February 27, 2007

Lightroom FAQ for RawShooter customers

A number of photographers have written in this week, asking for details about how customers of Pixmantec’s RawShooter Premium (which Adobe acquired last summer) can get a free copy of Lightroom.  Lightroom Product Mgr. Tom Hogarty posted a brief FAQ a few days ago that address these questions. For convenience I’ve reproduced it here:

Q: When will Photoshop Lightroom 1.0 be available for RawShooter Premium customers?
A: The Photoshop Lightroom offer email for RawShooter Premium customers will be distributed by February 23rd with instructions on how to obtain a free downloadable copy of Lightroom 1.0.

Q: Can RawShooter Premium customers get started with Photoshop Lightroom before receiving the offer email?
A: Yes, please download the 30-day trial version of Lightroom. The offer email will provide instructions on how to obtain the serial number that will license the trial version of Lightroom.

Q: Where can I find documentation for Photoshop Lightroom?
A: Tutorials and documentation for Photoshop Lightroom can be found in the Adobe Design Center.

Q: Who do I contact if I don’t receive an offer email by February 23rd?
A: If you are an owner of RawShooter Premium (RawShooter Essential users do not qualify for this offer) and you do not receive an offer email by February 23rd please contact Adobe Customer Service in your region for further assistance.

Q: How can I convert my RawShooter Premium settings to Lightroom or Photoshop Camera Raw compatible settings?
A: A free settings conversion tool will be posted on Adobe Labs on March 5th for use by RawShooter Premium customers.

Hope that helps,

11:09 PM | Permalink | Comments [9]

What does Marcellus Wallace look like?

That’s the question on Sam Jackson’s mind in this little (and profane) typographic study.  See also a second, apparently independent take on the same idea. [Via]  On other typographic notes:

6:00 PM | Permalink | Comments [2]

The 66" negative

AutoWeek has the interesting story of how photographer Rick Graves uses a modified, motorized camera back which feeds a continuous roll of film past the shutter while it’s open, creating a very wide negative (like this one; scroll it to the right):

"Each image Graves makes is from one exposure on an entire roll of film, not a composite of several different images.

"’A number of people have tried to build this type of camera,’ Graves said, likening it to the finish-line cameras used at horse races. ‘But the difference with my camera is that I have 66 inches of movement [of the film] in one second. The film is moving relative to the moving subject. I developed this camera as a better way to capture motion.’

"The secret to the system is not the camera itself—a standard 500 Series Hasselblad—but in the film back, which contains a small motor and various electronics adapted from the robotics industry. This setup gives Graves control of how fast the film moves when he opens the shutter. If he gets it right, the film is moving at the same speed as the cars, allowing for a photo with dozens of speeding cars, all razor sharp."

NASCAR sells prints that are 4 inches tall by 8 feet long.  Check out many more examples (not all automotive) in the DistaVision portfolio. One slight bummer is that because of the ubiquity of Photoshop-edited composites in the world, a lot of viewers may think these works are simply digital collages. [Via Joe Ault]

On a related note, I happened across an article on slit-scan photography that features a rather trippy photo produced using related methods. [Via]

2:16 PM | Permalink | Comments [4]
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