While the likes of Canon, Fujifilm, Panasonic and others have released firmware updates or dedicated apps to turn cameras into webcams, not every camera owner is lucky enough to have their camera’s manufacturer release such utilities. Thankfully, there are third-party developers stepping up to the plate to help bring webcam functionality to many more cameras.
One of the latest attempts is from Cascable, a development team known for making wireless remote, tethering and transferring solutions for iOS and macOS devices. The team’s newest creation is Cascable Pro Webcam, a new macOS app that will turn compatible Canon, Fujifilm, Nikon, Olympus, Panasonic and Sony cameras into a webcam for popular video conferencing and streaming programs.
Over 100 cameras are supported by Cascable Pro Webcam, with some even offering wireless connectivity if the camera has built-in WiFi. Cascable has a full list of compatible cameras on its website. Note that in order for the camera to be supported, it must have a checkmark under the ‘Control & Automation’ column on the linked page.
The highlighted (red) column is what determines whether or not your camera is compatible with Cascade Pro Webcam.
As for the video conferencing and streaming apps it supports, the Cascade team says it’s specifically tested it with Google Chrome, Microsoft Edge, Microsoft Teams, OBS Studio, Quicktime Player, Skype (8.59 or later), Twitch Studio and Zoom (5.0.5 or later).
Cascable Webcam Pro is available to download for free to try out. The free trial doesn’t limit how many times you can use it, but not all features will be available and streams will show an overlay when they last more than five minutes. Cascable Pro Webcam will retail for $ 40, but until July 24, it’s just $ 30 as part of a ‘launch sale.’ You can download the free trial and purchase a license on the Cascable website. You need to be running macOS 10.14.4 or higher.
Panasonic has announced minor firmware updates for half-a-dozen of its G Series mirrorless cameras and announced the upcoming release of new software for Windows and macOS computers that will give its mirrorless cameras the ability to be used as a webcam without the need for a capture card.
The firmware updates are for Panasonic’s GH5, GH5S, G9, G95, G85 and GX9 camera systems. The respective updates improve compatibility with Panasonic’s new Tripod Grip DMW-SHGR1 and add ‘operational stability’ with the LUMIX G VARIO 12–32mm / F3.5–5.6 lens. The new firmware updates will go live on Panasonic’s support page on July 21.
Panasonic has also announced the release of LUMIX Streaming (Beta) for macOS. Like the Windows version released back on June 9, the macOS version allows select Panasonic mirrorless cameras to be used as webcams through a derivative version of Panasonic’s LUMIX Tether utility that removes unnecessary interface elements to create a clean output for using as a webcam feed.
A screenshot of the Windows version of LUMIX Streaming (Beta).
At this time, the LUMIX Streaming (Beta) supports Panasonic’s S1H, S1R, S1, GH5S, GH5 and G9 mirrorless cameras. It requires at least macOS 10.11 (El Capitan), 2GB of RAM for 64-bit systems and 200MB of space. You can download the utility for free on Panasonic’s website.
Beyond the LUMIX Streaming (Beta) for macOS and Windows, Panasonic is also developing LUMIX Webcam Software. Unlike LUMIX Streaming (Beta), which is effectively a tweaked version of its tethering utility, LUMIX Webcam Software ‘[will make] it possible to use an applicable LUMIX camera as a webcam over a USB connection not only for live streaming, but also for video conferencing, etc.’ Panasonic says the software will be compatible with its S1H, S1R, S1, GH5S, GH5, and G9 camera systems, and is due for a September release on Windows and an October release for macOS.
Press release:
Panasonic Announces the Release of Firmware Update Programs for LUMIX G Series Cameras, “LUMIX Streaming (Beta)” for Mac and the Development of “LUMIX Webcam Software” for Windows/Mac
Newark, NJ (July 14, 2020) – Panasonic is pleased to announce the release of firmware update programs for the LUMIX G Series of Digital Single Lens Mirrorless Cameras and software programs “LUMIX Streaming (Beta)” for Mac and the development of “LUMIX Webcam Software” for Win/Mac.
The firmware update programs are for DC-GH5,GH5S, G9, G95, G85 and GX9 to improve compatibility with the new Tripod Grip DMW-SHGR1 and operational stability with LUMIX G VARIO 12-32mm / F3.5-5.6 ASPH. /MEGA O.I.S.(H-FS12032) lens. Meanwhile, “LUMIX Streaming (Beta)” and “LUMIX Webcam Software” enhance work-at-home activities using LUMIX cameras.
1. Firmware update programs for DC-GH5, GH5S, G9, G95, G85 and GX9
Model
Firmware Version
?Tripod grip DMW-SHGR1 can be used.
?Improved operational stability with the Panasonic LUMIX G VARIO 12-32mm / F3.5-5.6 ASPH. /MEGA O.I.S.(H-FS12032)
DC-GH5
Firmware Version 2.7
Yes
Yes
DC-GH5S
Firmware Version 1.6
Yes
–
DC-G9
Firmware Version 2.2
Yes
Yes
DC- G95
Firmware Version 1.2
Yes
Yes
DC- G85
Firmware Version 1.5
Yes
Yes
DC-GX9
Firmware Version 1.5
–
Yes
The firmware program will be available at LUMIX Global Customer Support website https://av.jpn.support.panasonic.com/support/global/cs/dsc/ on July 21, 2020.
2. LUMIX Streaming (Beta) for Mac
Followed by the release of “LUMIX Streaming (Beta)” for Windows, the “LUMIX Streaming (Beta)” for Mac has also been released. It is derived from conventional “LUMIX Tether (Ver.1.7)” with an additional display option for the cases where this software is used for live streaming purposes. It may help user convenience in the growing self-streaming opportunities.
As “LUMIX Tether” is a software program originally designed for tethered shooting, GUIs such as a focus area mark as well as control panels are displayed with live view images on the PC monitor during USB tethering. However, these graphic items become a hindrance when the software is used to capture camera view for live streaming. In response to the demands of customers to resolve this issue, LIVE VIEW mode has been added on “LUMIX Streaming (Beta)”. It enables displaying camera view only, making it easy for the separate streaming software to read it. Users can choose to show or hide these graphic items during USB tethering according to the usage purpose.
“LUMIX Streaming (Beta)” is provided as a pre-release version that is currently still under development. Please note that this software is not eligible for operation warranty and customer support.
LUMIX Tether for Streaming (Beta) for Mac Operating Environment
OS
Mac OS X 10.11,
Mac macOS 10.12, macOS 10.13, macOS 10.14
*Operation with macOS 10.15 Catalina is under verification but some issues are reported. https://av.jpn.support.panasonic.com/support/global/cs/dsc/info/macos_tether.html
(When to officially support macOS 10.15 Catalina is yet to be fixed.)
CPU
Intel CPU of 1 GHz or higher
Display
1024 x 768 pixels or more
RAM
1GB or more (32bit),2GB or more (64bit)
HDD
Free space of 200 MB or more for installation
Interface
USB 3.0/3.1
LUMIX Tether for Streaming (Beta) web page with download link
While the “LUMIX Streaming (Beta)” is basically a software for tethered shooting that can also be used to capture camera views for live streaming, the upcoming “LUMIX Webcam Software” makes it possible to use an applicable LUMIX camera as a webcam over a USB connection not only for live streaming, but also for video conferencing, etc.
Release Date*: End of September (for Windows) / End of October (for Mac), 2020
*The release date of LUMIX Webcam Software for DC-G100 is yet to be decided.
Panasonic is committed to continuous improvement with its LUMIX product line, including the Full-Frame S Series and the Micro Four Thirds G Series, by providing customers with valuable products and services, a part of which are these firmware and software update programs.
Intel has released the full specifications for Thunderbolt 4, the successor to Thunderbolt 3 that was first announced earlier this year. As previously stated, Thunderbolt 4 will not offer a speed increase over Thunderbolt 3 — it will, however, still represent an important upgrade for the protocol.
Intel released the minimum system specifications for Thunderbolt 4 on Wednesday, July 8, explaining that it will feature USB4 compliance in addition to ‘expanded capabilities.’ Notable changes introduced by Thunderbolt 4 will include double the data and video minimum requirements compared to Thunderbolt 3, requiring minimum support for two 4K displays or a single 8K display.
As well, Thunderbolt 4 will offer the full 40Gb/s speed of Thunderbolt 3 with cables up to 2m (6.5ft) in length. Whereas Thunderbolt 3 has minimum support of 16Gb/s for PCIe connections, Thunderbolt 4 will boost this to 32Gb/s. When it comes to USB4 (which uses the same USB-C connector), speeds top out at 20Gb/s with 7.5W of power delivery and support for a single 4K display.
Beyond that, Thunderbolt 4 will require Intel VT-d DMA protection and support for accessories like docks that have four Thunderbolt ports. Other minimum requirements include that Thunderbolt 4 docks must wake the PC from sleep and that notebooks requiring less than 100W of power must include at least one Thunderbolt 4 port for charging.
Though it’s clear at this point that Thunderbolt 4 won’t offer faster speeds than Thunderbolt 3, it is ultimately an upgrade over the current specification, offering double the minimum requirements in some cases. As expected, Intel says it is working closely with manufacturers on the Thunderbolt 4 certification standards.
Talking about this is storage company Kensington’s VP Ben Thacker, who said:
We expect Thunderbolt 4 products to be an inflection point for accessory makers who depend on PCs and Macs to offer an industry-leading set of product capabilities for a consistent user experience. The advancements in Thunderbolt 4 will help Kensington redefine the modern workspace of the future.
Consumers will benefit from the new minimum specifications, including the future arrival of faster Thunderbolt 4 drives, guaranteed support for two external 4K monitors and the ability to charge a slim notebook from at least one of the Thunderbolt 4 ports. These likewise exceed that of the USB4 spec, which uses the same port as Thunderbolt 3 and 4.
Ultimately, consumers can expect to see Thunderbolt 4 devices start arriving later this year when Intel makes its controllers available to accessory and computer manufacturers. It’s unclear how many of these products we can expect to see before 2021, however.
The post Synology NAS – Transforming Your Workspace to be More Productive appeared first on Digital Photography School. It was authored by Sime.
Messy People Have More Creative And Productive Minds, Science Says
While science may well say this, I’ve got to admit after deciding that I had ‘no room to swing a cat’ with my stuff everywhere, that I’ve taken some time during this COVID-19 lock-in to plan and execute my office clean-up! Along with that office clean up, I’ve reorganized my external storage, my raw image archiving, and my general day-to-day workflow, and I wanted to share that process with you.
I’ve been using a large external ‘DAS’ for a good while – a raid array (external disk) with a Thunderbolt 3 connection. Without spending a shed-load of cash on a very expensive cable, I wasn’t able to get it a suitable distance away from my workspace.
So, all of those pretty glowing blue lights and the accompanying whir of drives had to be right beside me. Not necessarily a terrible thing – it’s a very well behaved Raid array – however, it wasn’t very quiet. And, it was kinda ugly in my new small, streamlined office.
I had the idea to ‘kill the clutter’ and switch to a complete NAS (Network Attached Storage) setup with a single direct attached drive at the back of my iMac. Then I tucked the second NAS away in my “server room” (a cupboard in the corner of my office with some powerpoints and a Cat6 patch panel).
This would move the big whirring, glowing drive out of my office space and tuck my main image archiving server away, out of sight.
I also added a second monitor to my setup, a stunning 27″ EIZO. I highly recommend checking them out! It’s very easy on the eye.
So I loaded six of my regular-flavor hard disks into the Synology DS1618, the 6tb WD Red disks – the same drives I have in all of my Synology NAS gear.
Setting the NAS up using Synology’s SHR (Synology Hybrid Raid) and splitting my data across the drives for some hardware failure redundancy, is a very simple process I’ve written about here. My workflow with the second NAS has changed considerably and, after a month or so of testing, is working exactly as I’d like it to.
Now when I import from an SD card, I import directly into my external USB-C disk (Invariably, a G-Technology 4-8TB) and at the same time import to my backup location which is an identical library on the freshly installed Synology DS1618, where previously I’d import to the blue whirring beast (It was a Promise R8, an amazing unit, but just not what I wanted in my new space) and the USB-C drive. Over Cat6 the import of RAW files to my NAS doesn’t register as taking too long and hasn’t bothered me once.
Now, when I import from an SD card, I import directly into my external USB-C disk (invariably, a G-Technology 4-8TB) and to my backup location – an identical library on the freshly installed Synology DS1618. Previously I’d import to the USB-C drive and the blue whirring beast (a Promise R8. An amazing unit, but just not what I wanted in my new space). Over Cat6, the import of RAW files to my NAS doesn’t register as taking too long and hasn’t bothered me once.
Indirect benefits of the NAS running DSM as a second image storage location are, I can put any RAW files (or all of them), after conversion by the NAS, into a piece of Synology software called “PhotoStation.” This automagically creates good-looking web albums and can group and organize your photos in many ways. In this modern age of never printing anything and having dinner-table arguments discussions about ‘never seeing any of the photos we take’ is a very good thing!
The other main reason for the setup change is that I consult and, from time to time, have people into my home office to chat. Having my servers out and about, with cables hanging around to trip people over, was not a good look! Now, with everything tucked away, there’s no fear of that happening! I also spend a lot of time in my office, and I like to enjoy the space, so I am very happy with the transformation!
Since we talked last about storage, backups and NAS, my home/office internet has joined the (almost) 20th century in the form of 100Mb NBN. This means that my digital delivery to clients directly from my NAS is MUCH faster. I’m able to share albums and full-res finished images directly from my Disk Station, all from the privacy of my cupboard!
In closing, the process of de-cluttering your workspace is really very simple these days and can be quite cathartic! A small to medium-sized Synology NAS tucked away in your cupboard, and you’re good to go.
Together, Synology and WD provided the equipment for this test setup, but the opinions expressed are my own.
Have you got a storage set-up you’d like to share? Please let us know in the comments section.
The post Synology NAS – Transforming Your Workspace to be More Productive appeared first on Digital Photography School. It was authored by Sime.
For Linux users, Adobe doesn’t offer any of their Creative Cloud software, including Adobe Photoshop. Linux users have long had GIMP, which is a capable photo editing alternative to Photoshop. Although similar in functionality to Photoshop, GIMP’s default appearance is quite a bit different. With a new patch for GIMP 2.10, called PhotoGIMP, users can achieve a much more similar user interface to Photoshop.
PhotoGIMP’s major contributors are Diolinux and yevklim, and the PhotoGIMP Patch has been designed for people with experience with Photoshop. As pointed out by John Aldred at DIY Photography, more users have been turning to Linux for their operating system needs. The result is that there are photographers used to Photoshop who are now needing to learn the ropes with GIMP instead. When you boot up the standard version of GIMP, you immediately see that the layout of tools is very different from Photoshop. Not only this, but the keyboard shortcuts users have committed to memory often work differently in GIMP. This is where PhotoGIMP comes in. By making GIMP look and act more like Photoshop, it should dramatically reduce the learning curve.
As you can see in this screenshot, PhotoGIMP looks quite similar to Adobe Photoshop in terms of organization, tool location and the overall user interface. Image credit: PhotoGIMP on Github
The primary features of the PhotoGIMP patch for GIMP are as follows:
Similar tool organization and layout to Adobe Photoshop
Hundreds of new fonts that mimic those available in Photoshop
New Python-based filters, such as ‘heal selection’
Default settings maximize the space on the canvas
New splash screen
Following Adobe documentation, in-app shortcuts are set similarly
New icon and name using a custom .desktop file
YouTube channel Novaspirit Tech recently published a video overview of PhotoGIMP, including a quick comparison showing the differences in user interface between the standard version of GIMP and PhotoGIMP.
While PhotoGIMP does not include all the same tools and features of Photoshop, it appears to look the part. For installation instructions, refer to the PhotoGIMP github page.
Sigma has announced the launch of its first ultra telephoto lens specifically for full-frame mirrorless cameras, as well as a pair of teleconverters, a new USB dock and a new mount options for three of its prime Contemporary lenses.
100–400mm F5–6.3 DG DN OS Contemporary
While this new lens might look similar to its previous 100-400mm lens, the 100-400mm F5-6.3 DG DN OS Contemporary has been designed ‘from the ground up for mirrorless camera systems.’ Specifically, the lens will be available in Sony E-mount and L-mount.
It’s designed to cover fulll-frame image sensors and is constructed of 22 elements in 16 groups including one low dispersion element (FLD) and four special low dispersion (SLD) elements. It uses a stepping motor for autofocus, has a nine-blade aperture diaphragm, a minimum aperture range of F22–29 and a 67mm front filter thread. At 100mm it has a minimum focusing distance of 112cm (44”) and at 400mm it has a minimum focusing distance of 160cm (63”). The lens measures in at 86mm (3.4”) diameter, 197mm (7.8”) long and weighs 1,135g (40oz).
The Sigma 100-400mm F5-6.3 DG DN OS Contemporary is currently available to pre-order for Sony E-mount (Adorama, B&H) and L-mount (Adorama, B&H) for $ 950. The first units should start shipping on July 10.
Sigma Teleconverter TC-1411 and TC-2011
In addition to its mirrorless ultra-zoom, Sigma has also announced two new L-mount teleconverters: the TC-1411 (1.4x) and the TC-2011 (2x). Sigma says these two teleconverters are ‘Designed to complement Sigma’s renowned optical formulas’ and feature a dust- and splash-proof design ‘comparable to that of the Sigma Sports line lenses.’
The TC-1411 (1.4x) and TC-2011 (2x) are currently available to pre-order for $ 400 (Adorama, B&H) and $ 430 (Adorama, B&H), respectively, and should ship on July 10 alongside the 100-400mm F5-6.3 lens.
Sigma USB Dock UD-11
New lenses and teleconverters also mean new docks for updating firmware and adjusting settings. Sigma’s new USB Dock UD-11 models use a USB Type-C connection and are available for Sigma L-mount and Canon EF-M mount mirrorless lenses. As with Sigma’s other docks, the UD-11 models makes it possible to update firmware and customize settings on Sigma lenses with these mounts.
These EF-M and L-Mount docks are also available to pre-order starting today for $ 59 (Adorama, B&H) with an expected shipping date of July 10.
16mm, 30mm, and 56mm F1.4 DC DN Contemporary lenses
Sigma has also announced it’s made its three F1.4 mirrorless lenses available for L-mount camera systems. The 16mm, 30mm, and 56mm F1.4 DC DN Contemporary lenses are identical to their Sony E-mount, Canon EF-M mount and Micro Four Thirds predecessors, and are currently available to pre-order for $ 450 (Adorama, B&H), $ 340 (Adorama, B&H) and $ 480 (Adorama, B&H), respectively, with a July 10 shipping date.
It’s worth mentioning that the only current APS-C cameras that utilize the L-mount, and therefore would be most appropriate for this trio of lenses include Leica’s TL2 and CL mirrorless cameras released in 2017. But for full-frame L-mount users who primarily shoot video, these lenses do make for compact, affordable Super 35 lens options.
Adobe has released its June Creative Cloud updates, bringing with it a number of new features for its cloud-based product suite, including Photoshop, Lightroom and Adobe Camera Raw.
Adobe Photoshop
First on the agenda is Photoshop for desktop. Adobe has updated its Select Subject tool with new algorithms to help it better recognize what’s being selected and alter its selection accordingly. Specifically, Adobe has worked on portrait selection, which will recognize when a person is being selected and more accurately select the subject’s hair and other details using its Sensei AI machine learning technology.
Adobe has also added rotatable patterns, Adobe Fonts auto-activation (no more messages about missing fonts) and an updated Match Font feature that can detect fonts in an image and suggest similar-looking fonts within your library to use in the image.
You can find a detailed post explaining all of the new Photoshop features in depth on Adobe’s announcement blog post.
Adobe Lightroom
Moving on to Lightroom, Adobe has added a new Local Hue adjustment (ACR, Lightroom Classic, Lightroom CC macOS/Windows, iOS and Android), Versions (Lightroom CC macOS/Windows, iOS and Android), Raw defaults (Lightroom CC macOS/Windows, iOS and Android) and ISO Adaptive Presets (ACR and Lightroom Classic).
The new Centered Crop Overlay makes it easier to center a subject in an image.
The Local Hue adjustment makes it possible to edit the color in select areas of an image, the new Versions feature makes it possible to create and edit multiple versions of the same image without needing to duplicate it, Raw defaults makes it so you can apply specific default settings to Raw photographs to make the images reflect the internal picture profile you’ve set in-camera and the ISO Adaptive Presets makes it possible to change how a specific preset looks based on what ISO the image was captured at.
One of the new features in Lightroom CC for macOS, Windows, iOS and Android is ‘Versions,’ which lets you make multiple edits of the same image without having to duplicate the file.
Other new features include Centered Crop Overlay, Watermarks and Lightroom for iPad finally has an Edit in Photoshop’ option for immediately editing the image in Photoshop for iPad (with a reverse option to ‘Send to Lightroom’ when you’re done with your edits).
The ability to export an image from Lightroom for iPad to Photoshop for iPad and back is a very welcomed addition that’s been requested by users for quite some time now.
Lightroom Classic has also received performance improvements. GPU acceleration for image editing came about last year, but these new improvements focus on a smoother experience while scrolling through your library, searching and filtering collections and scrubbing sliders in the Develop module. Adobe says ‘you’ll experience faster scrolling and less stuttering especially while navigating up and down larger catalogs and sifting through longer lists of collections.’
You can see a detailed breakdown of each of the new features and updates in Lightroom on Adobe’s announcement blog post.
Adobe Camera Raw
The new ACR interface more closely resembles that of Adobe’s more recent Lightroom and Photoshop updates.
Adobe Camera Raw (ACR) has also received an update that brings its interface and feature set more in line with Lightroom. In addition to the Local Hue adjustment, ISO Adaptive Presets and center crop overlay, ACR has also moved many of its local tools to the right-hand side of the interface and put its various adjustment in stackable panels, similar to what’s found in Lightroom’s Develop module. You can also choose whether the Filmstrip (image thumbnails) appears on the left-hand side of the interface or on the bottom, underneath the images.
You can find a rundown of all of the new features on Adobe’s ‘What’s new in ACR’ announcement post.
Apple has released a new graphics option for the 16in version of its MacBook Pro which should deliver a dramatic increase in speed when dealing with large files. The AMD Radeon Pro 5600M is said to be a desktop-class GPU that comes with 8GB of High Bandwidth Memory (HBM2) that Apple claims will make the top-spec machine 75% faster than the AMD Radeon Pro 5500M standard option. The upgrade adds $ 700 / £700 to the cost.
The standard 16in MacBook Pro model comes with 1TB of SSD storage, but options of up to 8TB are available for an extra £2200/ which, along with all the other upgrades – 64GB of 2666MHz DDR4 memory and the 2.4GHz i9 processor with Turbo Boost to 5GHz – can take the price of the machine to a cool $ 6699 / £6699.
Mac Pro desktop users can also now buy user-changeable SSD kits for their Tower models, with 1TB, 2TGB, 4TB and 8TB options available. The kits come with two sticks each of half the total of the capacity and are designed to replace the existing storage in the machine. In order to replace them, Apple says a second Mac running Apple Configurator 2 is required. Prices for the SSD kits range from $ 600 / £600 for 1TB to $ 2800 / £2800 for 8TB.
Roger Cicala and his team over at Lensrentals have made the most of their COVID-19 downtime by spending the past few months painstakingly measuring the flange-to-sensor distance of more than 2,500 cameras to see just how much variation there is from cinema camera to cinema camera (even identical models).
In the first of a two-part series on the testing and results, Roger breaks down why flange-to-sensor distance is important, details ‘how accurate is possible,’ explains how the Lensrental team went about testing and shares the first bits of data from the meticulous testing of popular cinema cameras.
This is what using a $ 10,000 Denz Flange Depth Controller looks like.
To achieve this testing, Roger invested in a Denz Flange Depth Controller, which costs about $ 10,000 and can measure flange depth to the nearest 0.01mm. Even after receiving the new equipment, he and Aaron spent a month confirming its accuracy before eventually training ‘Poor Ben’ on how to use the machine.
Over the following weeks, Ben ended up measuring and re-measuring the flange-to-sensor distance of more than 2,500 cameras worth roughly $ 10M (yes, million).
The red circles denote Canon Cinema cameras that had more variation than is to be expected for the flange-to-sensor distance.
For this first part of the series, Roger breaks down the spread of Canon Cinema Cameras, Sony Cinema Cameras, non-Canon EF-mount cameras and Blackmagic cameras to show just how much variation the models and individual cameras had. To his surprise, there were a few outliers, but as always, Roger seems to have gotten to the bottom of it and has learned through this testing that the Lensrentals team can and will be able to better screen these less-accurate cameras so everything going out their doors is up to snuff.
You can check out the full breakdown on the Lensrentals blog, linked below. Part two will be out in the near future and will address the flange-to-sensor distance of ‘SLR style’ camera bodies.
Lensrentals: The Great Flange-to-Sensor Distance Article
One of the new features in Lightroom CC for macOS, Windows, iOS and Android is ‘Versions,’ which lets you make multiple edits of the same image without having to duplicate the file.
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