Are your Lightroom Plug-ins in your Color Space?
I came across s this other day and thought if it happened to me surely it happened to others.
We have Working Color Spaces for our image; sRGB, Adobe RGB, ProPhoto RGB. Everyone has their preferences and this article won’t delve into which you should use. A problem comes when you install Plug-ins from different manufacturers,(Nik, Topaz, Macphun etc) when they install they may not install with the Color space you desire and you may not even know this is happening. For a lot of people this may not even matter but if you are s stickler like I am for Color Management, it’s very important. Continue reading
Macphun Software’s Tonality Pro Black & White Conversion
Though not a household name (Yet) Macphun Software has been making quite a bit of buzz in the Photo Editing software market since their founding in 2008. They started off making mostly photography related iPhone apps and soon moved to full featured Software for Mac, besides their apps for iPhone and iPad™ use. Sorry, Mac only, which is OK since Photographers seem to be the most loyal Apple Fans Continue reading
HDRsoft, the makers of Photomatix Pro 5 the top selling HDR software, also make a Plug-in for Lightroom that allows you to select your exposures in Lightroom and then Merge those files into a 32-bit Floating Point Tiff file and automatically re-import back into Lightroom for all your Tone-mapping and finishing needs The plug-in; HDRSoft’s Merge to 32 Bit, makes the whole process easy, effective and pain free. So let’s look at the plug-in and then follow through with some thoughts on a quick and easy yet thorough workflow using Lightroom only. Continue reading
In doing research for my article 32-bit HDR Myths and Methods, I came across a strange occurrence. A 32-bit Floating point Tiff HDR file I processed in Photoshop CC (Not ACR), saved as a new 32-bit Tiff file and then imported into Lightroom looked absolutely Horrid.
Here, I’ll show you. The Photoshop Image is on the Left (as viewed in Lightroom) Click for large view Continue reading
32 Bit HDR Myths and Methods
A funny thing happened a couple years ago with the introduction of Lightroom 4.1. I started seeing people talking about NOW processing their HDRs in 32-bit. Now while it was true that something new happened – 32 Bit Tiff support for both Adobe Lightroom 4.1and ACR 7.1- many people seemed to think that 32-bit processing in any program was not possible before this and even the confusion that Lightroom and Photoshop ACR (Adobe Camera RAW) were the ONLY programs that did work in 32-bit (Color Bit depth), which simply wasn’t true. All the Major HDR Programs do their processing in 32-bit, Photomatix Pro, Nik by Google HDR Efex Pro 2, Oloneo all of them work in 32 bit depth while in their Tonemapping/processing modules. Period Continue reading
I took today to update the HDR How To Page to reflect the changes made in HDRsoft’s Photomatix 5 Program
If you or someone you know are new to HDR and Shooting and Processing of HDR Images it’s a great resource to get you started and the the over 180 other articles in the blog can help you to take your HDRs to the next level (as much as I hate that tag line)
Check it out!
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Photomatix HDR Tutorial Final Image
Photomatix 5 review
I’m a little overdue with this review but it’s given me a little more time to play.
In November, HDRsoft released Photomatix Pro 5, which contains one of the most important upgrades since changes to it’s De-Ghosting way back when.
It’s no secret that since the release of Nik Software’s HDR Efex Pro 2, I’ve used that for the majority of my HDR Image Processing. I found it was able to accomplish a more natural look easily and of course that’s the look I prefer. However Nik had some serious side effects, the worst of which, its alignment and Chromatic Aberration control. And while it’s de-ghosting was very good; it just didn’t have the power or the versatility of Photomatix Pro.
I would, on some difficult images, use the superior alignment capabilities of Photomatix to create a 32Bit Radiance file and then open that in HDR Efex Pro 2 to do my tone mapping. But with Nik acquisition by Google, I truly doubt that there will be any further releases or significant Updates to HDR Efex Pro 2 or any of Nik’s other software. Which IS very good but without support, I don’t see much future.
OnOne Software solves your Adobe woes
I don’t think anything has caused a bigger stir in the Photography World, then Adobe’s announcement they were going to a Subscription based Licensing (Creative Cloud) instead of their long standing Perpetual Licensing.
While subscription licensing makes sense for a lot of businesses, it’s not something that either small businesses or Hobbyists are used to nor do they like.
At first the cost was prohibitive, but that’s lessened a bit, but still for a lot of people that want to buy and then hold for a few product cycles it proved to be a thorn in their side.
I’m not here (nor will I) debate that subject. Nor am I here to do a full review of onOne Perfect Suite 8, which was released yesterday. I truly believe, it doesn’t matter much what I have to say about the software, they have a 30 day free trial so you have a whole month to take it for a spin and decide for yourself.
But I am here to tell you that onOne Prefect Photo Suite 8 IS a replacement for Photoshop/Lightroom if you so desire one and a good one at that. Continue reading
onOne Software Announces Availability of Perfect Photo Suite 8
New Perfect Eraser for Content-Aware Fill, Enhance and Browse Modules, Perfect Batch Processor, and Re-imagined Effects Module Evolve Popular Plug-In Into a Complete Photo Editing Solution for Every Workflow
Portland, OR – November 26, 2013 – onOne Software, Inc., a leading developer of innovative digital photography solutions, today announced the availability of Perfect Photo Suite 8—the Photographer’s Choice for Photo Editing. Perfect Photo Suite 8 is a full-featured, standalone photo editor that also integrates seamlessly with Adobe Photoshop, Lightroom, Photoshop Elements, and Apple Aperture. It includes all the best tools a photographer needs to create stunning images.
Topaz Labs brings Clarity to the Milky Way – Photographing the Milky Way
I’ve always loved looking up at a star filled sky in wonder. When I was a kid we would go camping in Canada. It was so dark up there away from all civilization I don’t think there was a star you couldn’t see. I remember seeing satellites fly across the sky when satellites were still new.
But the truth was/is I’ve lived most of my life in or near big cities, first NYC and Philadelphia and now San Diego. So in my normal everyday life there wasn’t much star gazing. But there was something special about it.
In my photography there wasn’t much of it either. Sure I did a few long exposures when I was out in the National Parks like Zion or Yellowstone. But that was when I shot film and film didn’t always offer the same possibilities or capabilities, whether it was max ISO or reciprocity. This was especially true when it came to shooting the Milky Way in color and having the stars static.
As I discussed in this article: How many Exposures are enough the most important part of the -How many exposures do I shoot – is the fact that you need to cover the entire dynamic range of the scene. As the article pointed out the spacing between exposures was not AS important as covering the entire range.
In this article Measure & Exposing for HDR I told you how to meter different areas of the scene to know the range of shutter speeds you would need to shoot to cover the dyanmic range. But even though it’s a good way to get you close, there still can be some margin of error because of course we know…sometimes the meter gets fooled. Continue reading
Depth of Field – In Depth
Everything you wanted to know about Depth of Field and some things you didn’t but you will be glad you did
So you may think you understand Depth of Field (DOF) but do you? Let’s try to confirm what you do know and maybe show you a couple things you didn’t.
What is Depth of Field?
Let’s start with a definition: Depth of field is the total distance that is in “acceptable focus” from our actual point of focus. Let’s clarify that definition further because we artistic minded hate reading definitions.
When you focus on an object, you have a “point of focus” that is the only part that is 100% sharp and in focus, then you have a “field of acceptable focus” in front of and behind that point. That area is the total Depth of Field Continue reading
In the blog post “How to Shoot in Manual” I gave some very basic information about where you meter is in your camera and how to use it. In this post we’ll talk really In-Depth about your Camera’s meter
and how to get the most out of it and when to know when it is lying to you and how to correct for that.
What type of Meter do we have in our camera?
The Meter we have in our cameras are known as “Reflective” meters. What they actually meter is the light reflected off of our subject, what we are shooting. This is different than Hand Held Meters. While those meters can be used also to measure reflected light, they normally measure the light source itself also known as “Ambient” or Incident” light and are mostly used to measure the light from Strobes/Flashes that a reflected meter can not. Continue reading
Topaz Labs introduces ReStyle
I’m sure most of the readers here are familiar with Tone-Mapping. Where we take a specific tone (lightness) and change it to a different tone (Lighten or darken). But what if we could instead do the same thing but with Color and Hue..In other words; Color-mapping. Taking something of a specific color or hue and changing bit to another.
Well, the good folks at Topaz Labs have brought that to you. With “Styling” apps all the rage for your Smart Phone Pics, why not take that idea to a professional level. Whether it’s a cross processed look or a dark and Smokey look to your image. Just about anything is Possible with Topaz Labs Re-Style
Topaz Labs Clarify – Get the Funk out of your HDR
Read to the end for a special Discount Code on Topaz Labs Clarity
Just released today is the new software from our friends at Topaz Labs – Clarity
Some of you may have read the article I wrote on “Why HDRs don’t look real” In it I went on about how what’s missing in a lot of HDRs is Midtone Shadow and Midtone Contrast. Controlling these two things either in the original HDR process or later in post can really do a lot to add photorealistic look to your HDR or actually any image.