This Sunday 8/4/2010 at 9pm EST (6pm pacific) Don Giannatti has been kind enough to do a live portfolio review with me on the air. We’ll be talking about making the final cut of images, and finalizing a portfolio. Maybe a bit about design and branding and style as well. Should be fun – tune in at:
http://www.vokle.com/events/4284-editing-a-portfolio-with-don-giannatti-and-ed-zawadzki
see y’all there!
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The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.
If you’ve read my previous review of the Loupedeck+, you’ll know I am a massive fan and it is now a firm part of my editing routine. As I said in that review, it was something that I was honestly wary of before trying it, but something I do edit without now. So when I got the chance to do the new Loupedeck CT review, I jumped at it.
The Loupedeck CT is a completely new editing station. Loupedeck has marked this as their professional tool, designed to deliver a premium editing experience. Along with the dials and buttons familiar to those who have used the Loupedeck+, the Loupedeck CT features a touchscreen interface system of virtual buttons, that you can fully customize to your editing needs.
The CT is compatible with a wide range of software right out of the box. And it has the ability to add even more software via an ever-growing library of custom profiles.
Here is a list of compatible software out of the box (takes deep breath):
Profiles exist for many more programs, including Davinci Resolve, Photomechanic, and Logic Pro X, amongst others. This is a serious list of professional software, and the ability to customize the Loupedeck CT means that there is an almost limitless opportunity to create your very own tailored workspace.
The Loupedeck CT is very different from the Loupdeck+. It is much more compact in its footprint. The size is about the same as two mobile phones placed side by side. This smaller footprint not only makes having the CT on a smaller desk much easier, but it also means it is simple to add to your bag when editing on the road or on location.
The packaging looks and feels premium. It reminded me of an Apple device in the way that the quality oozes out before you even see the product.
Jet black packaging with an embossed and foiled logo on the side really does make this product feel luxurious. It may sound silly, but when packaging is this good, I feel that it shows the importance of attention to detail to the company.
Once the Loupedeck CT is removed from the packaging and those, oh so satisfying, clear plastic covers get removed, the quality of the Loupedeck CT shines through.
The build quality on this device is excellent, with the device itself comprised of an aluminum top plate (save the virtual buttons workspace) with a solid plastic underside. All buttons and dials are all reassuringly firm, with the dials having a tactile click when turning, whilst the virtual buttons have haptic feedback, which you turn on or off.
The center dial is used as a touch screen interface for some adjustments, and again, it works perfectly. It is responsive and has worked flawlessly during my time with the unit.
This is a very well-made piece of equipment that is another step forward in quality from the already well-made Loupedeck+.
The Loupedeck CT also has a Bluetooth chip, which will eventually, via an update, make the unit connect wirelessly.
It also comes with 8GB of storage, which mounts as an external drive when you connect the Loupedeck CT. This storage allows you to save all settings and preferences within the device. So, when you transport the product, all your settings travel with you. This is great for those that travel regularly or use different computers for different projects.
Ergonomically, the unit is made for one-handed operation. This is not to underestimate the amount of editing this thing can do on its own. Whilst the Loupedeck+ feels like something that is aimed to replace your keyboard, the CT feels like an addition to your keyboard and mouse. It is an incredibly powerful enhancement to your workflow.
Buttons on the Loupedeck CT are backlit in a way that aids your use of the device. The buttons’ color shows how it is mapped at a glance. The three colors are green, purple, and blue.
Green buttons are assigned to workspaces (of which you can have multiple per application). The purple buttons are assigned to actions (such as applying a preset or creating a copy of the image, etc.). Finally, the blue buttons are there to take you into page-based layouts. This allows you to create sub-menus within a workspace, such as a page dedicated to your image presets, without the need to change the entire workspace.
Installing the Loupedeck CT is a simple affair. You just download and install the software from the Loupedeck website, then connect the Loupedeck.
The Loupedeck itself is USB-C, which helps future-proof the product. However, it comes packaged with a USB-C to USB-A braided cable, which will be welcomed by a lot of people. The cable itself is of high quality, reinforcing the attention to detail that Loupedeck has put into this product.
The learning curve is the part of Loupedeck CT that is the thing that you will find hardest. It’s not that the CT is hard to use, in fact, it is the total opposite of that. It is more about remembering which button is where, how you have your dials set, and moving your hands away from existing workflows.
With the Loupedeck+ everything is set and you quickly become accustomed to where everything is. However, whilst the flexibility of the Loupedeck CT is its strongest feature, it does mean you have a larger learning curve. As an example, when moving from Lightroom to Photoshop, the button layout changes, so it takes more time to become a power user across multiple software.
The initial setting up of custom workspaces will take time and effort from the user. However, this is the step that is essential for those looking to get the most out of this device.
The software makes it simple to set up, but you need to customize the layout of the deck for your specific editing style. You will then need to do this on a software-by-software basis. This process may take a few hours, but it is so worth it. The profiles supplied by Loupedeck are great and get you started instantly, but every editing workflow is different and the Loupedeck profiles are unlikely to match your specific workflow.
The first thing I noticed about the Loupedeck CT was its software awareness. Switching over to Photoshop from Lightroom, the Loupedeck instantly changed to its Photoshop workspace. There was no lag or waiting. It was ready to go. This smoothness is the same for every software. You can even set it up to control your Spotify, so you can keep your hands on the Loupedeck whilst you decide what music you want to listen to whilst you edit.
This key feature makes the Loupedeck CT amazing for those who work in several different pieces of software. It really does make this device a huge step up from the Loupedeck+.
I know when I reviewed the Loupedeck+, I said that video editing wasn’t great. With the CT, it really performs.
Moving to Premiere Pro, you get the tools you use the most right at your fingertips. As someone who isn’t a huge video editor, it makes editing easier for me. I have also been experimenting with Final Cut Pro, and again, the Loupedeck saves me having to search through menus when I am looking for a tool.
I am sure that in the hands of a more capable editor, this tool will be huge in speeding up workflow. For an amateur like me, it makes things easier and encourages me to dig deeper.
This is also true of Adobe Illustrator and Adobe Audition, which I profess to be completely lacking in in-depth knowledge. However, I can see how this, in the right hands, will be incredibly useful.
Moving on to photography (the reason I am sure most of you are reading this), to sum it up, it is amazing. If the Loupedeck+ is a high-quality, off-the-peg suit, the CT is a custom-tailored suit from Saville Row; every button and dial customized to fit your editing needs.
In Lightroom Classic, it performs beautifully. Editing is effortless and the Loupedeck makes the whole process quicker, easier, and more tactile. The ability to customize a setup to be exactly how you want is something that gives this an advantage over the Loupedeck+ for those who use more advanced features regularly. This is shown in the ease of adding your own presets to buttons. Simply create the preset, then ask Lightroom Classic to update, and instantly, it is available to add to your layout.
It is when you move to Photoshop that the Loupedeck CT really shines. The ability to customize your button layout combined with size means using this with a mouse or graphics tablet is a joy. Also, the ability to use the touchscreen center button makes working in color an amazing experience. The Loupedeck CT is a much more enhanced experience than the Loupdeck+ when it comes to Photoshop.
The integration with Adobe products is still deeper than with other software, though. Switching to Capture One Pro, the experience is simply not quite as fluid. Capture One is in Beta mode even though it comes pre-installed. In use, it lacks the level of integration found in Lightroom and can’t offer the same functionality.
This is due to Loupedeck relying on keyboard shortcuts rather than the software API. Loupedeck has released an enhanced plugin profile, which allows greater integration for Capture One users. This does help, but it relies on you having to set your keyboard to the US setting, which as a UK user, is an annoyance.
I know discussions have taken place with Phase One on fully integrating the Loupedeck CT, and for many professionals who use Capture One, this would be a game-changer. Until that happens, the best way to describe the Capture One experience is good, but not as good as Lightroom.
There is a lot to love about this product. The main things for me are:
This is the big question. This Loupedeck CT is not cheap. It currently retails at £469.
It warrants that money to those who spend a lot of time editing and those who use a variety of software daily. It is much more suitable for a wider variety of programs than the Loupedeck+. If you use Adobe products, it is pretty much flawless.
However, if you mainly edit in Lightroom, you will possibly be better served with the Loupedeck+. It has all the features you need and comes at a lesser cost.
The other question is whether it is better to invest in the Loupedeck CT or a graphics tablet. Again, this depends on your usage and editing style. Personally, I would make more use of the Loupedeck CT. However, you may not.
The Loupedeck CT is aimed at a certain group of people. To those that will get the most out of this product, the £469 price tag is easily justified in the time saving and workflow enhancements the CT will give them. The Loupedeck CT is no mere editing gadget – it is a tool that takes your editing workflow to another level.
I really suggest you try a Loupedeck before dismissing it out of hand. Be warned though, you will probably fall in love.
The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.
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| Tourbox’s tactile controls are meant to be used by the non-dominant hand to help speed up workflow. |
The Tourbox is a plug-in editing console intended to be used with editing (sound, photo and video) software, to speed up a professional’s workflow. Tourbox can be customized to work with just about any type of software (as long as there are keyboard shortcuts) and for this review, we tested it with Adobe Photoshop and DaVinci Resolve.
Compared to its peers
At less than $ 200, Tourbox comes in at a unique price-point. Competitive options like the Loupedeck CT ($ 550) and Monogram ($ 330) offer similar functionality but at a price level that some might find difficult to justify. There are cheaper options like Streamdeck from Elgato ($ 92), but these don’t offer quite the same tactile interface as Tourbox. Initially offered via Kickstarter and after a successful campaign, Tourbox now retails for $ 170.
The first non-linear controller I ever used was the often praised Lightroom console some 25+ years ago. Since then I’ve been on the lookout for something as effective and tactile – is the Tourbox going to be the one?
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After opening the box, what first struck me about Tourbox is how dense the product is. It weighs in at 13.6oz / 385g, more than its small 4.6 x 4 x 2in / 11.7 x 10.2 x 5cm size might suggest. This is likely because it’s designed not to move around on your desk. Included in the box is the unit itself, a user manual, quick start guide and a 5ft braided USB-C to USB-A cable.
The body is finished in a soft-to-touch rubber which initially rang alarm bells with me: I’ve had other products featuring a similar finish that turned into sticky messes over time due to chemical decomposition. I hope that this is not going to become a problem with Tourbox a few years down the road. Even if it doesn’t, keeping the unit free from fingerprints and smudges is a full-time occupation.
As a tactile interface Tourbox generally succeeds
As a tactile interface, Tourbox generally succeeds: The main 4 large buttons (3 on the main surface, 1 on the left side) are easy-to-use and have a mouse-like click with minimal travel. The main central knob feels a little loose and could do with a bit more friction. The scroll wheel (top left) is just about right in terms of resistance and can be clicked inward, providing additional functionality. The dial (bottom left) could benefit from a sensitivity adjustment; it’s a little too responsive for me and tends to slip around a bit.
The 4 D-pad buttons are a little on the small side for me and the placement it slightly too close the the central dial. They also sit a little too flush as well, especially the top one. The round C1 and C2 buttons (upper right) are also on the small side.
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| Tourbox has two ports: USB-C for connection to your machine and USB 3.0 for pass-through. |
To get things working you first need to download and install the Tourbox Console app which is available for Mac and PC – there’s no support for Andriod, iOS or Linux at the moment. The installation of the software is a little more complicated than usual as you have to install the drivers separately. I’ve been using it on a self-built Ryzen PC (1700X) running Windows 10 and I would have liked the installation process to be a little more streamlined.
At the moment the Tourbox Console also does not auto load with Windows or MacOS
At the moment the Tourbox Console also does not auto load with Windows or MacOS. It needs to first be started up before you run your selected editing software (although a fix for this is planned for a future software version). One way around this is to manually create a shortcut in your startup items folder.
The Tourbox connects to your computer via the included cable, and there’s also the handy ability to pass-through another USB device using the USB A 3.0 socket.
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| Each control point on Tourbox has a unique name. |
As mentioned, the Tourbox offers a number of different buttons and dials of varying sizes, shapes and feel that can be used on their own or in combination with one another. At time of publication it can be set up to have 38 user-defined functions, correlating to software keyboard shortcuts. These functions can be set up differently for each piece of software you’d like to use Tourbox with.
The software comes pre-loaded with shortcuts for Lightroom and Photoshop, but it’s easy to change these and to set up new ones
The software itself is very responsive and easy-to-use – I had no stability problems – and it only takes a couple of seconds to run and recognize a connected Tourbox.
However more than once I accidentally typed into the key assignment field when I meant to enter a description. This is because you actually have to select the edit icon before adding a description, you can’t type directly into the field.
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| The main console interface gives you the ability to create multiple presets. |
The software comes preloaded with shortcuts for Adobe’s Lightroom and Photoshop, and it’s easy to change these and to set up new ones. I’ve primarily been using it with DaVinci Resolve and Photoshop. It definitely takes some time and several iterations to find out exactly which control is best for assigning to a function.
It definitely takes some time to find out which control is best for which function
I’ve found the main dial most useful for scrubbing though a timeline one frame at a time in Resolve, or changing the size of a brush in Photoshop. The mouse-like wheel at the top left I’ve assigned in both programs to zoom in and out of the image. The large buttons can be assigned to the usual modifiers like CTRL or ALT but equally they can be used for other functions.
This is just a small example of the way these controls can be used.
With my right hand on my mouse, the Tourbox can easily be used with my left, which is the way it was designed. However there’s really no reason why you can’t use this with your right hand, in fact I think some of the controls are better placed this way, mainly the side button and the dials.
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| The rotary controls would benefit from adjustable sensitivity |
It’s worth noting that black/grey controls on a black/grey body may prove difficult to see in low-light environments like an editing or grading suite. However, with time and experience, you should be able to use the Tourbox without actually looking at it.
Size is also always going to be an issue for some people – for me to comfortably use Tourbox, it would ideally need to be about 20% larger overall (and I do not have big hands). However the distributor, Ikan, has assured me that a lot of the physical issues are being looked at for a future version of this product (and the current version will soon be available in white).
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Any editing console like this can be a difficult sell, as first of all the physical dimensions and design may not suit all users. And while it should ultimately speed of your workflow, there is an initial learning curve as you get it set up.
It took me about eight days of semi-regular use to get a grip with the Tourbox, and some of this time was down to reassigning buttons and dials to better suit the way I work. Setting up the main controls is quick, but it’s getting button combinations that work well together that takes quite a bit longer.
After initial setup this has sped up my workflow, which means that my hands spend less time on the keyboard. Admittedly, it can be easy to lapse back into old ways of working. The biggest change is that there’s a certain satisfaction in using wheels to adjust things like brush sizes and navigating through video timelines – it’s a more tactile way of fine controlling a virtual tool.
The Tourbox’s unique combination of different controls sets itself apart from much of the competition, as does its price. However the product could benefit from some more development work both in the hardware and software departments. And who knows, maybe a Pro version won’t be far down the line?
Articles: Digital Photography Review (dpreview.com)
The post Tips For Editing the Colors in Landscape Photos Using Lightroom (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this video from Nigel Danson, you’ll gain some invaluable tips for editing the colors in landscape photos using Lightroom.
While Nigel uses Lightroom Mobile to show you his editing tips, these tips also apply to Lightroom classic.
The features that Nigel discusses to improve the colors in your landscape photos include the:
So try out some of these tips for editing the colors in landscape photos using Lightroom and share your results with us in the comments section! Furthermore, if you have some tips for editing colors in landscape photos, please share those with us too.
The post Tips For Editing the Colors in Landscape Photos Using Lightroom (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post How to Arrange Your Photoshop Workspace for Faster Editing appeared first on Digital Photography School. It was authored by Darina Kopcok.
The key to quick and painless retouching is creating a workflow that works for you. Photoshop has a highly customizable workspace that you can set up in a way that best suits your needs. Here are some tips on how to declutter your Photoshop workspace for a seamless and efficient workflow.
A workflow that’s effective for one photographer may not be as helpful for another.
Your Photoshop workflow has to be built around your preferences and your most-used tools and windows. For example, the tools that I use most for my food photography may not be as useful for wedding photography or street photography.
For this reason, you may want to have multiple workspaces set up for different applications, especially if you shoot in more than one genre.
You may want to have a workspace for black and white photography only, and another you use for color retouching. It’s up to you if you want to have multiple workspaces and how you organize them.
The important thing is that you arrange your workspace in a way that you’re best prepared for the type of retouching that you want to do. This will keep distractions to a minimum and make the process of retouching go faster.
Photoshop comes with some pre-configured workspaces, depending on what you use the program for. You’ll find these, as well as your various options to set your preferences, under the Window tab at the top of the Photoshop workspace. The panels that show up in your workspace are denoted with a checkmark. Click them on or off accordingly.
Choose the default Photography workspace as a base and customize it from there.
When setting up your workspace, I recommend always showing your Layers and Histogram panels to keep you on track while retouching. I also like to sometimes have my History and Actions visible.
Rename your workspace in a way that will help you quickly differentiate it from other workspaces, if you have them. I personally only use one workspace because I mostly shoot in one genre – food photography.
To create a new photoshop workspace:
go to > Window
navigate to > Workspace
choose > New Workspace
Give your workspace a name
Hit >Save
The toolbar and various menus in the Photoshop workspace can be easily dragged to where you want them. In the default workspace, you can find the toolbar on the left-hand side. However, you can drag it to the right-hand side of your workspace, so you have all your tools and menus on one side. This can make the workspace cleaner and more effective because everything you need to access will be consolidated in one area, and your eyes won’t be bouncing around, looking for things.
Make sure that your most important windows are visible, and that you hide or collapse any that are unused, or rarely used.
Observe which windows and tools you use the most and make sure that they are prominent and easy to navigate to.
You can make your menus larger or smaller in relation to the rest of your workspace, depending on your preference. If you have a large screen, you might feel comfortable having several wide menus.
In my Photoshop workspace, I want to see my Histogram and Navigator panels at the top, where I’m used to seeing them in my RAW editor.
Below that, I have my Adjustments and Actions, which I access regularly.
I also always have my Layers panel open so I can see them all and know exactly which one I’m working on.
You can minimize a given window and have it noted by an icon. For example, I have minimized my History panel to a small icon because I want it accessible in case I need to step back in my retouching process, but it’s not a panel that I constantly use, therefore I don’t need to expand it.
When you move your panels around, note that they will be saved as such in the organization of the current workspace. If you go to another workspace and then come back, all your panels will be found in their most recent arrangement.
Any of the individual panels can be moved onto the screen. They can be moved outside the Photoshop window, or even onto other monitors, if you use a double or multiple monitor set-up.
Some photographers like to work this way, while others find floating panels annoying and intrusive.
You can dock panels with other panels to create panel groups.
To do this, you hover the pointer of the mouse over the boundary of another panel. A blue outline will show you where the panel will be docked.
You can also dock several panels into columns, as I did with my History panel. Again, you probably want to do this with the panels that you need but use less often.
An organized workspace is one of the most important factors in working effectively in Photoshop. Arrange your tools and panels in a way that makes sense for you.
This might mean:
At the end of the day, your retouching process has to make sense for you. Hopefully these tips will help you declutter your Photoshop workspace for a faster and efficient retouching workflow.
If you have any other tips for decluttering your Photoshop workspace, let us know in the comments.
The post How to Arrange Your Photoshop Workspace for Faster Editing appeared first on Digital Photography School. It was authored by Darina Kopcok.
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Software developer ON1 has released details of a new service it claims will allow photographers to synchronize the editing and organizing of images across computers and mobile devices no matter where they are stored. The ON1 360° application will connect up to five computers and five mobile devices so that images stored on any one of them, or on attached external hard drives and NAS systems, can be accessed and edited from any of them – with changes synced across them all.
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The software relies on a cloud storage service and a newly developed compressed RAW file format. Photographers select which files, folders or albums they would like to have access to and compressed versions are sent to the cloud. Connected devices, including smartphones, can then access those compressed files so they can be edited locally and the changes saved to all synchronized versions of that picture. A new free mobile app will be available for Android and iOS devices that will have the same RAW processing engine as its ON1 Photo RAW 2020 application so adjustments can match those made in the full desktop version of the software.
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ON1 says the compressed RAW files that will pass between the devices will be 75% smaller than the original files, but we are told they will retain the same tonal and color range as the originals. Users also have the choice to store their full-sized originals in the cloud so they can be shared between devices as well.
ON1 claims its new program will offer ten times the amount of storage as competitors, but its application will cost 20% less. The high compression of the new RAW file format all also mean that more pictures will be able to be stored in the same space.
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The company says it will retain its perpetual license options alongside subscription services with monthly or annual payment plans. The ON1 Photo RAW 2020.1 desktop application costs a one-off $ 49.99 at the moment, while the ON1 360° starts at $ 59.99 per year with 200GB of storage, or $ 109.99 per year with 1TB if you already own Photo RAW. If you want to buy Photo RAW and the 360° service together it will cost $ 89.99 for 200GB and $ 179.99 1TB per year. The monthly prices will be $ 5.99 and $ 9.99 for those who own Photo RAW, and $ 7.99 and $ 15.99 for those who don’t. Pre-ordering the 360° plan will also get you a training course and a pack of extra pre-sets.
For more information on ON1 360° go to the ON1 website.
Press release:
ON1 360° is a new end-to-end photography workflow solution for capturing, editing, and accessing photos seamlessly between multiple computers and mobile devices. ON1 360° connects ON1 Photo RAW 2020 on macOS and Windows computers with the new free ON1 Photo Mobile on iOS and Android devices. ON1 360° is the complete photography ecosystem that photographers have been waiting for; giving them more choice and more control. Multiple options for syncing files, control in file storage methods, and new capabilities for managing and editing across devices no matter where files are stored are available in ON1 360°.
At the core of ON1 360° is ON1’s new cloud storage service and sync technology, which allows photographers to sync photos, metadata, and edits, as well as albums, cataloged folders, and more between all their computers and devices, external hard drives, or even network drives. Unlike other cloud service offerings, ON1 360° will allow customers to choose which files or folders to sync, where the files live, as well as their preferred storage format.
“Our focus is on giving photographers control. Control of where they store their photos, what they want to sync and how they want to edit. There isn’t another solution out there providing this flexibility or functionality. We are still going to offer customers perpetual license options where they keep the software, even if they choose not to continue with this service. Of course, the subscription plan will be a good option as well and is ultra-competitive when it comes to price and features. The ON1 360° subscription plan includes 10x the storage at 20% less cost compared to other plans. Plus, the optional ON1 compressed-raw file format requires significantly less storage to have access to all your photos from all devices,” says Dan Harlacher, VP of Product.
With ON1 360°, customers can choose between syncing their original raw files or syncing their photos using ON1’s compressed-raw file format, which is 75% smaller than the original RAW file while maintaining the same tonal and color range. They are perfect for remote editing, sharing, and even printing common sizes, without noticeable loss in quality, saving the customer additional storage costs.
“Some people like using external drives, and some people like storing photos in the cloud. And some like both. The great part about ON1 360° is that you get to choose where photos get stored while still having access to them on all of your devices so you can share from anywhere,” add Matt Kloskowski, ON1 Educator and Guru.
“These all-new technologies that are the foundation of ON1 360° have been under development for some time and we are very excited to deliver them in June. This complete photography solution allows our customers to incorporate ON1 in every stage of their photography. With the technical foundation in place, we will start integrating new AI tools and features into all our products. There has never been a more exciting time at ON1.,” President and CEO, Craig Keudell adds.
Key Features
One Workflow — A complete end-to-end workflow between desktop and mobile with just one desktop application in ON1 Photo RAW 2020. No bouncing between organizers, raw processors, and layered pixel-editors. ON1 Photo RAW 2020 is a modern photo organizer, raw processor, layered editor, and effects app, all-in-one well thought out and affordable application.
Value — ON1 360° plan options start out at 10x the storage amount for 20% less cost compared to competitive plans available today.
Complete Control of Photos — Photographers can organize how they choose, where they store photos, and how they back up their photos. Whether photos are on local drives, upload some or all of them to the ON1 360° cloud storage, it’s their choice. All metadata and edits will back up automatically with ON1 360°.
High Quality with Less Space — ON1’s unique compressed-raw file format will also allow photographers to store more photos in the same amount of space without noticeable loss in image quality when processing. The new file format will also let photographers view, edit, and share their photos without having to store the original photo in the cloud.
ON1 Photo Mobile — The new free ON1 Photo Mobile will be a single app for capturing, editing, and syncing photos back to desktop computers, where each photo will also be re-editable. More than a basic raw processor, ON1 Photo Mobile uses the same RAW processing engine developed for ON1 Photo RAW. Adjustments will include Exposure, Contrast, Shadows, Mid-tones, Highlights, Whites, Blacks, White Balance, Noise, and Sharpening. Built-in filters will start with, black and white, adding film grain, darkening the edges with a vignette, and enhancing local contrast. ON1 Photo Mobile will be available for both iOS and Android devices and is free for anyone.
Capture and Create Anywhere — The new free ON1 Photo Mobile’s camera mode works like your device’s camera app but with many more advanced features. Capture raw photos on your smartphone with all the tonal range and details you expect from an interchangeable lens camera. The pro-level manual controls include the ability to adjust exposure, shutter speed, depth, and white balance.
Photos Stay in Sync — Automatically or selectively sync photos and edits from ON1 Photo RAW 2020 on desktop or laptop computers back to the free ON1 Photo Mobile using ON1 360°, providing a complete, photo editing and organizing system. ON1 360° will allow photographers to wirelessly send photos between desktop and mobile devices. Photos can be viewed, edited or downloaded directly to ON1 Photo RAW 2020 on both desktop or laptop computers with the non-destructive editing settings intact. You can also push edits from ON1 Photo RAW 2020 on desktop or laptop computers and automatically or selectively sync them back to ON1 Photo Mobile.
Privacy — Privacy is most important, and with ON1 360°, all photos will be kept private. ON1 will never analyze any photos using ON1 360° to build ways to market to photographers.
Availability and Pricing
ON1 360° subscription plans will be rolled out gradually starting today and continuing to the full release in late June 2020 when the ON1 360° service officially begins and all purchasing options become available. Today, owners of Photo RAW 2020 can take advantage of special introductory pricing on a 1-year prepaid subscription for ON1 360° (service only edition) with reduced pricing and pre-order bonuses including a new ON1 Pro pack with 360 custom presets ($ 100 value) delivered today, and a new ON1 360° Training Course delivered in June when the ON1 360° service begins. New customers can purchase a perpetual license for ON1 Photo RAW 2020 at a reduced price and the ON1 360° Service Add-on or the ON1 360° Software & Service subscription which includes everything. For a limited time, ON1 is cutting the price of ON1 Photo RAW 2020 by 50% during the lead up to ON1 360° availability in late June.
In June 2020, ON1 will roll out all ON1 360° plans including monthly subscription plans which include ON1 Photo RAW 2020, the ON1 Photo Mobile connectivity, and the 360° syncing service. As always, ON1 will continue offering Photo RAW as a perpetual-license product separate from ON1 360°, for those who prefer to own their software. This allows customers to upgrade to future versions at a time of their choosing, and it allows them to add or cancel any ON1 360° subscription without losing access to ON1 Photo RAW or their photos.
Articles: Digital Photography Review (dpreview.com)
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Gentlemen Coders LLC, the creator of RAW Power for macOS and iOS, has released RAW Power 3.0. The latest version introduces more integration with native macOS and iOS Photos applications and delivers an improved workflow.
RAW Power 3 is the first, and currently only, third-party application to include full support for Apple Photos libraries on macOS and iOS. With this integration, photographers can rate and edit their images on their Mac or iOS devices with full iCloud synchronization.
The software was developed by Nik Bhatt, a former Apple engineer. While at Apple, Bhatt led the iPhone and Aperture teams. Of RAW Power 3, Bhatt says, “RAW Power has gained a strong following among serious photographers for its unique control over Apple’s RAW engine, combined with its robust and easy-to-use editing tools.”
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| RAW Power 3 includes a variety of improvements to its integration with Apple Photos and its overall workspace. Users can utilize tabs to view multiple albums in the library at the same time. Users can also rate, flag and filter albums, with ratings and flags automatically syncing through iCloud Photos. Click to enlarge the image. Image credit: Gentlemen Coders |
From its first release, RAW Power has been designed to build upon the existing Apple Photos native application and add additional functionality and editing capabilities. RAW Power allows the user to keep their files organized at the system level while also performing more advanced edits to their photos. By leveraging Apple Photos, users can also avoid committing to a proprietary photo library or subscription-based software.
Considering the Mac version of RAW Power 3.0, the software works directly with your Photos library while adding additional editing and organizational tools. You can browse and create albums and folders, which are then instantly applied to the system’s photo library and changes are synced over iCloud when using iCloud Photos. RAW Power 3 specifically adds rating and flagging functionality to the software, something not available in Apple Photos. In the case of a flag, this will instantly appear on the image file in the Finder as well.
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| RAW Power 3 introduces a variety of user-requested features, including hot and cold pixel indicators, integration of LUTs and reordering of default adjustments within your customized workspace. Click to enlarge the image. Image credit: Gentlemen Coders |
Additionally, RAW Power 3 includes a new section for recently viewed items. There’s a threshold for what counts as “viewed,” meaning that only images you spent more than a few seconds looking at will be included. To make it easier to view and work on multiple images or albums at once, RAW Power 3 includes tabs.
RAW Power 3 introduces a variety of new image adjustments, including: Auto Enhance with Face Balancing, Auto White Balance, LUTs with film simulations, Levels and a Channel Mixer. With the new adjustment tools, the total now available to users is 15. With so many adjustments now built into the software, RAW Power 3 includes a refreshed editing interface and new workflow functionality. Users can reorder and select the default adjustments, to ensure that adjustments they use less frequently do not clog up their workspace.
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| RAW Power 3 introduces two new Auto adjustment features, including Auto Enhance and Auto White Balance (shown here). Image credit: Gentlemen Coders |
RAW Power 3 also adds LUTs. The software ships with 20 of them, including Bhatt’s own film simulation LUTS. Users can add their own LUTs as well. When using LUTs, users can adjust the strength of the effect using an intensity slider. With respect to existing image adjustments, there have also been tweaks. For example, there are now hot pixel indicators in the software.
Considering the new Auto Enhance image adjustment, this works by analyzing the image on a variety of criteria before applying varying levels of different RAW Power adjustments. Auto Enhance can adjust highlights and shadows, change the exposure, adjust white balance and more.
RAW Power 3 for iOS includes many of the same improvements as RAW Power 3 for macOS, including the new image editing tools, including LUT integration. RAW Power 3 for iOS also includes the ability to reorder and organize your workspace, which is even more important when working on the smaller display of an iPhone or iPad.
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| The iOS version of RAW Power 3 for iPhone and iPad (shown above) includes a nearly identical feature set as the Mac version, including batch editing. For example, you can batch process and apply Auto Enhance to selected images, as shown in this screenshot. Image credit: Gentlemen Coders |
With the latest version of RAW Power, users can now manage their images either in the native Photos application or in the iOS Files app. You can switch seamlessly between Photos and Files, although some iOS limitations result in edits, ratings, flags and filters not syncing over iCloud when working in Files.
The same new rating workflow from the Mac version carries over to iOS, representing a first for iCloud photographers on iOS. By utilizing ratings and flags, you can easily sort and filter your image library to quickly find specific images.
RAW Power 3 also includes new one-tap integration with the popular Halide camera application and Halide has added RAW Power to its quick-launch integration within the app’s photo reviewer.
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| If you use Portrait mode on your iOS device, RAW Power 3, like prior versions, can access the depth data in your image files. By utilizing this data, users can selectively adjust different areas of the image depending on how close or far the subject was from the lens. For example, you can adjust the highlights and shadows in the background and foreground independently while also adjusting the depth mask threshold. You can see the mask created using depth data in this screenshot from the iPad version of RAW Power 3. Image credit: Gentlemen Coders |
For users of Apple’s Portrait mode on their iOS devices, RAW Power 3 can access the depth data in the image file and allow users to create depth maps for selective edits. You can access and edit using the depth data on both iOS and Mac versions of RAW Power.
RAW Power 3 for macOS and iOS is available today from the App Store. For existing owners of RAW Power 2, the update is free on both platforms. For new users, RAW Power 3 for macOS is $ 39.99 and RAW Power 3 for iOS is $ 9.99. RAW Power 3 for macOS runs on macOS Catalina and Mojave. On iOS, RAW Power 3 runs on iOS 12 and iOS 13, although the app does not support iPhone 5s, 6 or 6 Plus or iPad mini 3 or earlier.
Articles: Digital Photography Review (dpreview.com)
The post Landscape Editing Techniques for Fine Art Photography Using Lightroom appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this video from the photographer, Marvin Grey, you’ll learn some fine art landscape editing techniques in Lightroom that will give you the opportunity to experiment with your landscapes to give them a whole new look and feel.
While the results may not be for everyone, the techniques he uses will teach you some valuable Lightroom editing techniques that you can use in other editing scenarios.
And what better time to tackle and play with our catalogs of landscape photos and learn some new landscape editing techniques while we are at home!
Feel free to share your results with us in the comments below.
The post Landscape Editing Techniques for Fine Art Photography Using Lightroom appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post How to Use the Photoshop Camera Raw Filter for Better Photo Editing appeared first on Digital Photography School. It was authored by John McIntire.
Inside Photoshop, there are an awful lot of tools for you to use to get the very most out of your images. Some of these tools (while not simple) have very specific functions that you use for specific tasks (Unsharp Mask for example). The Photoshop Camera Raw Filter is different.
This filter opens up the use of the (almost) full functionality of Adobe Camera Raw (ACR) anywhere in your Photoshop workflow. If you’ve ever used ACR (or Lightroom) to process a raw file, you know exactly how feature-packed this tool is.
In normal cases, you would use ACR to process your photos at the beginning of your workflow during raw processing, but the Camera Raw Filter opens up these tools to you anytime you may want them.
This article will outline how to use the Photoshop Camera Raw Filter, show you some instances where you might want to use it, and give you some tips to get the most out of it.
At its most basic, the Photoshop Camera Raw filter allows you to use the functions of the ACR interface at any time within Photoshop. This allows you to make any adjustments within ACR at any time during your workflow instead of just limiting its usage to the raw processing stage.
While it would be possible to import your working file into Lightroom to make the same sets of adjustments, doing this in Photoshop saves you from that cumbersome step. It allows you the use of these tools without any extra effort.
To find the Photoshop Camera Raw Filter, simply choose Filter->Camera Raw Filter and the dialog box will pop up.
Before you do this, you may want to stamp all layers by pressing Ctrl+Shift+Alt+e (Cmd+Shift+Alt+e). This will combine all of your layers into a new layer from which you can work.
White Balance – Because you are not working from a raw file, you lose a lot of the functionality of the white balance setting in ACR. You will still be able to make drastic changes to the coloring of your images with this tool. It will be the same, for example, as adjusting a JPG in Lightroom.
Crop tool – You also lose the crop and rotate tools that you would have access to when working on RAW files.
There are others, but these are the most important to take note of.
It’s also important to realize that because you are not working with a raw file at this stage, you won’t have the same versatility that you would with a raw file in ACR.
Instead, the process will be more akin to working on a JPG file in Lightroom or ACR. This means you will have less information to work with, such as, dynamic range.
This is all fine and to be expected. However, it illustrates the importance of getting things as close to right as possible while in the raw stage of post-processing.
With all of the power of ACR behind the Photoshop Camera Raw filter, there is no way to make anything resembling a complete list of what you could do with it. But here are a few potential uses that I find myself using often.
If you’re like me, you mostly make decisions about adjustments on the spot. This is fine when you process your raw file and move it into Photoshop immediately. However, if you leave it for a day or two before you come to it, you might find that you no longer like the decisions you made.
Of course, you could always go back into Lightroom and start again, but what happens if you have already started making adjustments to your image?
Chances are, you don’t want to lose those. A quick and easy solution is to stamp the layers to a new layer and run the Camera Raw Filter. Once there, you can make any adjustments you might want and click Okay.
This works great if you want to make quick adjustments to things like the overall exposure, contrast or vibrancy in an image. I will often come back to a file after a few days to find that I want to reduce the highlights and whites before I get started properly.
Photoshop might be all-powerful on its own, but ACR (and Lightroom by extension) do make a few things easier. For example, the Clarity slider is a tricky tool to replicate in Photoshop. Using the Photoshop camera raw filter to make these adjustments is easier and can save you a lot of time.
Another example is the use of the Highlights, Whites, Darks, and Blacks sliders to make quick, intuitive global contrast adjustments. Using these tools in this way is useful if you’re not yet fully familiar or comfortable with options like curves adjustments.
A common way I use the Photoshop camera raw filter is to make adjustments specific to a target area (such as a background).
After the adjustments are made, you can then use a layer mask to ensure that the adjustments are only affecting the areas that you want.
This method suits textured backdrops well because you can adjust the clarity and contrast to your heart’s content knowing that your subject won’t be affected once you make the layer mask.
There are tonnes of ways to create a vignette in Photoshop, but in my opinion, the vignette tool within the ACR is by far the easiest, fastest and most intuitive to use. By doing it this way, you can create a subtle (or extreme if you prefer) vignette in just a few seconds. It is also easy to mask out (as per the previous section) any part of the vignette that might be interfering with your subject.
Another useful trick for the Photoshop Camera Raw Filter is to use it to make a set of final tweaks to your finished images.
Once you’ve completed your image, you can run the filter and see if there’s any further small adjustments you’d like to make. Tiny adjustments to exposure, contrast (via all the sliders) clarity and vibrance can all help to give your finished images just a little more polish.
At this point, your images should be good to go, so do try to keep any adjustments at this stage small and subtle.
With a tool like the Photoshop camera raw filter, there are so, so many options for you to use in your images.
If you can do it in ACR (with a few minor exceptions), you can do it with this filter inside Photoshop. Feel free to use it in any way that you need to that gets the results that you want.
Depending on your workflow and your style of post-processing, using the Photoshop Camera Raw Filter as a Smart Object might be a good choice for you.
Smart Objects allow you to come back to any adjustment you have made (with certain tools) and tweak them.
To work with Smart Objects, right-click the layer that you will run the Camera Raw Filter on and click Convert to Smart Object.
Now run the Camera Raw Filter and make any adjustments that you want to and press okay.
In the Layers Palette, and under the layer that you are working on, you will now see the name of the filter below the box titled Smart Filters. If you double click this, you will be taken back to the Camera Raw Filter dialog box where you can adjust any of the settings that you have tweaked.
This is a useful technique for any time you think you might second guess your decisions a bit later on.
Having said that, Smart Objects won’t suit every photographer’s workflow.
For example, I like to use a lot of stamped layers in my workflow and by the time I might see something I want to modify, I’ve already created and worked on a new stamped layer above it.
Any adjustments made to a Smart Object in this situation, would not be visible.
I will admit, that the way that the Camera Raw Filter was used in this example was extreme and bit over the top, but by using it in this manner, I hope you can see just how powerful an option it is for various adjustments in Photoshop.
The Photoshop camera raw filter is a very powerful tool that you can use while post processing your images for a great many different effects. Add to that the fact that anyone who shoots in raw format is already familiar with the interface, it makes using the filter quick and painless to make any number of adjustments. I have discussed only a few ways that you can use this filter in your images, but if you have any other suggestions on how you use it, please leave it in the comments below for other readers to benefit from.
The post How to Use the Photoshop Camera Raw Filter for Better Photo Editing appeared first on Digital Photography School. It was authored by John McIntire.
The post 10 Tips for Using a Graphics Tablet for Easier Photo Editing appeared first on Digital Photography School. It was authored by John McIntire.
In terms of post-processing and retouching, there are a lot of basic techniques that you can use with a mouse (a trackpad is even worse) and a keyboard combo. However, once you get into the more complicated stuff, the amount of precision you need to apply becomes tedious and hard to do with that setup. This is where using a graphics tablet for photo editing comes into its own. Graphics tablets, such as those from Wacom, offer you an enormous amount of control and precision in your retouching. They can also speed up your workflow a lot.
If you’ve never used a graphics tablet for photo editing before, you may wonder if you actually need one.
The answer depends on how much time you spend and the type of post-processing that you do. But I will say, this is one of those pieces of equipment that, once you’ve been using it for a week, you’ll wonder how you ever got on without it.
Left: Not a mouse, but a trackpad. You can still see how the lines are sloppy and less controlled. Right: With a graphics tablet, more consistent lines become much easier to make.
While graphics tablets are (for the most part) intuitive to use and get to grips with, some of the finer aspects of their use can seem a bit tricky. This article will cover a set of tips to help you get the most out of your graphics tablet.
The first thing you should make sure you do with your graphics tablet is to ensure that it is set up properly.
Many devices have plug-and-play functionality and will seem to work by just plugging them in. This isn’t the case.
In most cases, while you may have use of the pen, the full functionality of your tablet won’t be open to you until you install and setup the relevant software. Ensure any you install any relevant drivers for your tablet and if it has a software suite, go through all of the options and make sure it is set up in a way that works for you.
A lot of tablets will seem to work without any software installed, but it is important to make sure that you do install it, or you will be missing out on a lot of features.
Your preferences may change over time. If you find that something could be working better for you, do look in the software to see if any of the settings there can help you solve any issue you might be having.
After you’ve set-up the basics, you can now move on to the shortcut buttons.
Most graphics tablets offer a number of programmable buttons that you can program and set to any function you choose. Some cheaper tablets might have only a few buttons, while some of the more expensive ones can be covered in them.
How you program them is up to you. A good way to approach this is to take a moment and examine your normal workflow in Photoshop. What actions do you make the most? Which of those actions would be easier (and suitable) to use at the click of a button?
Once you’ve done that, all you have to do is set-up the buttons in a way that suits you.
You have full control over how your shortcut buttons are setup. Use these in any way that suits the way you work.
Now, I don’t like using the shortcut buttons and they don’t suit me. The only one I use is the one that allows me to rotate the canvas. That may be the case for you too. That’s fine, and you shouldn’t feel obligated to use something that doesn’t suit your needs or approach.
Even with a tablet, you will still use the keyboard a lot for Photoshop shortcuts. Be sure to memorize any that are relevant to you.
Whether you are using Lightroom, Photoshop or any of the other software packages, you will still be using the keyboard alongside your graphics tablet for photo editing.
These programs hold so much functionality that there’s no way that everything you can do could be contained to a few buttons. As such, do spend some time learning as many of the keyboard shortcuts as you can (or at least the ones relevant to your workflow).
Using both a stylus and a keyboard at the same time can seem counterintuitive at first, but you will quickly find it’s nothing to worry about.
Speaking of keyboard shortcuts, there is one that you already probably use more than any other. That, of course, is Ctrl+z (cmd+z) to undo your last action. Be prepared to use this a lot.
Using a pen allows you to work with precision strokes, and just like in drawing, not all of those strokes are going to be perfect the first time. There is nothing wrong with undoing something over and over again until you get it right, so do get comfortable with ctrl+z (cmd+z) and ctrl+alt+z (cmd+alt=z).
You could always set this to a shortcut button on your tablet if you think that option would be good for you.
When you start using a graphics tablet for photo editing, you unlock a few features in Photoshop that were previously unavailable to you.
The most important of these are the brush settings; specifically, they’re the pen pressure settings. By turning these on, you give yourself control of the brush pressure through how much pressure you apply to the tablet.
For example, if you have the Always Use Pressure for Size option clicked, then the brush size will change depending on how hard you press down with the pen.
If it’s the opacity option you are using, then a light touch will result in a low opacity from your brush. Turn them both on, and the effects combine.
Taking control of the pressure settings is one of the most powerful aspects of using a graphics tablet for photo editing.
These settings are powerful, and on their own, one of the biggest reasons to use a tablet if you’re on the fence about them. Get to know these settings intimately as they will define your use of your graphics tablet for photo editing.
This is a bit of a wild card, as you might never use one of these brushes for retouching photos. However, because they exist, it’s good to know about them before you stumble onto them by accident and think your tablet is broken.
This charcoal pencil brush responds to the way you hold your pen. Here, all of these lines were made by holding the pen in different positions with all of the pressure settings turned off.
These brushes respond to the way you hold your pen and alter the shape and texture of their output. This replicates how a traditional artist would use a brush or pencil (or other tools) to create different strokes and marks.
If nothing else, it is a fun feature to play with, and if you can figure out how to use it with your photography, more power to you.
Using a graphics tablet for retouching can be both intuitive and counterintuitive at the same time. If you have any art background at all (I do not), you will find it easier than other photographers without that kind of background, and you can skip this tip.
If, like me, you don’t have any experience with art (either traditional or digital), I highly recommend taking the time to watch and read some digital painting tutorials.
Some of the most useful types of tutorials are:
Drawing lines – These exercises will give you control over your stylus and help you get used to the pressure sensitivity of your tablet. They will also help you make more precise movements, which will overall help to increase the quality of your output.
Following tutorials that teach you how to practice making lines and other marks will help you to gain confidence and experience with using your tablet.
Rendering – Digital painting tutorials that deal with painting with values can be an invaluable asset when your using techniques like dodging and burning. These techniques will help you blend your values better and teach you to make more controlled adjustments.
Now that you have watched some tutorials on the subject, don’t forget to actually practice them.
Taking the time to set up a blank canvas and practice your brush strokes with the various pressure settings will only help you to become proficient with your tablet faster.
The same goes for blending values for the retouching techniques that use them. Practice as much as you can, both inside and outside of retouching.
Don’t just follow the tutorials once. Practice a lot at first and then make it a point to practice some more at regular intervals.
This one is entirely optional, but if you’re feeling stiff and not getting the results you want, you can borrow another technique from traditional artists and do some warm-up exercises.
There’s nothing fancy here, just set up a blank canvas in Photoshop and spend time practicing your lines and rendering (two or three minutes might be plenty), or whatever else you will be using in your retouching session.
The best way to get to grips with your graphics tablet is to use it a lot.
Just like everything else in life, if you want to get proficient in using a graphics tablet, there is only one solution:
Use it.
Put in as much mileage as you can as quickly as you can. You should find that any challenges you face in the beginning are quickly put to rest.
There you have it, 10 tips to help you get the most out of using a graphics tablet for photo editing. While there is nothing complicated here, I hope that you will have found something that will help you get the most out of your graphics tablet for photo editing in the early days.
If you have any tips that you feel I have left out, please leave them in the comments below.
The post 10 Tips for Using a Graphics Tablet for Easier Photo Editing appeared first on Digital Photography School. It was authored by John McIntire.
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