Lightroom 5.4 Update

Lightroom 5.4 is now available as a final release on Adobe.com and through the update mechanism in Lightroom 5. The goal of this release is to provide support for Lightroom mobile, additional camera raw support, lens profile support and address any reported bugs.

New Camera Support in Lightroom 5.4

  • Canon EOS 1200D (REBEL T5, KISS X70)
  • Canon PowerShot G1 X Mark II (*)
  • Casio EX-100
  • DJI Phantom
  • Fujifilm X-T1
  • Hasselblad H5D-50c
  • Hasselblad HV
  • Nikon 1 V3 (*)
  • Nikon COOLPIX P340
  • Nikon D3300
  • Nikon D4S
  • Olympus OM-D E-M10 (*)
  • Panasonic LUMIX DMC-ZS40 (DMC-TZ60, DMC-TZ61)
  • Phase One IQ250
  • Samsung NX mini (*)
  • Samsung NX30
  • Sony Alpha a5000 (ILCE-5000)
  • Sony Alpha a6000 (ILCE-6000)
  • * denotes preliminary support
  • New Lens Profile Support in Lightroom 5.4

Mount Name

  • Apple Apple iPhone 5c
  • Canon Canon EF 200-400mm f/4 L IS USM
  • Canon Canon EF 200-400mm f/4 L IS USM EXT
  • Canon Canon EF-S 18-55mm /3.5-5.6 IS STM
  • Canon Canon EF-S 25-250mm f/4-5.6 IS II
  • Canon Sigma 24-105mm f/4 DG OS HSM A013
  • Canon Zeiss Otus 1.4/55 ZE
  • DJI Phantom Vision FC200 (for raw files)
  • Fujifilm Fujifilm X100S
  • GoPro GoPro Hero3+ Black Edition
  • Nikon Nikon 1 NIKKOR 6.7-13mm f/3.5-5.6 VR
  • Nikon Nikon AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR II
  • Nikon Nikon AF-S NIKKOR 18-35mm f/3.5-4.5G ED
  • Nikon Nikon AF-S NIKKOR 35mm f/1.8G ED
  • Nikon Nikon COOLPIX P340
  • Nikon SIGMA 24-105mm F4 DG OS HSM A013
  • Nikon Zeiss Otus 1.4/55 ZF.2
  • Sigma SIGMA 24-105mm F4 DG OS HSM A013
  • Sony E Sony E PZ 18-200mm F3.5-6.3 OSS
  • Sony FE Sony FE 24-70 f/4 ZA OSS
  • Sony FE Sony FE 70-200mm f/4 G OSS
  • Sony Alpha Sony 20mm F2.8
  • Sony Alpha Sony 24mm F2 ZA SSM
  • Sony Alpha Sony 35mm F1.4 G
  • Sony Alpha Sony 35mm F1.4 G
  • Sony Alpha Sony 50mm F1.4
  • Sony Alpha Sony 50mm F1.4 ZA
  • Sony Alpha Sony 50mm F2.8 Macro
  • Sony Alpha Sony 85mm F1.4 ZA
  • Sony Alpha Sony 85mm F2.8 SAM
  • Sony Alpha Sony 135mm F1.8 ZA
  • Sony Alpha Sony DT 11-18mm F4.5-5.6
  • Sony Alpha Sony DT 16-50mm F2.8 SSM
  • Sony Alpha Sony DT 16-80mm F3.5-4.5 ZA
  • Sony Alpha Sony DT 18-55mm F3.5-5.6 SAM II
  • Sony Alpha Sony DT 18-135mm F3.5-5.6 SAM
  • Sony Alpha Sony DT 30mm F2.8 Macro SAM
  • Sony Alpha Sony 50mm F1.8 SAM
  • Sony Alpha Sony DT 55-200mm F4-5.6 SAM
  • Sony Alpha Sony DT 55-300mm F4.5-5.6 SAM

Issues fixed

  • When switching to the Book module with images selected, a ‘Gathering Photos’ message would appear and stay persistent.
  • On Mac Lightroom activity, such as an export, did not prevent the computer from sleeping.
  • In the Develop Module, the ‘Settings > Crop as Shot’ menu item did not properly reset orientation.
  • In the Develop Module and when applying Grain, occasionally vertical artefacts would appear along the bottom edge of a photo.
  • In the Develop Module, there is a slight delay before the Histrogram is available for adjustments.
  • Lens profile corrections for the iPhone 5 would not be selected when using the ‘Auto’ Lens profile correction feature in the Develop module.
  • In the Develop Module, Scrubby Adjustments on Adjustment Brush Pins did not work as expected.
  • Syncing of spot removals was not consistent from image to image.
  • Exporting a scaled image to PSD would sometimes cause the watermark to be displayed incorrectly.
  • When Don’t Enlarge is on in Export, image was not resized, even when making image smaller.
  • Sharpening/Noise Reduction were applied inconsistently depending on crop and export image size.
  • Luminance of exported file differed noticeably after crop.
  • When adding keywords on Import, Import begins at once when keywords entered with ‘enter’ key <Win only>
  • In the Import dialogue, Loupe view occasionally did not work.
  • When using the “Edit in Photoshop” feature in Lightroom, the Smart Object filter mask was sometimes not previewed correctly within Lightroom.
  • When creating a new Collection inside of a Collection set, the default option for
  • Location was the parent of the selected collection set and not the selected collection set.
  • Upload via publish does not prevent computer from sleeping, and upload fails if computer sleeps.
  • When playing a slideshow comprising TIF or JPEG images, occasionally the slideshow would appear pixelated.
  • The color profile of a photo was incorrect when playing slideshow in full screen mode.
  • When using a video export preset, develop settings were not applied to all images.
  • Smart preview indicator under Develop histogram displayed the wrong number when multiple photos were selected.

Download Links:

Lightroom 5.4:

  • Windows – http://www.adobe.com/support/downloads/detail.jsp?ftpID=5741
  • Mac – http://www.adobe.com/support/downloads/detail.jsp?ftpID=5740

 

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Information on Image Copyright by Photographer Simon Leach

Simon Leach (ex-AOP President (Association of Photographers)) has created a great blog post on Copyright for Photographers and image makers alike. Simon’s blog can be found here , or for future reference http://simonrleach.wordpress.com.

 

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#CreativeFriday – Keeping Clone and Heal areas absolutely straight in Lightroom and ACR

Sometime it’s need to keep a clone and heal area absolutely straight when repairing an image. It’s tricky at the best of times when using a mouse to keep a line straight, even when using a Wacom pen it’s challenging to hold a straight line.

In the image below there are some marks on the wall (big and small), that I may want to clean up. In fact this area is so small it’s probably not going to be noticed, but there is always that time when some precision is required on the edit. There is a small area in the image where filler can be seen instead of the actual wall. It’s a different colour to the wall and it doesn’t look very natural.  it’s tiny but might be noticeable on a print. I want to replace the smallest amount of pixels possible, and also keep the integrity of the area around it, in this case the intersection of the bricks.

Screen Shot 2014-04-02 at 15.04.17

I have zoomed into picture (shown below), so that you can see the issue. The filler has been used to fix a piece of the brick work just where the bricks are joined. I’d like to keep the original brick joins and just replace the plaster work and make it the same as the original brick texture.

Screen Shot 2014-04-02 at 15.04.51 copy

If Lightroom is moved into the Development module, the clone/heal tool selected, and image is kept zoomed to this level, the small detail will be easier to work on. I would like the clone to almost follow the natural line of the brick work (vertical or horizontally). Before the clone/heal tool (marked Red) is applied you can hold the Shift key down to keep the clone patch tool (marked Pink), straight along the horizontal or vertical). Using the clone/heal tool attributes (marked Yellow), primarily the feather/opacity values, the patch can be blended into the scene.

Screen Shot 2014-04-02 at 15.05.27 copy

Once the straight edge has been fixed, the rest of the patch can be applied (marked Red).

Screen Shot 2014-04-02 at 15.05.57 copy

Whilst I agree that this demo is splitting hairs, it does show the control that you have from Lightroom 5.2. Also, the same technique can be used on larger areas, it’s a good general tip to have in your editing tool bag to really clean up those troublesome & tricky images.

You can see the effect on the whole picture.

Screen Shot 2014-04-02 at 15.26.40

 

Camera RAW (ACR) in Photoshop has exactly the same feature.

 

 

 

 

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#CreativeFriday – A practical use of Lightroom 5′s Radial Filter.

Whilst on a recent Photography trip to India, a good friend of mine Frank Smith showed me how he uses the Lightroom 5 radial filter to edit his photographs, with Frank’s permission, I wanted to share this technique with you.

The original image is a simple scene with a street tea seller in Gujarat. To get this image in to shape there are a few elements I would like to  fix (this is pretty much the standard procedure for most of my images within Lightroom), here are the items that need fixing :-

  • The lens that I used for this image does have a small amount of pin cushioning and may include some vignetting which is typical for most lenses in the market.
  • The image isn’t square to the frame (notice the post on the right hand side).
  • The arm on the right hand side is a little distracting. I’m planning to crop the image using the the original aspect ratio. This crop will also reduce the gap between the top of the tea makers head and the top edge of the frame (I’ll just need to be careful not to crop this to tight). It will also allow area of emptiness on the top right to be reduced as well. I have decided to keep the gap on the left, as I quite like the gap, it helps orient the viewer and gives them more information to where this scene might be (but not too much to distract from the main image). The rest of the scene is of secondary importance , but gives the viewer more information of the work area of the tea seller.
  • The histogram is a little into the shadows, so I’ll just need to re-balance the image.

1

The lens that i used for this image does have a small amount of pin cushioning and possibly some vignetting.

This problem can be fixed quickly, by using the “Lens Corrections” panel in Lightroom. Under the Basic tab, i’ll turn on the “Enable Profile Corrections” check box. This retrieves the camera and lens combination from the images meta data and applies the correct corrections to the image (within the Red box below). Adobe work with the Camera and Lens manufacturers and profile the lens/body combinations.

The image isn’t square to the frame (notice the post on the left hand side).

To fix the verticals and horizontals I try to just use the AUTO button on the upright tab (within the Red box below). The AUTO button fixes most items, but you may need to experiment with a little. The results will be highly dependent on the contents of the image that you are working with. The Upright technology is helped by a having the “Enable profile corrections turned on”, as this will make sure that any pin cushioning is corrected, but is not mandatory or dependent on this being enabled. Don’t forget that if you need to, you can also fine tune the corrections to the Upright adjustments by using the manual distortion sliders on the manual tab.

2 copy

You can see that in the following example, the profile corrections and the upright feature have completely fixed the areas of concern (without any additional work).

Cropping

The crop tool is available under the histogram (marked Red below), it’s attributes are available within the Yellow marked area.

I tend to use the crop overlay when cropping, I find it helps me position the elements in the right place within the scene for maximum impact and strength. This particular view option suggests that elements on the curve will be in the best position to drive the eye in the scene and if done well will keep the viewer in the frame. There are other options that you can select (i.e. rule of thirds), by choosing the menu item Tools / Crop Guide Overlay or by pressing the O key (shift and O will rotate the overlay).

For this image, my crop will keep the bright area of the scene intact (reducing this area places the image off balance). I just place the right hand side of the crop just to the start of the arm and am careful not to crop into the head and to keep the fingers in the frame.

I have selected the “As shot” aspect ratio and turned the lock on, this ensures that the aspect ratio is kept during the cropping process.

N.B. The upright adjustment will reset the crop, so perform the crop after the Upright adjustments have been made.

Screen Shot 2014-03-27 at 09.37.46

I find hands and fingers particularly important, in this case they are hidden behind the bench, the crop i am employing will show the viewer this is happening, but I’ll try to never intentionally crop into the hand or fingers, if they are in the frame (It’s become a habit after having had so many portfolio reviews with one of my teachers John Isaac (you can see some of John’s work here, )).

The histogram is a little into the shadows, so I’ll just need to re-balance the image.

The image below is exposed correctly for the scene. However, If the image is too dark and underexposed i’ll use the exposure slider.

The Highlights slider is used below to reduce the amount of highlights in the image, or to reconstruct any highlight values that have been partially clipped in the original shot. In this particular image, the bright area may even be to distracting. I feel that once the viewers eye recognises the bright area, all the viewer will see is the bright light. To overcome this, I might use the highlights attribute on the gradient filter to darken it, otherwise, if there isn’t any data left in the white area, I may re-adjust the crop decision.

The shadows slider is used to open up and reveal more shadow detail in the image. In this image, the upper right hand side of the scene has more details to show, these details can be used to give the viewer more information about the environment.

In this image, the white point is almost at the edge of clipping to pure white. I’ll move the white point to the right, and set it to just before the clipping indicators appear in the image. The clipping indicators are turned on by enabling the highlight and shadow clipping on the histogram (marked in red). These can be enabled individually by clicking on the appropriate one (shadows – left, highlights – right) or by pressing the ‘J’ key within the Development module. Once the whites slider is moved to the right, any clipping areas (i.e. pure white has been reached and there is no data to display), will be shown using a red mask. I’ll try not to have any pure white areas in the scene, as it can be quite distracting.

The blacks are a different story, i’ll always clip to pure black, this will add contrast to the image and can be used to keep the viewer into the frame. I will be extra careful to keep additional details unclipped, if it’s needed to provide the viewer with more information about the scene. I’ll use the blacks to keep the viewer in the frame, in this case it’s like an edge burn that will stop the viewer from slipping out of the image. If the crop overlay is anything to go by, the eye will come in from the bottom left, then will come in to the image, and the black area in the top right, will help guide the viewers eye around to the tea seller. Once the viewer’s eye has left the seller, the eye will come around the to dark areas and back to the seller (well that’s the theory anyway ;-) ).

Screen Shot 2014-03-27 at 09.55.23

There are many ways Ligthroom can be used to darken the area of brightness. In this example I’ll use the Gradient tool (marked Red below), and bring it in from outside of the frame to the cover the area that needs fixing, then add a slight tilt to the filter so that it’ll be  harder to see by the viewer once the image has been published. In this instance the the exposure slider on the gradient filter won’t have any effect as there is no data to modify in the brightest highlight area. However, using the highlights slider will enable me to recover the highlights (utilising the other RGB channels) and allow me to darken the area naturally (within the yellow area).

Screen Shot 2014-03-27 at 10.23.29

The light on the persons shirt is good, but maybe need a little more exposure. However, the face is a little dark on both sides (even though the contrast difference between the left and right side is ok).

I could use the adjustment brush, but actually a faster method (and the way that Frank approaches the problem) is to use the radial filter and use an inverted mask.

I select the radial filter (marked Yellow below). and I just draw it over the persons face (marked Red), i’ve then rotated the filter to allow it to cover the area properly. Then adjust the Shadows slider to recover and open up the shadows (it’s not as heavy handed as the exposure adjustment). By default the adjustment will be made outside of the radial filter, by clicking on the “Invert Mask” (Marked green). This will make the changes inside the radial filter, and effect the face only. I also have the feather command to blend the fix into the area.

Screen Shot 2014-03-27 at 10.39.08

I can also see the before and after effect, by turning off the effect using the switch within the area marked purple (this applies to any panel, expect the Basic panel).

I can apply the same process to the person shirt and adjust the exposure slightly.

Screen Shot 2014-03-27 at 10.58.38

(You can turn off the shadown/highlight clipping by pressing the ‘J’ key, or by clicking on the highlight shadow indicators within the histogram).

You can now see the before and after images by clicking the Y/Y button (Before/After Left/Right selected from the drop down arrow).

Screen Shot 2014-03-27 at 11.02.12

 

This (depending on the split selection) will show the two images. I have reduced the brightness of the hud around the images, but pressing the L key once. Pressing the ‘L’ key once more, will hide the hud of Lightroom completely, pressed once more with reveal the hud. It’s a very slight change, but enough to show the tea maker and inform the viewer of what’s happening.

Screen Shot 2014-03-27 at 11.06.59

 

You can see the final result in Lightroom by pressing the ‘F’ key

 

Screen Shot 2014-03-27 at 11.01.37

 

 

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Create Now – New Creatives Meet Up

Join_creatives_FMA_940x176

Tonight Adobe will be hosting the first in a series of Creative Meet Ups. It’s looking to be an event not to be missed. You can watch the teaser below and watch the Live Stream here.

 

 

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#CreativeFriday – Notes from the field, editing and travelling with Lightroom 5

This weeks post is just a short one, as I am still on a Photographic Trip in the fast paced city of Mumbai. I have just completed a two week photographic trip of India’s colour festival known as Holi as well as Tribal villages in Gujarat. I think there is some great stuff and will be posting images and how to edit’s when I return back to the UK, Lightroom 5 and Photoshop CC updates are really going to make the images look super.

This is the first real photographic trip I have been on since we released Lightroom 5 and the new features. There have been two features in Lightroom 5 that have really stood out on this trip, when it comes to working and reviewing images when away from the studio and in transit and I wanted to share them with you, just in case you are not aware or using them.

Photographic trips are pretty intense and usually require a lot of time in vehicles(of one type or another) or tents, when not shooting :-

  • The ability to add images and keyword on a daily basis.
  • Inclusion of GPS tracking data on image import.
  • Full Screen in Lightroom 5
  • Smart Previews
  • Back to the Studio planning

The ability to add images and keyword on a daily basis.

Ok this is standard stuff. However, every day there is a shoot going on and depending on the location could take a few hours or more to get there, there isn’t typically a lot of time in front of the computer to work on images. However, between getting back to the hotel and before heading out for dinner, there is usually a quick 10 minutes of upload and back up time. It turns out that actually moving to a smaller system has reduced my number of shots on a daily basis to around 450 rather than the 1500 that I used to shoot on a DSLR, primarily because I am manually focusing, setting the aperture (mostly under F4) and thinking about framing and exposure much more as part of the capture. Which results in card only taking 10 minutes or so and allows a little more time to include some keywords on the images as part of the bulk import into Lightroom.

Inclusion of GPS tracking data on image import.

I used to always struggle with names of villages in remote places around the globe and tracking locations (even the guides don’t always know the names sometimes), as well as being very disorientated when moving quickly from place to place. This could be an import part of a story that will help orient the viewer/reader, so I have found that accuracy of places names and spelling is an important data element. I decided to invest in a GPS module for this and future trips, and take the guess work out of the equation, and no longer have to guess these village names that are visited in a day and type them into Lightroom as part of an import mechanism (Love GPS data (well they say that it’s all about Location, Location, Location!)), (To have this feature working, you will need an internet connection and enable the Reverse Geocoding options, available in the Catalog settings dialog box).

Screen Shot 2014-03-21 at 16.38.00

(You may want to turn off the Export check box to keep the location safe).

Having the ability to include the GPS coordinates for each image really takes the guess work out in Lightroom, and even with a dodgy internet connection in Indian hotels, I can see immediately where the shots where taken, and include this data on the keyword meta data of the appropriate data.

Screen Shot 2014-03-21 at 15.30.07

Due to these workflow changes my upload and keywording for around 450 images now takes under 10 minutes ! This makes for a very happy travel photographer ! Time for Dinner.

Smart Previews

Whilst I am at dinner and the batteries are charging for the next day shoot, i’ll usually make use of the additional time and build Smart Previews for the images from within the Lightroom import module, or if i forget from within the Library module (explained below)

When you import in Lightroom there is a “File Handling” drop down option, positioned on the left hand side of the screen. Under here the “Build Smart Previews” can be found.

Screen Shot 2014-03-21 at 15.35.25

 

There is of course another way of creating Smart Previews, just in case you forget, or would like to create the Smart Previews on more than just this import, or even on selection of images. From within the Library module under the menu item, select Library / Previews / Build Smart Previews (there is also a discard Smart Previews as well, that will clear out any Smart Previews that you have built).

I get asked a lot of the time “When is the best time to use the Smart Previews option” ? Smart previews were designed to allow working on an image when the full version is not available (i.e. if the disk is powered down etc). I tend not to use Smart Previews at the studio as my drives will be turned on and everything is available. Also, the Smart Previews take up physical space, which is more than a standard preview and are stored next to the catalog  (Once of my folders is 27.5GB on the disk and 1.1GB as Smart Previews), In this case I would rather use the original image. This isn’t to say that i won’t use Smart Previews in the studio, but it will be a selective edit for when the images are not available.

NB. You will need to manage the Smart Previews manually and discard them from the menu item under the Library module – Library / Previews / Discard Smart Previews. Lightroom will not automatically clean up the smart previews after a designed amount of time as it will for standard previews.

I will however, use Smart Previews all of the time when I am travelling or showing work to clients back home. Disk space on the computer is limited and don’t want to have 10GB+ of images just sat there, I also don’t want to have to plug in and carry additional hard drives with me all of the time. So Smart previews for me were the best thing in Lightroom 5. I am now able to Pick/Unpick, Rank, Quick Edits in Development mode, Full screen etc whilst on the go (planes, trains, cars and boats), and not risk the integrity of my images (or external drive due to a collision with an air hostess’s trolley for example).

Full Screen in Lightroom 5

Now that a Smart Preview of the image is available to me all of the time, even when the external drive is not, I can regulary review when ever the chance appears and not have to worry about plugging drives in, getting set up etc. Smart Previews are not full width and full resolution, infact they are highly lossy portable files, but give me an amazing representation when the original images when they are not available. I will typically use the new Full Screen mode ‘F’ key to Pick/Unpick and rank the images when on the go.

I personally find it liberating to be able to work on any image at any time when the external drive is not attached, however, if any work is done on any image then it’s import to make sure that you tell the external drive about it.

As an additional item, i’ll always make sure that the travel catalog as well as my master catalog in the studio has the Write XMP data to the side card file. This setting can be found under the Lightroom / Catalog Settings / Metadata tab – Automically write changes into XMP file (see below). This file is very important and would strongly suggest that it is turned on in all of your catalogs. It will ensure that any changes in Lightroom (keywords, development settings etc) are stored against the original image as well as in the Lightroom catalog. If anything was every to happen to the Lightroom catalog and you didn’t back it up, then this way will ensure that you keep any edits or changes. Lightroom will ensure that this file is up to date all of the time when the images are available (they may be disconnected, as in this post).

My workflow uses the DNG format as well as propriety RAW formats. For propriety RAW formats like Canon’s CR2 file or Fuji’s RAF format, the XMP file will sit next to the original file with the same name and a .XMP extension. As the DNG file is a container format, it works differently from the propriety file. It contains similar information, but can also contain other information as well (including original RAW file, meta data (XMP) files, plus others). The XMP file will be embedded into the DNG file and not along side it, this makes it easier for portability later, as only one file needs to move and not two.

Screen Shot 2014-03-21 at 16.01.32

Once the External drive is next plugged into the computer (typically at the end of the shoot the next day), i’ll take the images that I have worked on (just by selecting either the root folder or the individual folder, depending on what’s been have changed, then selecting all of the images (modified or not), using CMD (Mac)/CTRL (PC) and A, then pressing CMD(Mac)/CTRL(PC)+S to save the metadata changes to the external disk.

You may have noticed that I have “Day2″ on the meta data panel for the folder name. Whilst  away, I tend to use a simple Day 1, Day 2 system and at home a RAW 1, RAW2, which allows me to store the files from all of the cameras that I have shot with and keep track of which day I am on, but also fits into the main structure of my main catalog  with a simple folder rename.

(My master structure may look a little odd as nothing relates back to where I have been, the shoot or anything back to the physical world. My Lightroom and folder system relies on a commitment to key wording so it’s import for me to have this strict process within my workflow upon Import as well as additional key words once the images have been imported). More details can be found about this approach in the great book “The DAM Book, Digital Asset Management for Photographers - by Peter Krogh”.

Back to the Studio

Eventually when I get back to the studio, transfer of the data from my external drive to my master catalog is relatively simple. I just need to rename the folders to fit into the master folder structure, then copy everything from the external drive that was with me on the trip to the main drive. Then inside Lightroom I will either import the new folders using the import mechanism inside Lightroom or just synchronise the catalog to make sure that Lightroom has all of the changes.

 

“Getting ready to be painted at Holi.”

L9995242

 

 

 

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Photography Show 2014 Feedback

The Adobe UK Digital Imaging Team would like to thank everyone that came to The Photography Show 2014 and especially the people that came to our stand and seminars that we hosted. For us to improve our presence at future events and make the experience even better, we would like to ask you for a few minutes of your time, too complete a very short questionnaire that would help us improve all aspects of what we are Adobe are trying to do.

The online form can be accessed here and is completely anonymous.

Thank you

Adobe UK Digital Imaging Team.

 

 

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#CreativeFriday – Transform a selection in Photoshop CC

A colleague yesterday asked me if there is a way to transform a selection once it has been created. Unlike drawing a regular shape there is no transform tool. However, there is a menu option –  Select / Transform Selection.

Take this image below, it may be that I would like to extract the text “Gamzen” from the scene as well as the surrounding paintwork. But the workers head and turban is in the way.

Screen Shot 2014-03-06 at 16.46.26

To demonstrate this feature, i’ll start with a rectangular marquee.

Screen Shot 2014-03-06 at 16.46.41

 

But, i’ve made an initial mistake and the selection is not large enough. I can choose the menu option Select / Transform Selection. Now I have access to the transformation handles.

Screen Shot 2014-03-06 at 16.46.41 copy

Once the selection has been enlarged and rotated, it now runs over even more parts of the scene that I don’t want to be selected. To modify the selection further,  i’ll choose the free transform mode (marked in Red below).

 

Screen Shot 2014-03-06 at 16.47.20 copy

I am now able to move the handles to exactly the shape needed to complete this task

Screen Shot 2014-03-06 at 16.47.36

To get better/faster access to this menu item, you can add a new or existing keyboard shortcut. You can access the keyboard shortcuts and menu dialog using the Menu option / Edit / Keyboard shortcuts.

Screen Shot 2014-03-06 at 14.30.32

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#CreativeFriday – Lightroom Sync Settings / Batch processing for a consistent style across a body of work.

Another efficiency that Lightroom has, is the ability to batch process a whole selection of images based on the Development settings that have been applied to a single image. This is something that I tend to use all of the time when I want to create a single body of work. The way that I was trained to think in terms of this was to have some kind of linkage in the series, this I believe is a stronger story and is a way to help the viewer engage with the work. The linkage could be anything, but typically I tend to use colour, split tone, black and white, the size etc etc, then everything looks the same.

As you can see in the following example I have a series of images that I want to apply the same style to.

These images were taken on the Rohtang pass in North India, I like the industrial/work story of these images and the way that they are used almost as places to rest, rather than for their intended use.

Screen Shot 2014-02-27 at 23.13.26

My typical workflow will take one of the images and find a look that I think suits the entire series, this may be via the Development settings, or using a preset (something like VSCO film presets, is they can provide a vintage film look). My processing isn’t very heavy, as I like natural looking images, with a film like look.

You can see below the starting image, it’s very bright with pastel colours

Screen Shot 2014-02-27 at 23.14.17
for this i am going to use a VSCO preset Fuji Provia 100F Portrait, as I think this gives the image a little lift and helps the muted colours shine.

Screen Shot 2014-02-27 at 23.15.48

 

Now i would like to make all the images in the series look exactly the same. To do this I have selected the images in the film strip (using CMD+A (on a Mac) and CTRL+A (on the PC), the selection is marked in Yellow below (Images can also be selected by using a to/from range with the shift key, or individual by using the CTRL(PC)/CMD(Mac) keys.

N.B Just make sure that the first image that you selected was the image that you will be using to set the other images.

Once the images have been selected, press the SYNC button (Marked Red below).

Screen Shot 2014-02-27 at 23.16.11 copy

The Sync button will pop up a dialog box asking which settings you would like to apply to the other images. I have deselected the ones that are not appropriate, and selected the ones that I would like to apply. There are reasons that certain ones are deselected, i.e. Spot removal is unchecked because I don’t want to have local fixes to appear across the other images, they will be worked on separately. the same as Local Adjustments and the crop feature.

Screen Shot 2014-02-27 at 23.32.57

Once the Synchronise button is pressed, the adjustments will be applied to the other images.

If for some reason you don’t like the changes, you can undo one step CTRL+Z (PC) or CMD+Z (Mac) and this will undo the synchronise step.

Once the adjustments have been made, I will of course inspect each image individually and correct any errors (Clone / Healing, slight tweaks to the white point, black point and exposure, but the majority of the changes applied during the synchronise  stay the same).

 

I find this processing incredibly useful to give consistency across a series of work.

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ACR 8.4 Release Candidate is now available on Adobe Labs

Adobe Photoshop Camera Raw 8.4 for CC

Download Available here , and will expire 31st May 2014 (both CC and CS6)

Welcome to the Adobe® Photoshop® Camera Raw 8.4 plug-in for Creative Cloud release candidate on Adobe Labs. A “release candidate” label indicates that this update is well tested but would benefit from additional community testing before it is distributed automatically to all of our customers.

System requirements for Photoshop CC

NB

This release of Camera Raw 8.4 for CC is prerelease software and is designed for evaluation purposes only. The software contained within the installer is not final; but, many portions of the technology are fully implemented and ready for you to try and discuss.

  • Please note — Camera Raw 8.4 and DNG Converter 8.4 are no longer officially supported on the following platforms: Mac OS 10.6.x (Snow Leopard), Windows XP, Windows Vista.

Updates to Previews

Added the following preview preferences, which are accessed from the Preview Menu:

  • The Preview checkbox in earlier versions of ACR has been replaced by three buttons in the bottom-right of the ACR main dialog. From left to right, they are:
    • Mode: Click this button to cycle through left/right and top/bottom side-by-side and split-view modes. Click-and-hold this button to bring up a popup menu for directly choosing Preview modes and accessing the Preview Preferences. Keyboard shortcut: Press Q to cycle through the Preview modes.
    • Swap: Click this button to swap Before/After settings. Keyboard shortcut: Press P to swap Before/After settings for the primary selected image only; press Shift-P to swap Before/After settings for all selected images.
    • Copy: Click this button to copy the After settings to the Before settings. This is useful for establishing a temporary “checkpoint” for your image editing session. Keyboard shortcut: Press Option-P to copy After settings to the Before settings for the primary selected image only. Press Shift-Option-P to copy After settings to the Before settings for all selected images.
  • The After preview image always reflects the current slider and tool settings (White Balance, Exposure, etc.).
  • The standard single-image view always shows the After state.
  • In the side-by-side and split-view modes, the Before settings are always shown on the left or top, and the After settings are always shown on the right or bottom.
  • The Preview Preferences dialog supports customizing the Preview modes used for cycling and some drawing options.
  • When using any tool other than Zoom and Pan (hand) in a side-by-side or split-view, changes are only allowed on the After view. Using the Crop tool will put you back into the standard single-image mode.
  • Zooming and panning on one view will automatically zoom and pan the other.

Pet Eye Correction

The Red Eye tool can now correct bright pupils in animals. Select ‘Pet Eye’ from the new drop down menu in the Red Eye tool to locate and fix pet eyes.

Local Correction Changes

  • Added a mechanism to quickly reset all local correction sliders (Temperature, Exposure, etc.) to zero: right-click on a local adjustment pin and choose “Reset Local Correction Settings” from the context menu. Another way is to click on a local adjustment pin, and then choose “Reset Local Correction Settings” from the flyout menu.
  • Added “Fill Image” to context menu for Radial Filter. Right-click on a radial filter adjustment pin and choose “Fill Image” from the context menu to resize the radial filter to cover the image area. (Shortcut: double-click inside the ellipse overlay for a radial filter adjustment to accomplish the same task.)

Other Features

  • Added context menu to Histogram pane. The context menu can be used to enable Lab color readouts, even when the Workflow Options are set to another color space (such as Adobe RGB). The context menu and also be used to toggle the shadow, highlight, and gamut clipping warnings.
  • Added “Check All” and “Check None” buttons to Synchronize, New Preset, Save Settings, and Copy/Paste (Bridge) dialog boxes. These are shortcuts for checking all/none of the check boxes.
  • Added keyboard shortcut: When using the Crop Tool or Straighten Tool, press the X key to flip the crop aspect ratio (landscape to portrait, portrait to landscape).
  • Added explanatory note to Lens Correction “Profile” panel to indicate when built-in (metadata-based) lens profiles are automatically applied to the image.
  • Added Camera Matching color profiles (PROVIA/STANDARD, Velvia/VIVID, ASTIA/SOFT, MONOCHROME, etc.) for the following Fujifilm cameras:
    • Fujifilm X-A1
    • Fujifilm X-E1
    • Fujifilm X-E2
    • Fujifilm X-M1
    • Fujifilm X-S1
    • Fujifilm X-T1
    • Fujifilm X-Pro1
    • Fujifilm X10
    • Fujifilm X20
    • Fujifilm XF1
    • Fujifilm XQ1
    • Fujifilm X100
    • Fujifilm X100S

New Camera Support

  • Canon EOS 1200D (REBEL T5, KISS X70)
  • Casio EX-100
  • DJI Phantom
  • Fujifilm X-T1
  • Hasselblad H5D-50c
  • Hasselblad HV
  • Nikon D3300
  • Nikon D4S
  • Olympus OM-D E-M10 (*)
  • Panasonic LUMIX DMC-ZS40 (DMC-TZ60, DMC-TZ61)
  • Phase One IQ250
  • Samsung NX30
  • Sony Alpha a5000 (ILCE-5000)
  • Sony Alpha a6000 (ILCE-6000)

(*) denotes preliminary support

New Lens Profile Support

Lens Name Lens Mount
iPhone 5c Apple
Canon EF-S 18-55mm f/3.5-5.6 IS STM Canon
Canon EF-S 55-250mm f/4-5.6 IS II Canon
SIGMA 24-105mm F4 DG OS HSM A013 Canon
Zeiss Otus 1.4/55 ZE Canon
Phantom Vision FC200 DJI
Fujifilm X100S Fuji
Nikon 1 NIKKOR 6.7-13mm f/3.5-5.6 VR Nikon 1
Nikon AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR II Nikon
Nikon AF-S NIKKOR 18-35mm f/3.5-4.5G ED Nikon
Nikon AF-S NIKKOR 35mm f/1.8G ED Nikon
SIGMA 24-105mm F4 DG OS HSM A013 Nikon
Zeiss Otus 1.4/55 ZF.2 Nikon
SIGMA 24-105mm F4 DG OS HSM A013 Sigma
Sony E PZ 18-200mm F3.5-6.3 OSS Sony E
Sony 20mm F2.8 Sony Alpha
Sony 24mm F2 ZA SSM Sony Alpha
Sony 35mm F1.4 G Sony Alpha
Sony 50mm F1.4 Sony Alpha
Sony 50mm F1.4 ZA Sony Alpha
Sony 50mm F2.8 Macro Sony Alpha
Sony 85mm F1.4 ZA Sony Alpha
Sony 85mm F2.8 SAM Sony Alpha
Sony 135mm F1.8 ZA Sony Alpha
Sony DT 11-18mm F4.5-5.6 Sony Alpha
Sony DT 16-50mm F2.8 SSM Sony Alpha
Sony DT 16-80mm F3.5-4.5 ZA Sony Alpha
Sony DT 18-55mm F3.5-5.6 SAM II Sony Alpha
Sony DT 18-135mm F3.5-5.6 SAM Sony Alpha
Sony DT 30mm F2.8 Macro SAM Sony Alpha
Sony DT 35mm F1.8 SAM Sony Alpha
Sony DT 50mm F1.8 SAM Sony Alpha
Sony DT 55-200mm F4-5.6 SAM Sony Alpha
Sony DT 55-300mm F4.5-5.6 SAM Sony Alpha

Adobe Photoshop Camera Raw 8.4 for CS6

Welcome to the Adobe® Photoshop® Camera Raw 8.4 for CS6 plug-in release candidate on Adobe Labs. A “release candidate” label indicates that this update is well tested but would benefit from additional community testing before it is distributed automatically to all of our customers.

Download Available here ,

New Camera Support

The following new cameras are now supported:

  • Canon EOS 1200D (REBEL T5, KISS X70)
  • Casio EX-100
  • DJI Phantom
  • Fujifilm X-T1
  • Hasselblad H5D-50c
  • Hasselblad HV
  • Nikon D3300
  • Nikon D4S
  • Olympus OM-D E-M10 (*)
  • Panasonic LUMIX DMC-ZS40 (DMC-TZ60, DMC-TZ61)
  • Phase One IQ250
  • Samsung NX30
  • Sony Alpha a5000 (ILCE-5000)
  • Sony Alpha a6000 (ILCE-6000)

(*) denotes preliminary support

New Lens Profile Support

Lens Name Lens Mount
iPhone 5c Apple
Canon EF-S 18-55mm f/3.5-5.6 IS STM Canon
Canon EF-S 55-250mm f/4-5.6 IS II Canon
SIGMA 24-105mm F4 DG OS HSM A013 Canon
Zeiss Otus 1.4/55 ZE Canon
Phantom Vision FC200 DJI
Fujifilm X100S Fuji
Nikon 1 NIKKOR 6.7-13mm f/3.5-5.6 VR Nikon 1
Nikon AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR II Nikon
Nikon AF-S NIKKOR 18-35mm f/3.5-4.5G ED Nikon
Nikon AF-S NIKKOR 35mm f/1.8G ED Nikon
SIGMA 24-105mm F4 DG OS HSM A013 Nikon
Zeiss Otus 1.4/55 ZF.2 Nikon
SIGMA 24-105mm F4 DG OS HSM A013 Sigma
Sony E PZ 18-200mm F3.5-6.3 OSS Sony E
Sony 20mm F2.8 Sony Alpha
Sony 24mm F2 ZA SSM Sony Alpha
Sony 35mm F1.4 G Sony Alpha
Sony 50mm F1.4 Sony Alpha
Sony 50mm F1.4 ZA Sony Alpha
Sony 50mm F2.8 Macro Sony Alpha
Sony 85mm F1.4 ZA Sony Alpha
Sony 85mm F2.8 SAM Sony Alpha
Sony 135mm F1.8 ZA Sony Alpha
Sony DT 11-18mm F4.5-5.6 Sony Alpha
Sony DT 16-50mm F2.8 SSM Sony Alpha
Sony DT 16-80mm F3.5-4.5 ZA Sony Alpha
Sony DT 18-55mm F3.5-5.6 SAM II Sony Alpha
Sony DT 18-135mm F3.5-5.6 SAM Sony Alpha
Sony DT 30mm F2.8 Macro SAM Sony Alpha
Sony DT 35mm F1.8 SAM Sony Alpha
Sony DT 50mm F1.8 SAM Sony Alpha
Sony DT 55-200mm F4-5.6 SAM Sony Alpha
Sony DT 55-300mm F4.5-5.6 SAM Sony Alpha
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