Although we have already published a detailed review of the JPEGmini Pro software a while ago, a number of readers have reached out to me, asking how to effectively use the software, specifically when extracting images for clients from Lightroom. I have now been using JPEGmini for over a year and both Lola and I have been extracting images from Lightroom in a specific way to get the highest quality JPEG images to our clients, while retaining the smallest file size possible. Previously, we would extract everything at particular resolutions (typically 2048 for smaller JPEGs and full size for print) using 100% JPEG compression for the full sized images for the best possible quality, but extracting hundreds and sometimes even thousands of images turned out to be a headache when it came to storage and file transmission. With JPEGmini, we were able to continue delivering the best images to our clients, with a much smaller footprint. This resulted in both time and cost savings in the long run for us, as we did not have to deal with time-consuming uploads and large USB drives. In this article, I will show how both Lola and I we have been utilizing JPEGmini as part of our Lightroom workflow.
As many of our readers know, there are only a few software packages out there that we always recommend at PL to our readers. One of such software packages is JPEGmini, which in my opinion, is worth every penny, even when paying for it in full. Well, today and tomorrow only, our friends at B&H Photo Video decided to host a really nice special for our readers, by bringing the price of the JPEGmini Pro photo optimization software down to $59.95, which is basically 60% off its original sticker price of $149.95. Considering how much you can do with JPEGmini, that’s one heck of a deal for it! If you do not know about JPEGmini, I would highly recommend to give my JPEGmini Pro review a read, as it details all the feature of the software and explains exactly what it does. In short, JPEGmini is capable of reducing the file size of your JPEG images by up to 80%, while keeping the quality indistinguishable for the viewer.
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.
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.
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.
One of the worst feelings as a photographer is to realize that you have accidentally deleted one of your photos, and you have no way to recover it. Most photographers have horror stories about such situations — I once nearly lost all my photos from a trip to San Francisco — but it is often possible to recover deleted photos using special software. One such software is Stellar Phoenix Photo Recovery, which claims to be able to recover images from memory cards or hard drives, even after reformatting the drive or deleting an image.
Adobe has been enjoying their place in the software industry for a very long time now. It’s a monopoly, isn’t it? Despite the effort made by Corel, DxO, PhaseOne and others, the benchmark is still Photoshop and Lightroom (even if the latter does not actually lead in every area). In fact, Photoshop has actually become a synonym to the word “post-process” or “edit”. “To photoshop something”, how many times have you heard someone say it? Exactly. And all of this is well deserved, because there simply isn’t any better alternatives. But for us, the users, monopoly is not such a good thing. Lack of proper competition puts the developer in a rather lazy state. Fortunately, an alternative might be in the works, called Affinity Photo (currently in Beta stage). Unfortunately, it is only available for Mac at this time.
What do you think is the possibility, when you are choosing and sorting images based on the JPEG previews, that you are going to discard the better-quality image, and keep the lesser-quality one? Let’s take a look at a typical “training” shot for a holiday – noon of a sunny day, blue Ionian sea, bright white limestone pebbles, bushes with dark-green, high-detail leaves (which lose all detail if the shot is underexposed), deep shadows under the bushes. These types of scenes typically have a very wide dynamic range. We will see later, however, that the real range of the shot we are examining is pretty much only 8 EV, if the exposure is technically correct.
The purpose of this article is to share my initial impressions of the DxO ClearView anti-haze function which is contained in the Elite Version of DxO OpticsPro 10 software. As many Photography Life readers know, I’ve been using DxO OpticsPro as my main RAW processor for some time. I started out using DxO OpticsPro 8, then upgraded to 9 in order to get the PRIME noise reduction function, then upgraded again to OpticsPro 10 in order to get speed improvements with PRIME, some enhanced Smart Lighting presets, and the new ClearView anti-haze function. With each upgrade I felt my money was well spent.
A while ago, Adobe has made the Lightroom 5.2 and Camera RAW 8.2 Release Candidate version update available. I restrained from updating my Lightroom 5 version to the RC update and decided to wait for the full release. Today, final Lightroom 5.2 and Camera RAW 8.2 updates are finally available for download and fix a number of bugs while also adding support for several newest cameras. New Camera RAW features are only available for Photoshop CC users. CS6 users are also eligible for the update, but Camera RAW 8.2 for Photoshop CS6 only adds new camera/lens support and fixes bugs. It does not add new features.