Tag Archives: Adobe Photoshop

March 04, 2012 at 09:47AM


New Hasselblad cameras will start shipping with Adobe Photoshop Lightroom

Hasselblad announced that starting March 12, all of their newly purchased cameras will include a version of Adobe Photoshop Lightroom. My guess is that they are talking about Lightroom 4 which will probably be released on March 6th.

Press release:

Hasselblad and Adobe announce an agreement to make medium format photography easier and more accessible to the world’s photographers.

Hasselblad today announced an agreement with Adobe Systems Incorporated that, beginning on the 12th March 2012, all newly purchased medium format Hasselblad H4D cameras will include a fully functional copy of Adobe® Photoshop® Lightroom® software at no extra charge. Under this agreement, Hasselblad is creating new opportunities for all lovers of medium format photography as well as for aspirational 35mm professionals, advanced amateurs and enthusiasts to perfect, search, process and organize their images in a single solution regardless of their experience or skill level.

Chris Russell-Fish, Hasselblad Global Sales and Marketing Director said: “Integrating the Adobe platform with Hasselblad is a ground-breaking step. Changing platforms is always a challenge for timestarved photographers and digital operators but now all users can have the excellence of a Hasselblad image file married to the functionality and ease of use of Adobe Lightroom.”

Hasselblad customers who buy new medium format H4D cameras will receive Lightroom software with their new camera equipment at no additional cost.

Adobe spokesperson Tom Hogarty, principal product manager for Lightroom said: “We are excited that photographers who purchase a new Hasselblad H4D camera will now easily be able to combine it with the power of Lightroom software. The world of imaging continues to evolve quickly, so it is increasingly important to offer customers innovative and practical software options to refine, showcase and manage their images.”

The Hasselblad and Lightroom plan does not mean that Hasselblad’s Phocus software is being phased out. Said Russell-Fish: “We will continue to support our proprietary Phocus software. This new agreement is about providing choice for our customers. Lightroom has the advantage of familiarity with photographers, digital operators and enthusiasts worldwide. Phocus still offers high-end imagists some highly specialized tools and remains an integral element of our Multi-Shot cameras as well as our Phocus Mobile application, which enables wireless connectivity for the iPhone, iPad and iPod Touch.

We are also working on solutions to tethering and batch processing challenges, and integration of those solutions is not far off.” Hasselblad will run a worldwide programme of workshops and studio days based on medium format capture and Lightroom software.

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February 27, 2012 at 11:31AM


Adobe Photoshop Touch for iPad 2 now available

I already mentioned on Facebook and Twitter that the new Adobe Photoshop Touch for iPad 2 accidentally leaked prematurely and now the app is officially available for .99 on iTunes. The details:

Use popular Photoshop features designed for the tablet such as layers, selection tools, adjustments, and filters to create mind-blowing images.

Use your iPad camera to fill an area on a layer with the unique camera fill feature.

Select part of an image to extract by scribbling with the Scribble Selection tool. With Refine Edge, use your fingertip to capture even hard-to-select image elements, like hair, with ease.

Search and acquire images with the integrated Google Image Search.

Share images on Facebook and view comments right within the app.

Browse an inspirational gallery for the styles and results you’d like to achieve. Then follow step-by-step tutorials to easily learn techniques the pros use for great-looking results.

Use AirPrint for wireless printing of Photoshop Touch projects.

Upload projects to Adobe Creative Cloud* and open layered files from Adobe Photoshop Touch in Photoshop CS5.

Maximum image resolution: 1600 x 1600 pixels

Via MacRumors

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February 14, 2012 at 03:01AM


Software Workshop: Nik’s Silver Efex Pro 2

Good b/w can be surprisingly hard to do with Photoshop. A plug-in can help

Photo: Mikko Reinikainen, mikkoreinikainen.fi
If you read our monthly Fix It Fast department you know how much we love Nik’s Silver Efex Pro 2 plug-in. It is simply the fastest way we know to create really beautiful black-and-white photographs from color image files.
But while it’s easy to make conversions once you get the hang of the software, Silver Efex’s tool names and selective adjustment controls aren’t necessarily intuitive to a new user. And if you’ve never used a plug-in before, the way it works can be confusing at first.
A plug-in acts as a program within a program, so to work with Silver Efex, you need to open it within one of its supported applications, such as Adobe Photoshop or Apple Aperture. In Photoshop, after you’ve made your adjustments, Silver Efex closes and can output your b&w conversion to a new layer. In RAW workflow programs such as Aperture or Adobe Photoshop Lightroom, Silver Efex can bring your converted file back in as a TIFF.
Here’s an intro to working with Silver Efex that will show you how and when to use some of its unusual features. You will quickly see how different (and more efficient) it is to make a b&w conversion in this plug-in compared with using one of Photoshop’s tools.

Step 1(CLICK FOR FULL-RES)
Open the image that you want to convert in Photoshop. This one, from Finnish photographer Mikko Reinikainen, is striking as a color photo, but its vintage style makes it a good candidate for the black-and-white treatment. Go to Filter > Nik Software > Silver Efex Pro 2 to start working in the plug-in. As you adjust your image, Photoshop remains running in the background.

Step 2(CLICK FOR FULL-RES)
Silver Efex Pro starts you off with a neutral conversion­—you’ll notice that all of the adjustment sliders on the right side of the screen are set at zero. From here, you can select one of the presets on the left as a starting point (each one is adjustable) or evaluate your image and begin adjusting manually. If you don’t like any of the presets that you try, click the first one, Neutral, to get back to the default conversion.

Step 3(CLICK FOR FULL-RES)
Each of the Global Adjustments on the right side of the screen have sub-adjustments. Click the triangle next to each to fine-tune. Begin with Brightness; Dynamic Brightness allows you to brighten or darken your image while maintaining overall contrast range. Move the sliders to adjust the brightness levels of your highlights, midtones, and shadows.

Step 4(CLICK FOR FULL-RES)
Next, adjust the contrast. Use the Amplify Whites and Amplify Blacks sliders to isolate these tones, calculated according to the tonality in each section of the image. Bring up the Amplify Blacks slider to darken the shadows without turning the snow in the background gray, and turn up Amplify Whites to bring back some of the bright details in her coat. Now head to the Structure sliders, which can find objects and increase contrast within them, adding apparent detail. Move the Shadows slider to increase structure, but leave midtone and highlight structure alone­—increasing it in those tones would make this portrait unflattering.

Step 5(CLICK FOR FULL-RES)
Unlike in Photoshop proper, you don’t need to create masks to do selective adjustments; using Control Points, the program finds the edges for you. This model’s skin could use just a bit of brightening, so zoom in on her face, then click to add a control point to her skin, being careful not to apply it to any area with makeup. Use the top slider to decrease the adjustment circle so it encircles just her face; the app will use its tones to find its edges. Now move the Brightness slider to increase the brightness of her skin.

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February 10, 2012 at 07:16AM


Photoshop CS6 sneak peek video #3

This is sneak peek video #3 of the upcoming Adobe Photoshop CS6. More videos can be found in this post.

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Related posts:

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January 25, 2012 at 06:47AM


Adobe Photoshop CS6 first look videos

The preview I posted here last week got removed, but YouTube has several other Adobe Photoshop CS6 first look videos. The above clip demonstrates the new blur and perspective crop tool features.

Here is another video:

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January 18, 2012 at 04:57AM


8 Steps for Perfect Prints

Great photos deserve great prints, here’s how to do it like a pro

Mpix, MpixPro, and Miller’s Professional Imaging, all part of the same family-owned company based in Kansas, offer different levels of products and services to different types of clients. Above, a poster-sized image comes out of the printer. Photo: Steve Herbert
Printing at home can be a good thing, but sometimes it’s best to let someone else do it. Maybe you want to make a whole bunch of 4×6 prints, or you need a print larger than your home printer can produce. Or maybe you have an image you love, but you can’t seem to make a print that matches your vision of it. A lab, whether accessed online or in person, can even obviate the need for a printer of your own; if you don’t print much, it can be more economical to have your prints made for you.
There are lots of labs to choose from, ranging from consumer-friendly, automated online systems all the way up to high-end labs where you can work one-on-one with in-house master printers. The higher up the scale you go, the more control and, most likely, the more printing options you will have. And, of course, the more you will spend.1. Find the right lab for you.
Before you print, decide which kind of lab you will need. You may even want to work with several, depending on your requirements at the time: It could be that you’ll use a consumer-friendly lab, such as Mpix, for quick, small prints; order your bigger prints from a site like AdoramaPix that will allow you to download profiles; and save your big, serious prints for a master printer such as the Icon lab in Los Angeles. Or you might stick with a do-it-all site such as Kodak Gallery, which takes care of color management for you, makes prints from small to large (including posters), and also offers the typical mugs and mousepads you’d expect from an online lab.
If all you need is big, an online lab might do it. But if you choose to work in person with a high-end lab (most major cities have one), you’ll get hands-on guidance the likes of which you could never match working remotely. Says Bonny Diadhiou of the Icon, “It takes about five people to make one beautiful print. There’s no just pressing a button—it’s even hand-trimmed. There’s so much love and labor that goes into making a single print.”
A custom lab like this will make an appointment with you to sit in a gray-walled room with optimized lighting while a seasoned printer works on your image on a color-correct monitor; the printer may even rework your RAW file if need be.
If you plan to begin a long-term relationship with a given lab, try calling customer service and see how long it takes to get a human on the phone. Ask for its policy on unsatisfactory print quality. Find out if the lab takes rush orders. Consider its output sizes: Is there enough variety? How big do they go? And finally, of course, consider the cost. Is the lab a good value for the money? Bear in mind, though, that some pro-level print services such as MpixPro require that its clients make at least some portion of their income from photography to access the professional site.

Kole Montross, a retouching artist in Icon’s fine-art department, looks over a restoration project for a client. Photo: Bonny Diadhiou; Gabe Palacio Photography2. Calibrate and profile your display.
We’ve said this before, and we’ll say it again: A good-quality, calibrated, and profiled display is essential for making great prints, particularly if you plan to do any image editing at home. When you standardize your monitor’s color and contrast using a calibration device, such as X-Rite’s i1DisplayPro or Datacolor’s Spyder3Pro, you can have more confidence that the edits you make to your images will reproduce in prints the way you expect them to.
Labs that cater to more digitally adept photographers, such as AdoramaPix, will often allow you to download profiles for the printer/paper combinations they offer. If your at-home setup is color-managed, and you are comfortable using those profiles to soft-proof and preview your result in Adobe Photoshop, you can take on the job of color correcting your images yourself. You may even be able to take your setup for a hard-proof trial run: MpixPro’s service, for instance, will use your images to make five test prints for you to see how well the systems match.3. If you can’t calibrate, let the lab do the color correcting.
Most labs catering to enthusiasts, advanced amateurs, and even pros will fix the color for you, so you don’t have to worry about it. This is a good option if you don’t have a calibration device, or if you are simply not so great at making color corrections. The benefit of letting the lab handle it is that its technicians are intimately familiar with the vagaries of its printers and papers.
Consider a service like Kodak Gallery’s Professional Prints option. When we asked Mark Cook, vice president of products for Kodak Gallery, about color management, he replied, “There’s a setting where you can turn it on or off. Color management is done by a human.” In other words, this is not the service for those who want to manage their color with soft-proofing and profiles. If you want your color or exposure corrected before your prints get made, a Kodak technician at the lab will make the call for you.

An Mpix technician applies a surface layer to a photo by hand. Photo: Steve Herbert4. Set the right color space.
Can your lab accept Adobe RGB or Pro Photo RGB, or must you submit your files in the smaller-gamut sRGB color space? Similarly, consider file type and size. Some labs have file-size limits, and some accept only JPEGs, not TIFFs.5. Pick your medium.
Unless you go for a high-end lab, your prints probably won’t be made on inkjet printers. Instead, you’ll get what’s commonly called digital c-prints. These are made using a chemical process in which your images are projected onto photo paper using a series of lasers. This affords different paper options: Lots of labs offer Kodak’s papers such as Endura, a matte surface that works best for portraits, or Metallic, which works well when your shot includes metal, water, or sky.
However, high-end labs often print with inkjet machines as well and can help choose the best method and medium for output. The Icon, like many such professional printers, offers more than 25 kinds of paper, and can print using a wide variety of methods. They can also print extremely large—Icon recently had a job making prints nearly 60 inches wide by 15 feet long. Try ordering a print that big online. Finally, consider archivability. How long do you want your prints to last? According to Diadhiou, black-and-white pigment-based inkjet prints can last as long as 200–300 years, and color 100–200, depending on how they’re stored and displayed. A digital c-print, however, probably won’t last more than about 60 years.6. Order your own test strips.
If you’re planning to have a bunch of images printed, but you’re not sure of the best paper type to suit the pictures, order test strips. Use your editing software to gang a bunch of them up on a single big print, and then have it made on various papers to compare how the same set of images look on each. Or, if you’re not sure how much contrast or brightness will work best on the paper you’ve chosen, send out a similar big print with five or six variations of the image on a single piece of paper. Once you figure out what works best, order away.

One of the print specialists at AdoramaPix inspects prints for a wedding shooter. Photo: Bonny Diadhiou; Gabe Palacio Photography7. Find out about black-and- white.
If you’re working with a lab that can make inkjet prints, you’ll have more paper options than you would with digital c-prints. For instance, you’ll likely be able to print on fiber-based papers in a range of finishes from matte to glossy, which can give you a more traditional darkroom look. You’ll also be able to send RGB files that contain some tone.
Labs that make digital c-prints sometimes offer printing on true b&w resin-coated paper; both Kodak Gallery and Mpix are two examples. But it is essential that you find out what kind of b&w file your lab recommends.Some labs prefer to do the conversion for you using their own software, others request you send a grayscale (rather than an RGB) image. If you don’t give the printer what it expects, you could end up with strange color casts you don’t want, or a neutral image when what you were expecting was a nicely toned one.8. Consider your image’s aspect ratio.
If your photo doesn’t fit the same dimensions as a lab’s print size, its technicians—or automated program—may do the cropping for you. To control this yourself, you can crop your own image before uploading. Or, to get the aspect ratio you want at the largest size, open the image in your image editor, then make a white border around your shot so that the total image area, including the border, matches the print size you’re ordering. If you want to display your print without the border, you would then need to trim it yourself or frame it using a mat that covers the border.

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January 11, 2012 at 03:28AM


A Realistic Adobe Photoshop Simulator

Here’s something that might give you a chuckle (or be too painfully accurate for some of you): Visual Idiot created a web-based Adobe Photoshop simulator that attempts to faithfully reproduce how the program works in Mac OS X.

Adobe® Photoshop® Simulator [Visual Idiot]

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