared Color Envy. Some of the photos taken with the 590nm filter are… well… rather gaudy. But I have also come across some that are jaw-droppingly gorgeous.
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.
A couple of weeks ago I wrote the article “Four Simple Tips for Better Composition”. In that article, I discussed in-camera techniques for keeping your horizons level and verticals vertical. However, even if you are careful, this is not always possible. This is especially true when trying to take pictures of tall buildings. I received several great comments mentioning that Photoshop’s powerful “Transform” tool can be used to correct the keystoning issues that arise in such a situation. I thought it would be a good idea to follow that last article up with one on post-processing methods for perspective corrections. I will go over a couple of ways to quickly fix horizons in Lightroom and how to easily improve/correct keystoning in Lightroom. I will also go over some more advanced techniques for perspective correction using Photoshop, for when the Lightroom methods don’t quite make the grade. The combination of good in-camera image creation and post-processing perspective corrections should allow you to create images that reflect how are eyes see and our brains perceive the world around us.
With almost all of our cameras featuring video capabilities (I’m looking at you, Nikon Df), most of you have probably considered going beyond the occasional family video. However, like photography, video requires post-processing for best results, and the prospect of buying After Effects, Premiere Pro, and SpeedGrade just to get your toes wet is daunting for many photographers. What you may not know is that you already have a powerful video-editing program in Adobe Photoshop CC, or CS6 Extended. This is an easy way for photographers to play around with film without purchasing hundreds of dollars worth of software, and is surprisingly effective. I’m certainly not a professional videographer as my example video will show, but I have enjoyed editing a few shorts, just for fun. The two most critical aspects of editing for video (not including cuts/sequencing) are color-grading and sharpening, both of which can be done relatively painlessly in Photoshop using tools you’re already experienced with.
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!
Adobe rolled out a bunch of updates today to its Creative Cloud platform, including updates to Adobe Photoshop CC, CC 2014, Bridge, Lightroom and Camera RAW. Lightroom has been updated to stable 5.6 version, along with Adobe Camera RAW 5.6. These updates include a number of bugfixes, along with RAW support for the new Nikon D810, Panasonic Lumix AG-GH4 and Panasonic Lumix DMC-FZ1000 cameras. A number of lenses have also been added to this release, including the new Canon EF-S 10-18mm IS and EF 16-35mm f/4L IS USM lenses and a number of Sony Alpha lenses.
Many photographers have been buying expensive wide gamut monitors in order to take a full advantage of their ability to display over a billion of colors. What many do not realize, is that their actual workflow is most likely limited to just 16.7 million colors due to software and hardware limitations. How does one achieve a true 10 bit per channel, or 30 bit workflow? What are the advantages and is it worth the effort? To answer these questions, I decided to dig into the 30 bit photography workflow in detail and explain its advantages, disadvantages and also discuss its future.
Today is a big release date for Adobe, because the company is rolling out a few major updates to its Adobe Creative Cloud platform, along with new apps for mobile devices designed for creative professionals and enthusiasts. One of the silent updates that got rolled and did not get much press is the final version of Lightroom 5.5 and Camera RAW 8.5. Adobe was so busy with its new products and updates, that it did not include any information on additional features included in Lightroom 5.5. It seems like the final release is similar to the 5.5 release candidate, where support for additional lenses and cameras were added, as shown below. The most notable bugfixes in this release are: properly reading lossless compressed files from older Nikon DSLRs and correct processing of Fuji X-T1 RAW files when using Dynamic Range 200% and 400% setting. And the most notable feature for Nikon D610 owners is that now there is finally tethering support, although Adobe never mentioned it on their website!