August 1, 2012
Positioning the cursor over the triangles in the upper left and right of the Histogram panel will display areas of the photograph that are clipping to pure black or pure white. Areas that are clipping to black are shown with a blue overlay, areas clipping to white are shown with a red overlay.
Moving the cursor away from the shadow/highlight clipping icon hides the overlay. For a more constant display of the overlay, click the warning icon to show, click again to hide – or tap the “J” key to toggle on/off both of the shadow/highlight clipping previews at once.
An alternate way to preview clipping is to Opt (Mac) /Alt (Win) -drag the Exposure, Highlights, Shadows, Whites and/or Blacks sliders in the Basic panel. This differs from the clipping warnings above as you will see a per channel clipping preview displayed.
Note: In order to preview the clipping warning in ACR in Photoshop, tap the “O” / “U” key. Similar to Lightroom, clipped highlights will be displayed in red, shadows in blue. I remember these shortcuts by thinking of Over/Under exposure.
July 23, 2012
In this video tutorial (Why Does the Photograph’s Preview Change in Lightroom and Bridge? ), Julieanne explains one of the great mysteries of Lightroom and Bridge – why Lightroom (or Bridge) displays a photograph one way and then changes the way it looks a moment later. It will all become clear with just a little information about how digital camera files are captured and displayed by different applications.
June 7, 2012
When using the Adjustment Brush in Adobe Camera Raw, Control -drag left/right to decrease/increase the brush size. Control + Shift -drag left/right to decrease/increase the feather (softness) of the adjustment brush’s edge.
June 5, 2012
To preview video faster in Photoshop, zoom out until the height of the canvas is less than 540 pixels. At this smaller preview size, Photoshop CS6 automatically plays and scrubs at lower resolution (and therefore faster).
May 29, 2012
Sharad Mangalick (product manager for Lightroom) provides a nice summary:
Camera Raw 7.1 is now available on Adobe.com and through the update mechanism in Adobe Photoshop CS6. Camera Raw 7.1 adds new Defringe controls to help address chromatic aberration. Defringe is available as part of the Lens Correction panel. Camera Raw can also now read 16-bit, 24-bit, and 32-bit HDR files. Supported HDR formats are TIFF and DNG. Photoshop CS6 customers can upgrade to Camera Raw 7.1. Customers of previous versions of Photoshop can utilize DNG Converter 7.1 for raw file support for newly added cameras.
More details about ACR 7.1 and DNG Converter 7.1 here via the Lightroom Journal.
And Lightroom 4.1 is now available as a final release on Adobe.com and through the update mechanism in Lightroom 4 (Under the Help menu). More information posted here on the Lightroom Journal.
April 27, 2012
If you’re a beginner to Bridge, Adobe Camera Raw and Photoshop or, if you simply need to brush up on some of the features that you use less often, then this is the perfect training course for you! With 150 crisp, concise videos, Julieanne makes it easy to find information on exactly the topic you’re looking for so that you can get professional results as soon as possible. To see a table of contents and more information, click here.
For more information on how to become a Lynda.com member, click here.
April 22, 2012
In this video (Camera Raw Enhancements in Photoshop CS6), Julieanne will show you how to create the highest quality photographs by taking advantage of new and improved global and local adjustments in Adobe Camera Raw. Julieanne will demonstrate the best way to recover detail in shadow and highlight areas, make sophisticated tone curve adjustments on a per channel basis, apply chromatic aberration on the fly, and selectively paint color, tonal and noise reduction adjustments.
April 10, 2012
This is a question that I have been hearing a lot lately and thankfully Jeff Tranberry, Product Manager in Digital Imaging focusing on Customer Advocacy, has posted the excellent information here.
If you are looking specifically for support fort the Canon EOS 5D Mk III you can download the Lightroom 4.1 Release Candidate from Adobe Labs.
August 2, 2011
In order to define different default processing settings for different cameras, select Lightroom’s Preferences and click the Presets tab. Under the Default Develop Settings area, check “Make defaults specific to camera serial number”. This can be extremely useful , for example if you are shooting with multiple cameras and want Lightroom to automatically apply a different Camera Calibration profile to each. Click here for a video about setting default Camera Calibration profiles (and other options). (This video covers both Lightroom and Adobe Camera Raw in Photoshop.)
Notice that in the preferences you can also choose to “Make defaults specific to camera ISO settings”
July 20, 2011
There are two different sliders (Detail and Masking) used to create and control the masks used suppress sharpening in the lower contrast areas of an image. As a rule of thumb, use the Detail slider to suppress sharpening in landscape images, and use the Masking slider to suppress sharpening in portraits. To view a Black and White preview of the masks, Option (Mac) / Alt (Win) -drag the Detail and/or Masking slider.
July 19, 2011
It is best to view an image at 100% to see the effects of sharpening (as well as noise reduction) accurately. If you prefer to remain at a different zoom view in the image preview area, click the disclosure triangle to the right to the word Sharpening in the Detail panel. Then, click the square icon to pick it up and click in the image preview area over the area that you would like displayed at 100% in the Details panel. This will allow you to see a small area at 100% in the panel while viewing a different view in the preview area.
July 18, 2011
The Spot Removal tool has two options: Clone and Heal. The Clone option will always have a soft edge so that it can blend the edges of the area being duplicated. The Heal option will always have a hard edge and uses tone and color to blend the area being repaired. The Option (Mac) / Alt (Win) + “[“ or “]” increases/decreases brush size, “H” Hide/Show Pins, and the Page Up/Down keys move through an image screen by screen (when zoomed in) to help avoid missing any areas that need to have spots removed. The Arrow keys nudge the source point (add the Shift key to nudge in greater increments).
July 14, 2011
When using the Adjustment brush, the Flow sets speed of the adjustment made when painting. For example, if you set the Exposure slider to +2 and then set the Flow down to 25 and paint in the image, you will notice that it takes a longer to build up that +2 stops than if you had left the Flow setting at 100 (eventually though, it will get there). A low Flow setting can help when trying to slowly dodge and burn in an area of an image.
The Density slider caps amount of change that can be applied with a paint stroke. If you set the Exposure slider to +2 and then set the Density down to 50, no matter how long you paint, you will never get more of a change than 1/2 of the +2 (or +1 stop). At first I thought why not just reduce the slider to cap the maximum amount, but then I realized that I can set the sliders at the highest point I need for the image, then prevent overdoing the adjustment by setting the density slider to cap the adjustment in certain areas.
July 1, 2011
There are several ways to add a vignette to an image in Lightroom and/or Adobe Camera Raw. You can always start with the Lens Correction panel, click Manual and use the Lens Vignetting slider to increase/decrease the amount of vignetting. Many photographers prefer this method because it does a great job of simulating an in-camera vignette effect. If however, you have significantly cropped the image, then you may need to select the Effects panel and apply the Post-Crop Vignetting (because the Post-Crop Vignetting Effects vignette is applied to the image after cropping). There are three Styles:
• Highlight Priority – enables highlight recovery but can lead to color shifts in darkened areas of a photo. It is suitable for photos with bright image areas such as clipped specular highlights and behaves more like a traditional exposure burn.
• Color Priority – minimizes color shifts in darkened areas of a photo but cannot perform highlight recovery. Also behaves more like a traditional exposure burn.
• Paint Overlay – similar to an overlay of black or white paint.
Note: If using Color Priority try using the Highlights slider to reintroduce contrast in the highlights. This will be most noticeable if the vignetting is applied over bright areas such as highlights in a sky.
June 30, 2011
Did you know that you can use the free Adobe Lens Profile Creator Tool to create lens profiles for less common lens/camera combinations? All of the information that you need to know is here: http://labs.adobe.com/technologies/lensprofile_creator/
Note: in Camera Raw and Lightroom, the lens profile popup will only display the profiles appropriate for the file type. So if you’re looking a raw file, you get to see raw-based lens profiles. If you’re looking at a jpeg, you get to see non-raw-based lens profiles. As you can see, we have many more raw-based lens profiles available than non-raw-based lens profiles. This is due to the fact that lens correction quality for non-raw files (JPEGs, TIFFs, etc.) can be very problematic (this is because it depends on where the JPEG/TIFF came from, and how it was previously processed). For example, a JPEG that comes straight out of the camera is very different from a JPEG that somebody created from a raw file in ACR. If you try to apply the same non-raw-based lens profile to these two cases, you can get quite-different results (even though they’re both JPEGs from the same camera and lens). Thank you for that in-depth information Eric!