February 18, 2007

Lightroom is here!

I’m delighted to say that after a year’s worth of public testing, discussion, and refinement, Adobe Photoshop Lightroom is now shipping (see the newly created Adobe PR blog for the press release, etc.).  Congratulations to the team & to all the photographers who have made this application what it is!  As a reader of this blog, you don’t need me to belabor the details, so let me point out just a few things:

  • You can grab a 30-day tryout version of the shipping product for Mac & Windows.  (The earlier Beta 4 build times out at the end of February, so you might want to grab the shipping version sooner rather than later.)
  • You can order the product for $199 ($299 after April 30).
  • The product page features roughly 2 minutes of great testimonials from pro photographers, as well as profiles of Doug Menuez, Sarah Silver, and Sye Williams.
  • The product pages also include plenty of detail on the application (e.g. its tight integration with Photoshop).

In addition, Adobe Camera Raw 3.7, together with an updated DNG Converter, is available for download (Windows | Mac).  In addition to bringing compatibility with settings created in Lightroom, ACR now supports more than 150 cameras, including the Nikon D40 and the Pentax K10D.  And though the cameras don’t appear on the official compatibility list, Phase One shooters will be happy to know that Lightroom and ACR now (unofficially) support a number of P1 cameras (H20, H25, P20, P21, P25, P30, & P45), and Fuji customers have preliminary support for the S5.

So, with that, thanks again for helping to guide & craft Lightroom over this past year, and happy shooting!

11:04 PM | Permalink | Comments [14]

Can photographers be plagiarists?

That’s the subject of an interesting illustrated essay on Slate this week.  A father/son team of photographers has been accused of ripping off the work of another shooter–apparently after first calling him for advice on vantage points, film, etc.  The essay talks about ways photographers have played off & riffed on one another’s work over the years, even to the point of reproducing it wholesale (e.g. Sherrie Levine photographing Walker Evans’ famous Depression-era prints–making her an "appropriation artist").  At what point does homage cross the line?  It’s interesting food for thought.

Side note: I do have to ask what, exactly, makes this photo so special?  Maybe if I weren’t totally insecure about what I shoot, I could let this go, but…  I’d like to be enlightened about why a photo like this one is considered gallery-worthy.  It makes me think of that empty plinth getting mistaken for the actual artwork.

9:07 AM | Permalink | Comments [11]
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