by Michael Frye | Jan 11, 2012 | Digital Darkroom
As many of you know, Adobe released a beta version of Lightroom 4 yesterday. There are some major changes to the Develop Module—the Brightness slider has disappeared, while the Recovery and Fill Light tools have been replaced by Highlights and Shadows. Adobe says these Highlight and Shadow tools were improved, and a quick test bears this out—I was able to recover detail in an overexposed moon with Lightroom 4 and not with Lightroom 3. There’s also a new Whites slider, the Blacks slider is quite different, you can adjust individual color channels with the Point Curve—and they’ve changed the default settings.
I’m looking forward to experimenting with the new tools, figuring out the new defaults, and sharing with you what I learn. In the mean time you can watch Julianne Kost give an overview of the new features, or describe the specific changes to the Develop Module. To download the beta, click here.
Remember that this his a beta, so it’s bound to have bugs, and the final shipping version will be different, so adjustments you make now might not translate to the finished version. If you want to import a few images into the beta version to try it out, great, but I don’t recommend that you start using Lightroom 4 beta as your primary tool until the final version ships.
You can’t upgrade your current catalog to Lightroom 4, which is good—you don’t want to mess with your existing catalog. Adobe also recommends that you don’t save metadata to XMP, and I wholeheartedly agree. Don’t Save—don’t press Command-S on a Mac, or Control-S on Windows, and make sure the option to automatically write changes into XMP is turned off. It’s turned off by default in Lightroom 4, but to check go to your Catalog Settings (under the Lightroom menu on Macs, or under the Edit menu on Windows), click on the Metadata tab at the top, and make sure that “Automatically write changes into XMP ” is unchecked. And while you’re at it uncheck “Include Develop settings in metadata inside JPEG, TIFF, and PSD files” also.
Now in Lightroom 3 I do recommend—highly—that you check these boxes. To understand why, and what all XMP stuff means, we have to talk about some fundamental aspects of how Lightroom works, so if you want to delve into these details read on.
Lightroom is a non-destructive editor, which means that when you make changes to a photograph’s appearance, Lightroom does not modify the original Raw or JPEG file, but rather writes a set of instructions about how you want to the image to look. Those instructions don’t get applied until and unless you export the image out of Lightroom (like when you take it into Photoshop, or export a JPEG to put on a web site).
Those instructions are automatically written into the Lightroom database, and can also be written into the image file itself with JPEG, TIFF, PSD, and DNG files, or with other Raw files (NEF, CR2, etc.) into a sidecar file with a .xmp extension. So with Lightroom 4 you want avoid writing writing those instructions into the image file, or a sidecar file, because those instructions won’t be compatible with Lightroom 3, and may not be compatible with the final version of Lightroom 4. But with Lightroom 3 you want to write those instructions (the metadata) into the file or sidecar file so that if Lightroom catalog ever gets corrupted those instructions, your edits to all your images, won’t be lost, because the information will be stored with the image itself. Also, that information can be read by other programs, namely Adobe Camera Raw and other copies of Lightroom.
So with that said, have fun playing with Lightroom 4, and I’ll be back with more after I’ve given it a thorough test drive.
by Michael Frye | Sep 7, 2011 | Composition, Digital Darkroom, Photography Tips
My preferred crop for this image of Bridalveil Fall doesn't fit any of the common print sizes.
In the comments for my last critique, Michael Glover asked a question about cropping and aspect ratios. I get this question a lot, as many people feel that they must crop their images to a certain size—4×6, 8×10—for printing. So I thought I would expand on my answer to Michael and address this issue in more depth here.
The problem with cropping to fit a particular aspect ratio for printing is that you can compromise the photograph’s esthetics. The accompanying images of Bridalveil Fall show what I mean. Below you’ll find the uncropped version, with its original 2:3 (or 4×6 or 8×12) aspect ratio, and a version cropped to a 4:5 (or 8×10) ratio.
To me, the uncropped version leaves too much empty space on the right and left sides, while the 4:5 ratio is too square, and a bit static. I prefer the crop at the top of this post, which lies somewhere in between.
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by Michael Frye | Mar 3, 2011 | Digital Darkroom, Photography Tips
Lightroom has grown up. I’ve made 30×40 inch prints from this image using only Lightroom (except for the final print sharpening). Yet Photoshop can still do things that Lightroom can’t.
“Should I get Lightroom or Photoshop?” This is a question I get asked a lot, usually by people who own Photoshop Elements and are thinking of upgrading to either Lightroom or the full version of Photoshop.
Six years ago this was an easy decision, because Lightroom didn’t exist. If you wanted to upgrade from Elements, the full version of Photoshop was the only real choice. But then Apple launched Aperture, Adobe countered with Lightroom, Nikon and Canon upgraded their software, and a host of other companies added even more options.
For now I’m going to keep this simple and just talk about Lightroom and Photoshop—mainly because these are the two most popular choices, but also because they’re the two applications I’m most familiar with, and they’re natural choices for people wishing to graduate from Adobe’s other photo-editing program, Elements.
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by Michael Frye | Jan 6, 2011 | Advanced Techniques, Digital Darkroom, Photography Tips, Video Tutorials
White Balance for Landscape Photographs – Part 3: A Special Problem from Michael Frye on Vimeo.
Here’s the third part of my video series on white balance, where I present solutions to a common problem in landscape photographs—finding the right white balance when mixing low-angle sunlight with blue sky.
If you haven’t seen them already, here are links to Part 1 and Part 2.
To see this video clearly, be sure that “HD” is on (the letters “HD” should be white instead of gray; if not, click on them), and click the “expand” icon just to the right of “HD.”
Hope you find this helpful; I look forward to hearing your comments! And if you like the video, please share the link.
by Michael Frye | Dec 22, 2010 | Digital Darkroom, Photography Tips, Video Tutorials
White Balance for Landscape Photographs – Part 2: Shade from Michael Frye on Vimeo.
Here’s the second part of my video series on white balance. Today it’s all about shade—finding the perfect color temperature that brings out all the hues when there’s no sunlight in your photograph.
If you haven’t seen it already, here’s a link to Part 1. Still to come is Part 3, where I’ll present solutions to a common problem in landscape photographs—finding the right white balance when mixing low-angle sunlight with blue sky.
To see this video clearly, be sure that “HD” is on (the letters “HD” should be white instead of gray; if not, click on them), and click the “expand” icon just to the right of “HD.”
These videos are a great way to explain concepts like white balance, but if you want to put all the bits and pieces together and really master the digital darkroom, there’s still space available in my upcoming Photoshop and Digital Printing workshop, January 16-20.
Hope you find this video helpful, and I look forward to hearing your comments!
by Michael Frye | Dec 19, 2010 | Announcements, Digital Darkroom
Today is the last chance to get a discount on Craft & Vision eBooks, including my new one, Light & Land: Landscapes in the Digital Darkroom.
Use the code LAND4 at checkout to get my book for only $4, or buy any five Craft & Vision eBooks and get 20 percent off by using the code LAND20. The offer expires at midnight tonight Pacific time.
There are lots of great titles in the C&V collection, so even if you’ve already bought Light & Land you can still easily find five other titles to inspire you to greater creative heights. I haven’t read them all, but really like David duChemin’s two-part series The Inspired Eye, and Andrew Gibson’s three-part series on The Magic of Black and White.
Click here to see all the titles.
