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Posts Tagged ‘Adobe’

Video: Adobe shows you how to make your own Profiles in Camera Raw

26 Apr

The latest major release of Adobe Camera Raw, Lightroom CC, and Lightroom Classic CC unveiled all new “Profiles” to the world, including six new Adobe Raw profiles, over 40 Creative Profiles, and the ability to create your own Profiles if you want to lock your personal style into a preset.

This video addresses the last of those options, showing you how to use Adobe Camera Raw to create your own custom Creative Profiles for use in ACR, LR CC and LR Classic CC. The tutorial was created by Josh Haftel, who cautions users from the get-go on Adobe’s blog:

Keep in mind that creating a profile is rather complex, includes many steps, and should be considered rather advanced: proceed with caution.

If that doesn’t scare you away, the 23-minute video shows you exactly how the process works: step-by-step. And if you’re feeling even more courageous, you can download this free Software Development Kit (SDK) that contains more information and some sample files as well.

Finally, if the original description of Profiles wasn’t detailed enough for you—or if you really want to get into the nitty gritty of how Adobe designed its new profiles system for both Adobe Raw and Creative Profiles—check out this detailed white paper. The paper explains each of the six Adobe Raw profiles in great detail for those who really want to understand what’s going on behind the scenes.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe apologizes for Lightroom Classic CC bugs, releases bug fix update

25 Apr
Credit: Adobe

The latest update to Lightroom Classic CC—a ‘massive update’ to camera profiles for both Lightroom and ACR—came complete with an infuriating set of bugs that, judging by our comment section, left Adobe users quite frustrated. But have no fear: the software giant is back with an apology and a slew of bug fixes in the form of Adobe Lightroom Classic CC 7.3.1.

The release went live this morning, complete with this apology on the Adobe blog:

We heard your feedback and felt that parts of the release didn’t uphold the level of quality that we hold ourselves to. We’re happy to report that these issues were resolved and now available for immediate download. Some of the issues resolved included converting presets, sorting and copying/pasting profiles, translation errors, along with crash fixes.

You can download the update and read the full release notes at this link, but here is the TL;DR about what this Lightroom Classic CC update fixes:

  • An issue where some presets were not converting to the new format.
  • An issue with B&W legacy presets where the profile resets to Adobe Standard
  • An issue where Develop presets were not sorting correctly
  • Translation errors in other languages for some profiles
  • An issue where users were unable to copy/sync Black and White Mix settings
  • Lightroom backup catalog error issues.
    • Note: To resolve corruption issue in the backed up catalogs, update to Lightroom Classic CC v7.3.1 and then back up your catalogs again. If you’re backing up your catalogs on macOS, see this known issue related to catalog compression below.
  • Known Issue on macOS only: When backing up your catalogs on macOS, Lightroom Classic doesn’t compress (zip) catalogs that have a file size less than 4 GB. As a workaround to this issue, manually compress the backed up catalog files. Compressed files take up less hard disk space. By default, Lightroom Classic saves backed up catalogs to the following location on macOS:
    • /Users/[user name]/Pictures/Lightroom/[catalog name]/Backups

To update to the latest version, simply run the update in the Creative Cloud Desktop App.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe has quietly added support for Sony’s .ARQ Pixel Shift files to Lightroom

17 Apr

Files recorded using the Pixel Shift mode in the Sony a7R lll can now be opened in Lightroom Classic CC after the latest update released on April 8th, although you wouldn’t know it by looking at the update’s release notes. Marc Alhadeff of Sony Alpha Blog spotted the update, which adds support for the ARQ files that are produced once the original a7R III files have passed through Sony’s own Imaging Edge software.

Note: Imaging Edge is still needed to combine the four ARW raw files into a single image, which it outputs as a raw ARQ file.

While we’d still recommend giving the third-party SonyPixelShift2DNG software a go if you’re working with these files extensively, this additional support is definitely a step in the right direction for Adobe. Previously, ARQ files would need to be converted to DNGs in order to be edited in any of the Adobe products. But now, with Lightroom Classic CC 7.3, the ARQ file can be read without conversion.

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Adobe Premiere Pro CC just got some really useful AI-powered features

05 Apr

Yesterday, Adobe announced a ‘massive update’ to Adobe Camera Raw, Lightroom CC, and Lightroom Classic CC, adding new Adobe RAW and Custom profiles that showed the company was taking color and tonality more seriously. But that wasn’t the only update to come out of Adobe this week.

In preparation for NAB 2018, Adobe has also updated its video editing applications with useful new features for both After Effects and Premiere Pro users, and some really cool Adobe Sensei AI integration specifically for Premiere Pro.

The video above gives you a good overview, or you can can keep reading to dive a bit deeper.

Adobe After Effects

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After Effects received a few interesting new features, including a new Advanced Puppet tool for creating complex motions, and Master Properties that allow you to apply changes to individual effects across multiple versions of a composition. Or, to let Adobe explain it:

With Master Properties, you can create compositions that allow you to control layer properties in a parent composition’s timeline. You can push individual values to all versions of your composition or pull selected changes back to the master.

Adobe has also added Immersive Environment into After Effects, providing 360-degree and VR content creators with a more efficient workflow.

Adobe Premiere Pro

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Master Properties and the Advanced Puppet tool are pretty neat, but to see the most useful and impressive new features you’ll have to open Premiere Pro.

First and foremost, the new Color Match feature leverages the Adobe Sensei AI to automatically apply the color grade of one shot to another. This feature comes complete with Face Detection so Premiere can match skin tones where necessary, and a new split-view allows you to see the results of your color grade as you go, either as an interactive slider or as a side-by-side comparison.

You can see the feature demoed in the video below:

In addition to Color Match and Split View, Adobe has used the Sensei AI to make some audio improvements as well. Autoducking will automatically turn down your music when dialog or sound effects are present, generating key frames right on the audio track so you can easily override the automatic ducking or adjust individual key frames as needed.

Finally, Adobe has also added Adobe Stock integration into the apps for purchasing and pulling in stock video footage or motion graphics, and a new Learn panel in Premiere Pro gives new users “a place to start with targeted tutorials that guide them through the foundational steps of video editing.”

To learn more about all of these updates, head over to the Adobe Blog where there’s a good breakdown of all of the most important new features in both Adobe After Effects CC and Premiere Pro CC. Or, since these updates are live right now, update your Creative Cloud apps and give the new features a try for yourself.

Press Release

Adobe Creative Cloud Empowers Creatives to Thrive in the Video Age

New Release Accelerates Workflows for Color, Graphics, Animation and Audio with Adobe Sensei

SAN JOSE, Calif. — April 3, 2018 Ahead of the 2018 NAB Show, Adobe today announced a major update in Adobe Creative Cloud, giving video professionals new tools to automate and expedite time-consuming production tasks without sacrificing creative control. Available today, the updates include powerful new capabilities for refining color, creating graphics and crafting audio, along with enhanced VR tools, improved collaboration, integration with Adobe Stock and advanced artificial intelligence powered by Adobe Sensei.

With the growing demand for video, the opportunity for content creators has never been greater, but video professionals are faced with new pressure to deliver more work in less time while ensuring content stands out and meets high audience expectations. In addition, creators must optimize for different platforms, ensure accessibility, meet required broadcast standards and deliver numerous versions of content across languages and regions. This tremendous shift in the way video professionals work requires more refined and streamlined workflows to reduce time to production, giving video creators more time to focus on their craft.

“The demands and pace of video content creation are reaching levels we’ve never seen before. The time pressure on video professionals means the need for powerful and efficient creative tools has never been greater,” said Steven Warner, vice president of digital video and audio at Adobe. “Adobe video apps like Premiere Pro and After Effects give them that power which, combined with the services available in Creative Cloud, provides broadcasters, media companies, filmmakers and YouTubers a complete ecosystem to bring their stories to screen faster than ever.”

Ranging from Hollywood to Sundance, feature films to premium television channels, a growing number of industry-leading professional editors are using Adobe Premiere Pro CC to bring their creative visions to life. Projects that premiered this year include The Florida Project, The Square, Only the Brave and 6 Below; indie hits RBG, Clara’s Ghost and Search; and award-winning series MINDHUNTER and Atlanta.

Attendees at this year’s NAB Show can get a closer look at the newly available features and hear from industry experts at the Adobe booth (#SL4010, South Hall in the Las Vegas Convention Center) and at over 140 partner booths from April 9–12.

Video and Audio Workflows: Streamlined and Fine-Tuned

New feature highlights include:

  • Edit more powerfully with color and light in Premiere Pro CC – Powered by Adobe Sensei, Color Match two shots with one click, applying editable Lumetri adjustments from one clip to another to achieve visual consistency in scenes and across whole projects. Compare shots using the new split-view.
  • Create animation and graphics more quickly in After Effects CC – Stacked behaviors and effects in combination with timeline-based animation now make the creative process more visual and intuitive. Apply changes to individual effects across multiple versions of a composition with a single adjustment using new Master Properties. Also, complex motions can be made to any surface mesh with the new Advanced Puppet tool.
  • Sound even better with Sensei-powered audio workflows – Automatically adjust soundtrack audio around dialog, whether for a single clip or an entire project, with Sensei-enabled autoducking, now available in Adobe Premiere Pro.
  • Bring art to life faster with Character Animator – Animate personas more quickly and efficiently with a library of behaviors and custom triggers. Drag layers from the Puppet panel into the Triggers panel to apply and refine existing behaviors or create new ones with intuitive new drop targets.
  • Add 360 degrees of creativity with improved tools for immersive content – Adobe Immersive Environment is now available in After Effects CC, simplifying the immersive workflow to move more efficiently through clean-up and effects tasks. New support for the Microsoft Windows Mixed Reality platform offers a wider range of headsets to choose the best tools for the job.
  • Collaborate more easily in Team Projects – For the ultimate in project collaboration, real-time presence shows when teammates are online and new badges indicate when a project has been updated.
  • Get content you need with Adobe Stock – With direct access to millions of curated HD and 4K videos, select clips for establishing shots, fill in the final gaps in projects or enrich storytelling with visual variety. Add sophistication and polish to video content with professionally designed Motion Graphics templates, including animated titling and lower thirds graphics with editable effects and text.
  • Learn panel for new users – Premiere Pro beginners now have a place to start with targeted tutorials that guide them through the foundational steps of video editing. The new Learn panel is just a click away whenever it’s needed.

Pricing and Availability

The new features for Adobe Creative Cloud announced at NAB are now available with the latest version of Creative Cloud.

For more information on pricing, visit https://www.adobe.com/creativecloud/plans.html.

Multiple subscription plans for Adobe Stock are available at https://stock.adobe.com/plans.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe releases ‘massive update’ to Camera Profiles in ACR and Lightroom

03 Apr
The new Profiles panel in Lightroom CC. Credit: Adobe

Earlier today, Adobe launched a major update to Camera Profiles (now known as just “Profiles”) in Adobe Camera Raw (ACR), Lightroom Classic CC, Lightroom CC, and both versions of Lightroom Mobile. The update brings six new Adobe RAW profiles, over 40 new Creative profiles, a new profile browser, and a bunch of new features and feature enhancements across both mobile and desktop.

The most significant update here is obviously Profiles.

Camera Profiles has now been renamed “Profiles”, and the whole panel has been moved so it’s easier to find. In Adobe Camera Raw and Lightroom Classic CC, Profiles have been moved from the Camera Calibration panel into the Basics panel; in Lightroom CC, they’ve been added to the top of the edit panel.

But this update isn’t just about adding Profiles to Lightroom CC and moving them around a bit. There are now six new Adobe RAW profiles to work with.

Six New Adobe RAW Profiles

In addition to the tried and true Adobe Standard, you now have Adobe Color, Adobe Monochrome, Adobe Landscape, Adobe Neutral, Adobe Portrait, and Adobe Vivid. Credit: Adobe

Previously, the only Adobe RAW profile you had at your disposal was Adobe Standard. Now, you’ve got six more to choose from:

  • Adobe Color: designed to improve the look and rendering of warm tones, improve the transition between certain color ranges, and slightly increase the starting contrast of your photos. As the new default, it was designed to work with the widest range of photos.
  • Adobe Monochrome: Tuned to be “a great starting point” for any black & white photo. Results in better tonal separation and contrast than Adobe Standard converted to B&W.
  • Adobe Landscape: Produces more vibrant skies and foliage tones.
  • Adobe Neutral: Provides a starting point with very low contrast. Adobe claims this one is most useful “for photos where you want the most control, or that have very difficult tonal ranges.”
  • Adobe Portrait: Provides “more control and better reproduction of skin tones.” This means less contrast and saturation applied to skin tones throughout the photo, so you have more control over how those tones turn out.
  • Adobe Vivid: A “punchy, saturated starting point.”

The point of each of these profiles (and Adobe Standard) is to give your images a unified “look and feel” regardless of the camera you’re using. But now, rather than a single profile, you’ve got six “starting points” to choose from depending on your genre and photo editing style.

Adobe Color replaces 10-year-old Adobe Standard as the default profile for newly imported photos, but you’ll still have access to all of them in the new Profiles section of the Basics panel.

New Creative Profiles

Creative Profile comparison. Credit: Adobe

You now have 40+ Creative profiles to choose from, split up into four groups: Artistic, Modern, Vintage, and Black & White. These profiles can be applied to both Raw and non-Raw photos, and come with a 3D Lookup Table (LUT) for a level of control that was previously reserved for Photoshop.

Creative profiles also come with an Amount slider, so you can increase or decrease the effect.

Black & White Creative Profiles comparison. Credit: Adobe

Additionally, Adobe has also been working with some popular Lightroom preset creators to create a range of 3rd Party Profiles, some of which are already available today. These include profiles by photographers Brian Matiash and Matt Kloskowski, and companies like RNI Films and Contrastly.

You can find links to all of the 3rd Party Profiles on the Adobe blog post about this update.

Updates to Lightroom CC on Android and iOS

The new Detail tab in Lightroom CC for Android. Credit: Adobe

In addition to the Profiles update described above, Lightroom CC for iOS, Android and ChromeOS all got some feature updates and upgrades as well.

On the Android/ChromeOS front, a new Details tab provides Sharpening and Noise Reduction options, Grain options have been added for “realistic film grain,” and some additional control for sharing images over Lightroom CC Web have been added as well.

For iOS users, the new Geometry tab will help you straighten crooked and skewed photos using new Upright, Guided Upright, and Geometry sliders; the same Grain options mentioned above have been added, and Adobe has introduced a Left-Handed Editing Mode on the iPad. The company has also done some iPhone X layout optimizations to take advantage of the dreaded notch.

The new Geometry tab in Lightroom CC for iOS. Credit: Adobe

A Few More Things

Finally, in addition to everything mentioned above, a few minor improvements have been made to Lightroom CC and Lightroom Classic CC on the Desktop.

In Lightroom Classic CC, the Dehaze tool has been made more accessible by moving it to the Basics panel, the Tone Curve panel has been expanded for better/more precise control, and the face-tagging algorithm has been improved.

In Lightroom CC, support has been added for Network Attached Storage (NAS) devices, and a new filter option has been added that allows you to sort your images by “sync status.”


To learn more about all of the updates detailed above, and particularly if you want to dive deeper into the new Profiles features, head over to the Adobe blog or update your Adobe Camera Raw, Lightroom CC and/or Lightroom Classic CC to the latest version. This update went live about 15 minutes ago, and should be available to all Creative Cloud subscribers.

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Adobe posts record revenue yet again, earning $2.08 billion in Q1 of 2018

17 Mar
Photo by Kevin

It’s starting to feel old hat by now: another quarter, another record-breaking earnings report coming out of Adobe. No matter how much people—present company certainly not excluded—gripe about Adobe’s move to the Creative Cloud subscription model, the software company is absolutely raking in the dough as a result.

The last record-breaking revenue report we shared out of Adobe came in Q3 of 2017, when Adobe announced that it had earned $ 1.84 billion that quarter. Now, in Q1 of 2018, the company is staring at that figure in the rearview mirror.

This quarter, Adobe is posting record quarterly revenue of $ 2.08 billion, $ 1.23 billion of which came straight from Creative Cloud in the Digital Media Segment. That $ 2.08B figure represents a jump of 24 percent year-over-year, and contributes to the 43 percent growth in YoY operating income and 64 percent growth in YoY net income that Adobe also revealed.

You can dive into the nitty gritty details in the release below, and see the full number-by-number breakdown in this PDF.

Press Release

Adobe Achieves Record Revenue

Creative ARR Exceeds $ 5 Billion in Q1 FY2018

Thursday, March 15, 2018 4:05 pm EDT | San Jose, California – Adobe (Nasdaq:ADBE) today reported strong financial results for its first quarter fiscal year 2018 ended March 2, 2018.

Financial Highlights

  • Adobe achieved record quarterly revenue of $ 2.08 billion in its first quarter of fiscal year 2018, which represents 24 percent year-over-year revenue growth.
  • Diluted earnings per share was $ 1.17 on a GAAP-basis, and $ 1.55 on a non-GAAP basis.
  • Digital Media segment revenue was $ 1.46 billion, with Creative revenue growing to $ 1.23 billion and Document Cloud achieving revenue of $ 231 million.
  • Digital Media Annualized Recurring Revenue (“ARR”) grew to $ 5.72 billion exiting the quarter, a quarter-over-quarter increase of $ 336 million. Creative ARR grew to $ 5.07 billion, and Document Cloud ARR grew to $ 647 million.
  • Digital Experience segment revenue was $ 554 million, which represents 16 percent year-over-year growth.
  • Operating income grew 50 percent and net income grew 46 percent year-over-year on a GAAP-basis; operating income grew 43 percent and net income grew 64 percent year-over-year on a non-GAAP basis.
  • Cash flow from operations was $ 990 million, and deferred revenue grew 25 percent year-over-year to approximately $ 2.57 billion.
  • Adobe repurchased approximately 1.6 million shares during the quarter, returning $ 301 million of cash to stockholders.

A reconciliation between GAAP and non-GAAP results is provided at the end of this press release and on Adobe’s website.

Executive Quotes

“Adobe’s outstanding growth is driven by enabling our customers to be more creative, work smarter and transform their businesses through our relentless focus on delivering innovation and intelligence across our solutions,” said Shantanu Narayen, president and CEO, Adobe.

“Our leadership in the large addressable markets we created, combined with Adobe’s leveraged operating model, contributed to another record quarter in Q1,” said Mark Garrett, executive vice president and CFO, Adobe.

Adobe to Webcast Earnings Conference Call

Adobe will webcast its first quarter fiscal year 2018 earnings conference call today at 2:00 p.m. Pacific Time from its investor relations website: www.adobe.com/ADBE. Earnings documents, including Adobe management’s prepared conference call remarks with slides, financial targets and an investor datasheet are posted to Adobe’s investor relations website in advance of the conference call for reference. A reconciliation between GAAP and non-GAAP earnings results and financial targets is also provided on the website.

Forward-Looking Statements Disclosure

This press release contains forward-looking statements, including those related to customer success, product innovation, business momentum, our addressable market, revenue, annualized recurring revenue, non-operating other expense, tax rate on a GAAP and non-GAAP basis, earnings per share on a GAAP and non-GAAP basis, and share count, all of which involve risks and uncertainties that could cause actual results to differ materially. Factors that might cause or contribute to such differences include, but are not limited to: failure to develop, acquire, market and offer products and services that meet customer requirements, failure to compete effectively, introduction of new technology, complex sales cycles, risks related to the timing of revenue recognition from our subscription offerings, fluctuations in subscription renewal rates, potential interruptions or delays in hosted services provided by us or third parties, risks associated with cyber-attacks, information security and privacy, failure to realize the anticipated benefits of past or future acquisitions, changes in accounting principles and tax regulations, uncertainty in the financial markets and economic conditions in the countries where we operate, and other various risks associated with being a multinational corporation. For a discussion of these and other risks and uncertainties, please refer to Adobe’s Annual Report on Form 10-K for our fiscal year 2017 ended Dec. 1, 2017, and Adobe’s Quarterly Reports on Form 10-Q issued in fiscal year 2018.

The financial information set forth in this press release reflects estimates based on information available at this time. These amounts could differ from actual reported amounts stated in Adobe’s Quarterly Report on Form 10-Q for our quarter ended March 2, 2018, which Adobe expects to file in March 2018.

Adobe assumes no obligation to, and does not currently intend to, update these forward-looking statements.

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Adobe Creative Cloud prices will increase April 16th, Photography Plan will stay the same

13 Mar

Yesterday, a few of our staffers received an email from Adobe warning them that, in a little over a month, the price of their Adobe Creative Cloud subscriptions would increase on their next renewal date. The email read:

Dear *subscriber*

The price of Creative Cloud will increase on April 16, 2018. However, your price will not change until your next renewal date. Please note that this is the first time in over five years that we’ve raised the base price of Creative Cloud.

The price of Adobe Creative Cloud All Apps will change to US$ 52.99/month on your renewal date of *insert date here*. A reminder email will be sent to you as your renewal date gets closer.

It seems these prices changes were initially announced in October at Adobe MAX, but the email still came as news to us. So when we received the notice, we reached out to Adobe to confirm and to ask if the Creative Cloud Photography plan pricing would also increase.

Here’s what we got back:

As announced in October 2017 at Adobe MAX, for the first time since the introduction of Creative Cloud five years ago, a modest adjustment in commercial pricing will take effect for customers in the United States, Canada and Mexico on April 16, 2018 or at existing customers’ next contract renewal. Beginning April 16, new subscribers will benefit from the current pricing and can lock in a year subscription at no additional charge. Prices will vary by plans—for example, Creative Cloud for Individuals All App annual plans will experience a 6% increase to $ 52.99 per month from $ 49.99 per month. These pricing updates do not impact our Student/Education, Creative Cloud Photography, XD or Acrobat CC plans.

For more pricing details visit: https://theblog.adobe.com/adobe-updates-creative-cloud-pricing/

So, the good news for photographers is that the Creative Cloud Photography plan price is not changing. You will still pay $ 10/month for Photoshop CC, Lightroom Classic CC, and Lightroom CC with 20GB of cloud storage, or $ 20/month to increase that cloud storage quota to 1TB. But if you’re on an All App or Single App plans, you’re going to see a price hike.

In addition to the Individual All App plan increasing in price to $ 53/month (previously $ 50), Creative Cloud for Individual Single App plans will now cost $ 21/month (previously $ 20), and Creative Cloud for Teams All App plans will now cost $ 80/month (up from $ 70).

For more info on this price increase, you can read the original announcement post here.

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Adobe RGB Versus sRGB – Which Color Space Should You Be Using and Why

11 Feb

How frequently have you been to your camera settings to switch between Adobe RGB and sRGB color space? Are you even aware of what these terms mean, or what exactly is a color space? Even I was unaware of these technical terms until a few years back but I quickly realized their importance.

What is a color space?

A color space is a part of the color gamut, which is basically the universe of color tones. So you can assume different color spaces to be planets of different sizes. Out of many planets, Adobe RGB and sRGB are two most commonly used color spaces in photography.

Depending on your preferences, you can choose the desired color space and get the best possible result out of it.

Adobe RGB Versus sRGB - Which Color Space Should You Be Using and Why

By The original uploader was Cpesacreta at English Wikipedia [Attribution or CC BY 2.5], via Wikimedia Commons

What are Adobe RGB and sRGB color spaces?

Adobe RGB is a bigger color space than sRGB as it is comprised of many more variations of color tones. This is one of the reasons that Adobe RGB monitors are vastly used by photographers – they can display more colors as compared to an sRGB monitor.

Monitors and printers

Adobe RGB monitors are used by a majority of modern day printer operators as well because they are capable of showing what a CMYK (cyan magenta yellow and key or black) printer color profile can produce. This helps the printer operator to ensure that colors that are being displayed on the Adobe RGB monitor shall be very close to the print that comes out of the CMYK color space printer (used for magazines and publications).

So being a photographer it makes sense that you use an Adobe RGB monitor so that you can edit your photos and see the actual colors that will come out in the prints.

Whereas, if you are sure that you will not get your photos printed in the near future then it does not make any sense to use an Adobe RGB monitor. If you only take photos for yourself or to upload them to the web, then an sRGB monitor is ideal for your purposes.

Adobe RGB Versus sRGB - Which Color Space Should You Be Using and Why

Camera shooting color space

But in order to view the actual colors of Adobe RGB or sRGB color space on your monitor, you need to capture the photo in that particular color space in the first place.

Unless you capture a photo in the required color space, be it Adobe RGB or sRGB, you cannot use that photo to its full potential. Shooting photos in the larger Adobe RGB color space allow you to capture more color tones, thus helping you see accurate colors on Adobe RGB monitors and in the prints. Whereas clicking in sRGB color space allows you to upload images to the web without any change in colors.

While shooting in one of these two color spaces each has their own advantages, there are few disadvantages as well.

Adobe RGB Versus sRGB - Which Color Space Should You Be Using and Why

Setting your camera color space.

Advantages and Disadvantages of shooting in Adobe RGB

Advantages:

  1. You get to capture a wider range of color tones in your photos.
  2. This color space is capable of displaying color tones that come out of a CMYK printer, thus ideal color space if you print your photos.

Disadvantages:

  1. When you upload a photo captured in Adobe RGB color space on the web, the colors get desaturated (and can look “off”).
  2. Adobe RGB monitors are costly, so in order to edit Adobe RGB color space image, you need to invest a lot in a monitor.

NOTE: You can convert an Adobe RGB color profile image into sRGB color space using software such as Photoshop and Lightroom.

Adobe RGB Versus sRGB - Which Color Space Should You Be Using and Why

Left: While exporting photos in Lightroom, you get the option to choose the color space. Right: In Photoshop, you can go to Color Settings and select the required option as your working color space.

Advantages and Disadvantages of shooting in sRGB

Advantages:

  1. When you upload a photo shot in sRGB color space, the colors remain the same and do not get desaturated, unlike an Adobe RGB image.
  2. A majority of monitors in the world use the sRGB color space and are not that expensive, unlike Adobe RGB monitors. This ensures that the colors that you experience on your monitor would be almost the same on any other sRGB monitor.

Disadvantages:

  1. As the color tones in sRGB are less compared to Adobe RGB, you do not get accurate colors in your prints.
  2. If you submit your photos for photography contests, there are chances that those photos will be viewed on an Adobe RGB monitor. This might reduce your chances of winning as a photograph captured and edited in Adobe RGB will look more pleasing to the judges.

Conclusion

Adobe RGB or sRGB, which color space to choose while shooting?

If you are a photographer who prints your photos often and you want to ensure that the colors are accurate in your prints, then you must shoot in Adobe RGB color space. Shooting photos in sRGB color space might give you a variation in colors that you see on your monitor and in the final prints. Also if you participate in online photography contests, it is safe to capture and edit photos in Adobe RGB color space.

But if you only capture photos to upload them on the web, then shooting in the sRGB color space is the ideal choice for you. If you upload Adobe RGB color space photos to the web, you will notice that colors get desaturated.

Adobe RGB Versus sRGB - Which Color Space Should You Be Using and Why

Left: This is how your photo gets desaturated when you upload Adobe RGB color space photo to the web. Right: When you upload sRGB color space photos, you get correct colors as seen here.

Nonetheless, to be on the safe side you can shoot photos in the Adobe RGB color space. If needed you can always use the file for prints, and if you wish to upload to the web then you can simply convert the color space using Adobe Photoshop or Lightroom.

The post Adobe RGB Versus sRGB – Which Color Space Should You Be Using and Why by Kunal Malhotra appeared first on Digital Photography School.


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*Updated* Adobe is preparing a major Lightroom Classic performance update, and we got to try it

30 Jan

This article has been updated to include results from a 2015 quad-core Apple MacBook Pro.

Adobe Lightroom Classic users have been pining for a serious performance update for ages—even Adobe admitted that Lightroom performance was lackluster, and improving it was ‘top priority.’ Well, it looks like ‘top priority’ is going to pay off very soon.

Late last week, Adobe told DPReview that it has a significant Lightroom Classic performance update in the works. The update—which is “coming soon”—is supposed to improve performance across the board for anybody using a multi-core machine with at least 12GB of RAM. Or, in Adobe’s own words:

In this upcoming Lightroom Classic 7.2 release, we were able to make significant strides with our partners at Intel on addressing key performance issues. We have optimized CPU and memory usage so that performance will scale better across multiple cores on computers with at least 12 GB of RAM.

Adobe claims the update will result in:

  • Faster import and preview generation
  • Faster walking of images in the Loupe View
  • Faster rendering of adjustments in Develop
  • Faster batch merge operations of HDR/Panos
  • Faster export

The company’s own benchmarks back up this claim in a big way. Adobe shared these results with DPReview, revealing substantially improved export times between the current v7.1 and the upcoming v7.2.

Adobe Export Test

Adobe tested the new build on three machines:

  1. A 10-core iMac Pro with 32GB of 2666MHz DDR4 RAM, a 3GHz Intel Xeon W processor, AMD Radeon Pro Vega 64 graphics card with 16GB of RAM.
  2. An 8-core Windows 10 PC with 64GB of 2400MHz DDR4 RAM, a 3.2GHz Intel Xeon E5-1660 processor, and an Nvidia GeForce GTX 1080 graphics card with 8GB of RAM.
  3. A 10-core Windows 10 PC with 64GB of 2400MHz DDR4 RAM, a 2.9GHz Intel Core i9 7960X processor, and an Nvidia Quodro P2000 graphics card

Each of the three showed significant speed improvements when exporting 100 heavily edited Raw files as either full-resolution JPEGs or full-resolution DNGs:

  • The 10-core iMac Pro exported JPEGs 29.5% faster and DNGs 43.7% faster
  • The 8-core Windows 10 PC exported JPEGs 32.5% faster and DNGs 32.4% faster
  • The 10-core Windows 10 PC exported JPEGs 48.3% faster and DNGs 64.7% faster

Additionally, while subsequent tests of the current version got slower and slower on the Windows, version 7.2 fixes this problem. In other words: Lightroom Classic will no longer slow down over the course of a long editing session on Windows machines.


Our own tests also showed a noticeable speed boost when it came to exporting files, and a massive increase in performance on import. Adobe gave us early access to the new build, and we tested it alongside the current version of Lightroom Classic CC twice. We ran an initial export test on a 2016 13-inch MacBook Pro, with 16GB Ram and a 3.3GHz dual-core i7 processor running macOS 10.12.6, and found a modest but still significant speed improvement of around 11%.

After speaking to Adobe’s technical experts, we then conducted a follow-up import and export test on a Mid-2015 15-inch MacBook Pro. Specifically, a Retina model with a 2.2GHz quad-core Intel Core i7, 16GB of RAM, and Intel Iris 5200 Pro graphics card. It’s not exactly in the same class as the 8+ core powerhouses that Adobe seems to have lying around, but it’s arguably closer to the average setup for an enthusiast or semi-professional photographer. Also, despite being an older machine, we knew that according to Adobe, more cores would give us a better chance of seeing some serious performance gains.

As such, these results replace our earlier published figures.

DPReview Import Test (2015 Quad-core MacBook Pro)

When importing 130 Raw files from the Fujifilm X-T2 (7.6GB in total), we saw a major performance boost in LR Classic CC 7.2, on our quad-core 2015 MacBook Pro. Roughly 80%, in fact.

  • LR 7.1 – 4:05 (245 seconds)
  • LR 7.2 – 50 seconds

DPReview Export Test (2015 Quad-core MacBook Pro)

When exporting the same 130 Raw files as JPEGs (quality level 80, Adobe RGB), after heavy edits (including exposure, shadow/highlight adjustment, lens corrections and luminance noise reduction) we saw a modest performance improvement in LR Classic CC 7.2 compared to 7.1. Roughly 10% when averaged out – very similar to the 11% performance increase we saw when we ran the earlier test on our dual-core 2013 Mac.

  • LR 7.1 – 11:08 (668 seconds)
  • LR 7.2 – 10:16 (616 seconds)

Adobe was adamant that this update is just the beginning. The company is “pleased with these performance improvements” and believes Lightroom Classic users will be please as well, but Adobe also told us it is “far from done.” The company promises continued performance optimizations and improvements in future releases of Lightroom Classic CC.

For now, we’re just happy to see the first fruits of that “top priority” promise Adobe made last year.

Articles: Digital Photography Review (dpreview.com)

 
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How one photographer built the ‘ultimate’ PC for Adobe Lightroom

26 Jan
The finished product, a computer designed to be as fast as possible in Adobe Lightroom.

When professional designer and hobbyist photographer Paul Stamatiou got back from his last trip to New Zealand and set about culling and editing his photos from the trip, he quickly realized that his 2-year-old 5K iMac was just not keeping up with Adobe Lightroom Classic CC and the high-megapixel Raw files he was importing. In fact, he spent over a year of spare time editing the 848GB worth of 42-megapixel RAW photos and 4K videos to create the resulting nine photosets.

And so Paul decided it was time to build his own computer. Specifically, his goal was to:

Build a fast, yet quiet and understated desktop PC with a healthy overclock aimed at improving my photo workflow while giving me the ability to upgrade parts of it later on.

Fortunately for all of us, he chronicled the entire journey to this goal in a massive, 32,000-word blog post filled with footnotes and links to all the parts and incredibly detailed descriptions of exactly why he picked the parts he did, how he put them together, and how he optimized it all once it was set up.

This is, I’m comfortable saying, the most comprehensive custom photo-editing computer build breakdown I have ever seen. If you’re at all considering building your own editing PC, bookmark it. If not, we spoke to Paul yesterday and have penned a bit of a TL;DR summary below.

For the Mac lovers out there, note that Paul did consider building a dual-boot Hackintosh, but ultimately decided the annoyances wouldn’t be worth the time. His experience in the past—”randomly have bluetooth stop working and have days where the machine just won’t boot,” he told me over email—just wasn’t worth risking. It was time to build a PC.

This beautiful piece of technology is what he came up with:

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What’s impressive about this computer isn’t its sheer power. The parts he used (full list here) won’t make it the most beastly desktop PC you’ve heard of this week… or maybe even today. What makes it impressive is how Paul designed the PC so that it would run Lightroom’s Develop module and his personal workflow as efficiently as possible.

As Paul explains in his post:

As you know, there are a few main levers that affect the majority of a computer’s performance: storage, RAM, GPU and CPU. To be more precise: storage throughput, RAM size, RAM speed as well as the number of CPU cores and clock speed. In the case of Lightroom, CPU plays the most important role in overall application performance and to a much lesser extent GPU.

[…]

For my needs Lightroom loves the highest clock speed it can get, as opposed to a ton of lower clocked cores.

So rather than spend money on a chip with a crazy number of cores, all of which would be running at a lower clock speed, he picked a 6-core Intel i7 8700K, then had it ‘delidded’ and set it up to be water-cooled so he could overclock it safely to 5.2GHz on all cores.

We spoke to Paul about the build yesterday, and he was kind enough to offer this little summary for those of you who aren’t keen on reading all 32,000 words of the full article:

I was most concerned with performance in the Develop module of Lightroom as opposed to other actions that are more efficient with multiple cores and are not GPU accelerated. For me that meant that instead of opting for a machine with a ton of cores at a lower clock, I’d do better for Develop module tasks with fewer cores that were clocked higher, much higher.

With this build I wasn’t particularly concerned about cost and decided to make a full-blown project out of it (along with a high-end graphics card I could use to try out some 4K gaming and Oculus Rift as a side benefit—I’m a designer by day and lots of my friends have begun designing for VR so I was curious to learn more about it). I definitely recognize the build is overkill in many aspects, including having the CPU delidded and running an aggressive overclock.

While the build definitely sped up the Develop actions I was used to—it’s important to note that much of the future improvement will need to come from Adobe optimizing their software even more. […] Until Classic CC gets some performance optimization updates, I think my next step will be integrating something like Photo Mechanic into my culling workflow to do some of that outside of Lightroom so I end up importing, generating previews and managing fewer shots inside Lightroom itself.

And that last bit, really, is the disappointing epilogue to what is a really fun computer build: even with a great system built specifically to run Lightroom well, any major performance improvements will have to come from the Adobe side of the equation. Not that it doesn’t make us want to build something similar…

The final build cost Paul $ 5,931, including all of the peripherals and accessories—$ 1,500 27-inch Dell UltraSharp 4K display, Logitec mouse, Apple Magic keyboard, Bose bluetooth speaker, and Vesa monitor mounting arm.

For a full parts list, or if you want to dive deep into how this computer was built and optimized, check out Paul’s massive article at this link. But don’t be surprised if you find yourself sourcing parts for your own custom-built photo editing PC once you’re done.


All photos by Paul Stamatiou and used with permission.

Articles: Digital Photography Review (dpreview.com)

 
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