Camera Raw 4.2 and Lightroom 1.2 Updates are now available from Adobe.
You can get the ACR update from the Adobe Camera Raw download page (Win|Mac) .
Support for the following camera's have been added in this update. Visit the Camera Raw page for a complete list of supported cameras.
- Canon EOS 40D
- Fuji FinePix IS-1
- Leaf Aptus 17
- Leaf Aptus 54s
- Leaf Aptus 75s
- Olympus EVOLT E-510
- Panasonic DMC-FZ18
- Pentax K100D Super
- Phase One P 20 +
- Phase One P 21 +
- Phase One P 25 +
- Phase One P 30 +
- Phase One P 45 +
- Sony A700
Additional Notes
• Camera Raw 4.2 does not support the Canon EOS 1D Mark III sRAW format at this time
• Lightroom and Camera Raw will be updated together to ensure raw format and settings compatibility.
• Noise reduction adjustment for all cameras with Bayer Pattern sensor: The base point noise reduction applied at the demosaic stage of raw processing has been reduced. The resulting effect is that images with zero luminance noise reduction applied in Camera Raw 4.2 will contain more noise than the
You can get the Lightroom update from the Adobe Photoshop Lightroom download page (Win|Mac) .
Updates include:
Lightroom 1.2 includes corrections for the following issues:
● Lightroom 1.1 catalogs with user-specified sort order could not be imported into another catalog
● Lightroom 1.1 for Windows could at times display gray boxes instead of image thumbnails
● The preference to write XMP metadata automatically in Lightroom 1.1 could attempt to write metadata indefinitely for
offline images causing significant performance problems
● Images could be dropped from the Quick Collection upon reordering of the source folder
● Catalogs could not be exported to drives smaller than 250MB
● The Web Module was not accessible in Lightroom 1.1 on the Macintosh platform when Lightroom was installed on
case-sensitive volumes such as the Case Sensitive HFS+ (Journaled) volume
● Errors occurred exporting to a Linux SMB network volume
● Scroll position in the grid view was not maintained when changing the view option using the J shortcut key
● The tokens for image number and image count were not displaying properly in the Slideshow module
● The metadata panel could display incorrectly on Windows
● Slideshows on the Macintosh platform did not display properly when a 256MB ATI graphics card was connected to 30
" LCD
● The Lightroom 1.1 Web module export did not position the copyright tag in the same location displayed in the preview
● The auto-eject functionality on Windows ejected the card reader device in addition to the card
● Noise reduction adjustment for all cameras with Bayer Pattern sensor: The base point noise reduction applied at the
demosaic stage of raw processing has been reduced. The resulting effect is that images with zero luminance noise
reduction applied in Lightroom 1.2 will contain more noise than the identical settings in Lightroom 1.1 but less noise
than identical settings in Lightroom 1.0.
● 1:1 previews were not discarded according to the timing set in the Lightroom preferences
● 1:1 previews are not built for an entire set of images when requested after importSome addtional notes about Photoshop Camera Raw 4.2 and Lightroom:
Adobe applications must be updated with the Camera Raw 4.2 plug-in in order to ensure compatibility with Lightroom 1.2 develop module settings. Photoshop CS3 users can update the Camera Raw plug-in automatically using the Update tool listed under the Help menu. The Camera Raw 4.2 plug-in can also be downloaded and installed manually by visiting the Adobe web site: www.adobe.com/products/photoshop/cameraraw.html. Please follow the installation instruction carefully.
Friday, September 14, 2007
Camera Raw 4.2 and Lightroom 1.2 Updates are now available
Friday, September 07, 2007
Camera Raw 4.1 update
Here is some information about the new Camera Raw 4.1 update from Martin Evening
Photoshop CS3 for Photographers
Camera Raw 4.1 update"Last month I wrote a series of feature stories for Lightroom-news.com about all the new changes to Lightroom 1.1. Although many of the changes that took place with the raw processing in the Lightroom 1.1 Develop module were identical to the changes that have taken place in Camera Raw, a lot of readers have asked if I could provide an equivalent Photoshop CS3 Adobe Camera Raw 4.1 update. What follows is a summary of what is new in the Adobe Camera Raw (ACR) interface, where I have taken the text from the Lightroom-news story and repackaged it for Photoshop users.
Clarity slider
Let’s start with the Clarity slider in the basic panel section of the Camera raw dialog. I believe Jeff Schewe campaigned hard to get this particular feature included, and as Jeff himself will tell you, Clarity is a hybrid based on two separate contrast enhancing techniques. One is a local contrast enhancement technique, devised by Thomas Knoll, using a low amount and high radius setting in the Photoshop Unsharp Mask filter. The other is a midtone contrast enhancement Photoshop technique that was originally devised by Mac Holbert of Nash Editions. Those who have bought my most recent book, Adobe Photoshop CS3 for Photographers, can read there the steps Mac used in Photoshop to create this effect. The Photoshop instructions are admittedly quite complex. However, Clarity is now available as a simple one shot slider control in the Basic panel section.The Clarity adjustment is one that can usefully be applied to a great many kinds of photographs. Mac Holbert originally devised his technique in order to boost the midtone contrast and he found that it helped him to bring out crisper detail in his landscape prints. But I think most photographs can gain from adding a small clarity adjustment."
Wednesday, September 05, 2007
Book Review: Photoshop Lightroom Adventure by Mikkel Aaland
Photoshop Lightroom Adventure began as an idea by award-winning photographer and the author of nine books, Mikkel Aaland. Aaland, a pioneer in digital photography since 1980, asked Ansel Adams in an interview what he would pursue if Adams was just starting out. Adams began discussing the ideas of digital photographs. Aaland has pursued this topic ever since.
As a beta tester for Lightroom in 2006 and knowing that he was going to write a book on the subject, Aaland also knew that there would be seven or eight other books to compete against. Instead of just writing a standard how-to book, he talked to the people at O'Reilly about putting together an excursion to a far-off land and inviting professional photographers to go along and see how they all used Lightroom (still in beta) in a real live environment. Soon Adobe became involved and the project became the O'Reilly Photoshop Lightroom Iceland Adventure and the book became Photoshop Lightroom Adventure
Photoshop Lightroom Adventure is divided into 12 chapters and 332 pages along with an introduction and a forward by George Jardine; Pro Photo evangelist for Adobe Systems. Why do I include the forward in a review? Not so much for its interesting viewpoint on the creation of the book, but rather because the author of the forward has put together a series of podcasts featuring the major players in this adventure that can be found on his Blog as well as on the O'Reilly page. The podcasts, tied with the book, really makes the adventure come alive in multi-media format.
Chapter 1, "The Lightroom Workspace Revealed," takes you on a tour around the Lightroom interface and explores all of the features that are Lightroom. Chapter 2, "Importing Images into Lightroom," explores the fact that images are not opened in Lightroom, as in other application, rather they are imported. You will learn why this is so and why it makes Lightroom so effective at what it does.
Chapter 3, "Using the Library Module," will show you the how and why of using the Library module to edit, rate, sort and perform some basic image processing. Chapter 4, "The Develop Module," gets you into the meat and potatoes of image processing in Lightroom. Here you will find the sophisticated and easy to use tone, color, cropping, and other basic retouching tools.
Chapter 5, "Develop Great-Looking Photos," continues in the Develop module to introduce you to the more advanced tool that will have you evaluating your images to make sure that they are coming out their best. Chapter 6, "Color-Tuned Photos," shows how, in the Develop Module, you can adjust colors with ease using the sliders to help make global corrections.
Chapter 7, "Black and White and Special Effects," shows how to create great Black and White photographs from within Lightroom as well as how to simulate the rough equivalent of colored filters for additional effects. Chapter 8, "Develop Recipes from Iceland," finishes up the Develop module by showing how to apply custom look and feel techniques to your images and showing how several of the Iceland team members did it.
Chapter 9, "Exporting Files," explains how you don't actually save files in the Lightroom environment; rather it saves instructions on the processing for your images. So, if you want to process outside the Lightroom environment, you will need to export the file for use elsewhere. It also shows how to export them to a catalog for use in another Lightroom Catalog. Chapter 10, "Lightroom Slideshows," will take you through the steps in creating a slide show to present your images to your clients or friends.
Chapter 11, "Power Printing," takes you to the next level of printing images. Many say that the Print module is, along with the Develop module, the most powerful part of Lightroom. Here the Print Module is revealed. Chapter 12, "Creating a Web Gallery," shows how Lightroom can create all of the components to generate a full fledged web gallery in either HTML or Flash. You can even upload your ready-to-go gallery directly.
Photoshop Lightroom Adventure is a concept book and because of that, it may not be for everyone. If you are a total beginner to photography and to the software needed to process images, this book may not go into enough detail and may not explain enough about the controls that are used within Lightroom. The same may be the case if you need step-by-step hand holding to learn a new piece of software.
But if you have worked with Photoshop, Elements or some of the other photo editing software out there and want to learn how to use Lightroom Photoshop Lightroom Adventure will provide you with a unique opportunity to see how many of the master photographers and leaders within the industry use Lightroom and just as importantly, the photos that they took on this adventure.
The imagery is just astounding. Interlaced throughout the book are the photos that they took along with the why and the how. If you get the enhanced podcasts, you will see the images as they describe the experience. You can also see many of the images on the O'Reilly Lightroom Adventure website.
If you want a truly wonderful adventure in learning Lightroom, then Photoshop Lightroom Adventure has your ticket. One additional note Photoshop Lightroom Adventure is the first book that includes the tools provided by Lightroom 1.1 and so it is completely up to date. My only hope is that O'Reilly with do the next logical thing, produce a full photographic image book from this adventure. That would complete the experience.
Friday, August 24, 2007
New 21.1 Megapixel from Canon!
Incase you hadn't heard, Canon has just announced its new 21.1 Megapixel full frame DSLR for release in November 2007. Here is the release.
LAKE SUCCESS, N.Y., August 20, 2007 – The new 21.1-megapixel, full-frame Canon EOS-1Ds Mark III Digital SLR* camera brings the power of Canon U.S.A., Inc.'s professional imaging excellence and innovation into sharper focus than ever before. While Canon's EOS-1D series has dominated the 35mm-based professional Digital SLR market for the past six years, the new EOS-1Ds Mark III Digital SLR takes Canon's pro-digital prowess into and the realm of high-fashion and commercial photo studios where bulkier, medium-format cameras previously reigned.
The Canon EOS-1Ds Mark III's compact, lighter-weight magnesium alloy body is rugged and versatile enough to take out of the studio and into the field. The camera's fast, five-frame-per-second (fps) shooting rate for bursts of up to 56 Large/Fine (21-megapixel) JPEGS or 12 RAW images is unmatched in its class, making it the ideal instrument for capturing the fluid motion and free-flowing lines of location-based fashion photography as well as a wide range of other professional photographic applications.
The Canon EOS-1Ds Mark III professional digital single lens reflex camera is scheduled to begin shipping in November and will have an estimated selling price of $7,999† (the same price as its predecessor, the 16.7 megapixel EOS-1Ds Mark II).
"The EOS-1Ds Mark III Digital SLR camera is a prime example of the EOS philosophy and Canon's ongoing commitment to providing photo professionals with the tools they need to create the finest quality images," stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A. "To continue our legacy, we must provide not only the right professional tools, but also the finest photo tools for the job and do so consistently, whether we are presenting this exemplary EOS-1Ds Mark III SLR camera, or any one of the many fine specialty lenses, flashes and accessories that populate the EOS professional photo system."
Revolutionary Resolution
Developed and manufactured by Canon specifically for the EOS-1Ds Mark III Digital SLR, the camera's new full-size 36 x 24 mm CMOS image sensor offers the highest resolution in its class, and is comprised of approximately 21.1 million effective pixels (5632 x 3750) set at a pitch of 6.4 microns. The user can select any one of six recording formats ranging from 21.0 megapixels in Large JPEG or RAW format, 16.6 or 11.0 megapixels in the two medium JPEG sizes, or 5.2 megapixels in the small JPEG or "sRAW" formats. In any JPEG format, the user can set one of ten compression rates for each image size. In sRAW mode, the number of pixels is reduced to one-fourth that of a standard RAW image and the file size is cut in half, while retaining all of the flexibility and creative possibilities associated with full-size, traditional RAW images.
Dual "DIGIC III" Image Processors
Fulfilling the ultra-low noise, ultra-high image quality promise of the EOS-1Ds Mark III Digital SLR camera requires handling the enormous signal processing requirements of the camera's 21-megapixel resolution and top continuous shooting speed of five fps. To accomplish this, Canon has incorporated two identical DIGIC III imaging engines into the camera for parallel (and hence, faster) signal processing. The CMOS sensor reads out to the dual "DIGIC III" processors simultaneously in eight channels. DIGIC III is the next generation of Canon's proprietary image processing engine. This technology ensures the fine details and natural colors of images are optimally recorded and, as an added bonus, is responsible for the EOS-1Ds Mark III SLR's high-speed performance, faster signal processing and more efficient energy consumption.
Adding to the improved virtuosity of the images captured by the EOS-1Ds Mark III Digital SLR camera is the camera's 14-bit Analog-to-Digital (A/D) conversion process. Able to recognize 16,384 colors per channel (four times the number of colors recognized by the EOS-1Ds Mark II Digital SLR camera's 12-bit conversion capability), this line-leading model is able to produce images with finer and more accurate gradations of tones and colors. Additionally, given the significantly larger image file sizes created by the EOS-1Ds Mark III Digital SLR camera, Canon has provided compatibility with the new Ultra Direct Memory Access (UDMA) compact flash memory card specification, which enables ultra-high-speed data transfer to the card. Utilizing a UDMA compliant card doubles the data transfer speed compared to a conventional memory card, putting the new EOS-1Ds Mark III on par with the 10.1-megapixel EOS-1D Mark III camera, even though the pixel count of this new model is more than twice as large.
Advanced Autofocus Technology
The EOS-1Ds Mark III autofocus system - first introduced earlier this year on the EOS-1D Mark III Digital SLR - has 45 AF points including 19 high-precision cross-type points and 26 Assist AF points. This new array allows the 19 cross-type points to be divided into groups of nine inner and nine outer focusing points plus a center point, which makes picking an individual focusing point much faster and easier than going through all 45. During manual AF point selection, the AF point area is expandable in two stages via Custom Function control.
At the request of sports and wildlife photographers, a new micro-adjustment feature allows for very fine changes in the AF point of focus for each lens type in use, along with the addition of adjustable focus-tracking sensitivity as another sophisticated new AF feature. Other new components in the AF system include the reconfigured concave submirror and the secondary image formation lens, both products of Canon's vast expertise in optical engineering. Finally, the low-light sensitivity of the new AF sensor has been doubled to EV-1 for superior performance, compared with earlier EOS digital SLRs.
Live View
One of the dynamic innovations incorporated into new EOS Digital SLRs - and optimized for professional shooters on the EOS-1Ds Mark III Digital SLR - is Canon's Live View shooting mode which provides photographers with an expanded and exceedingly convenient set of shooting options beyond the conventional SLR through-the-lens viewing. Framing and shooting subjects using the camera's LCD screen affords the shooter the same 100 percent field of view provided by the optical viewfinder - this is a full-frame digital SLR after all - but Live View has the added advantage of allowing the image to be more easily composed on the camera's bright and brilliant 230,000-pixel, three-inch LED screen. Additionally, the LCD-viewed image can be magnified by five or ten times in order to ensure that the shot is optimally focused.
Live View is at its best during tripod shooting, particularly for close-up photography where precise focusing is imperative. As a side benefit, the Live View shooting mode helps to reduce vibration by lifting the reflex mirror out of the optical path well in advance of the exposure, improving image quality at slow shutter speeds. Additionally, as the release time lag is miniscule, even instantaneous movements like a bird taking flight can be readily captured. The shutter charge sound can be delayed and made quieter than normal in Live View mode to avoid spooking wildlife or disturbing people nearby with unwanted camera sounds.
If a user is going to be several feet away from the camera, such as in some studio settings, the EOS-1Ds Mark III can be connected by cable to a computer via its USB 2.0 High-Speed interface. The camera can also be operated remotely at distances up to 492 feet with the assistance of the optional Wireless File Transmitter WFT-E2A which allows users to view images directly off the camera's sensor in virtually real-time, with the ability to adjust many camera settings quickly and easily.
Viewing Display
Easy to read, even in outdoor conditions such as bright sunlight, the EOS-1Ds Mark III Digital SLR camera features a three-inch, 230,000-pixel wide angle LCD display screen. The TFT color liquid-crystal monitor features seven user-settable brightness levels and a wide, 140-degree viewing angle, both horizontally and vertically. An added advantage of the large, three-inch display size is the ability to utilize a larger font size for text, making it easier to read setting and menu options on the screen.
Canon extends its "ease-of-reading" policy to the EOS-1Ds Mark III's viewfinder as well. Bright and clear with zero distortion and a 100 percent picture coverage and a magnification factor of .75x, it is the finest viewfinder ever placed in an EOS camera.
EOS Integrated Cleaning System
Another first for a professional digital SLR of this caliber is Canon's complete dust management solution, called the EOS Integrated Cleaning System. The new CMOS image sensor is designed with a lightweight infrared absorption glass cover that vibrates for 3.5 seconds when the camera is turned on or off. This brief delay can be cancelled immediately upon start-up by pressing the shutter button half way. Dust that has been shaken or blown loose of the sensor is trapped by adhesive surfaces surrounding the sensor unit housing, preventing the problematic particles from reattaching themselves to the filter when the camera moves.
Like its sibling, the EOS-1D Mark III, the shutter of the EOS-1Ds Mark III Digital SLR camera carries a durability rating of 300,000 cycles and, though it generates less dust, it still charges itself three times during the manual cleaning process so that dust is shaken off the shutter curtains as well. This cleaning system uses very little battery power and can be turned off in the custom function menu.
The second part of the dust management system is a software solution that maps the location of any spots that may remain on the sensor. The mapped information is saved as Dust Delete Data and attached to the image file. Subsequently, the offending dust information is subtracted from the final image during post processing, using the supplied Digital Photo Professional software.
Rock Solid Reliability
The entire body of the EOS-1Ds Mark III, including its internal chassis and mirror box, is made of an advanced magnesium alloy for exceptional strength and rigidity. Comprehensive weatherproofing at 76 locations on the camera body ensures superior reliability, even when shooting in harsh environments. Together with the 300,000-cycle shutter durability rating, these features result in a camera that, even though it is six ounces lighter than the EOS-1Ds Mark II, can truly withstand even the most severe shooting conditions.
Improved Software
Among the most valuable features of the EOS-1Ds Mark III Digital SLR is its compatibility with Canon's new Picture Style Editor 1.0 software. With PSE, photographers can personalize the look of their photographs by inputting their own preferred image processing parameters, including custom tone curves. The EOS-1Ds Mark III Digital SLR also ships with the latest versions of Canon's powerful software applications, including Digital Photo Professional 3.2 and EOS Utility 2.2, which support the camera's Remote Live View and Dust Delete Data functions, as well as incorporating a broad range of additional improvements designed to improve image quality and speed up workflow. Particularly noteworthy in DPP 3.2 is a new Lens Aberration Correction Function that corrects various image defects such as chromatic aberration, color blur, vignetting and distortion. Initially, the Lens Aberration Correction Function will support images captured by the EOS-1Ds Mark III and 11 other EOS Digital SLRs using any of 29 individual EF and EF-S lenses. Also included are ZoomBrowser EX 6.0 and ImageBrowser 6.0 for easy browsing, viewing, printing and archiving with compatible computer operating systems, including Microsoft Windows Vista and Windows XP, as well as Mac OS X.
Canon EF 14mm f/2.8L II USM Lens
Designed primarily for discerning landscape and architectural photographers, the Canon EF14mm f/2.8L II USM lens is ideally suited to the EOS-1Ds Mark III's full-frame capability. Measuring 3.7 inches in length and weighing in at under 23 ounces, this ultra-wide angle L-series prime lens is well corrected for rectilinear distortion, provides a 114-degree diagonal angle of view, and delivers high-speed autofocus with higher image quality overall including superior peripheral image quality, compared to its predecessor, the stalwart EF 14mm f/2.8L USM lens.
While its large diameter, high-precision aspherical and UD elements, optimized lens element positioning, and flare and ghost-reducing lens coating ensure that this lens delivers the top optical performance in its professional class, Canon has added other features photographers have been asking for - improved dust and water resistance incorporated around the mount, switch panel and focusing ring, and a round aperture that creates a nice background blur and makes it easier to recognize an out-of-focus scene in less than brightly lit conditions. Furthermore, Canon has created a new lens cap specifically for the EF 14mm f/2.8L II USM that is held to the lens by a stopper. The Canon EF14mm f/2.8L II USM lens is scheduled to begin shipping to stores in October at an estimated selling price of $2,199†.
About Canon U.S.A., Inc.
Canon U.S.A., Inc. delivers consumer, business-to-business, and industrial imaging solutions. The Company is listed as one of Fortune's Most Admired Companies in America and is on the 2006 BusinessWeek list of "Top 100 Brands." Its parent company, Canon Inc. (NYSE:CAJ), is a top patent holder of technology, ranking third overall in the U.S. in 2006††, with global revenues of $34.9 billion. To keep apprised of the latest news from Canon U.S.A., sign up for the Company's RSS news feed by visiting www.usa.canon.com/pressroom.
Thursday, August 16, 2007
Video Training Review - Photoshop CS3 One-On-One: Part III - Advanced Techniques With Deke McClelland From Lynda.com.
If you have seen the Adobe Photoshop CS3 One-On-One book review that I did back a while ago, you will have some idea what all of this one-on-one stuff is all about. The Photoshop CS3 One-On-One training video's from Lynda.com are like the book on steroids. If you buy the DVD it contains over 30 hours of one-on-one training. Because it is available online in three parts, I am going to break my review into the three individual reviews that correspond with the online training system.
For Part III, Photoshop CS3 One-On-One: Advanced Techniques contains 9.5 hours of video training covering nine lessons that will show you all of advanced techniques of Adobe Photoshop CS3 as taught by Deke McClelland; the award winning author and Photoshop Hall-of Famer. Exercise files accompany the tutorials on the DVD as well as with the premium subscription which will give you all you need to learn the fundamentals of Photoshop.
Lesson 19 "Layer Effects and Styles" (66 minutes) begins with comparing Effects vs. Styles and moves quickly to Layer Styles. You will work with Layer Express and learn to direct a glow, edit effects and see how to save a Layer Style.
Lesson 20 "Vector-Based Shapes" (62 minutes) introduces vectors and explains what the benefits of using Vector-based shapes are. Here you will draw a shape layer, draw and insert shape as well as work with compound shapes. You will combine vectors and layer masks and draw custom shapes.
Lesson 21 "Using Adjustment Layers" (61 minutes) here you will learn how to make adjustments to your photos without actually doing anything to the original layer. Here you will create the layer, mask, convert to monochrome, to duotone, as well as work with hue, saturation, and color adjustments.
Lesson 22 "Smart Objects" (67 minutes) explores the technology of Smart Objects and how you can use them to create non-destructive transformations of your images. Here you will work with vector illustrations, replacing pixels with vectors, rasterizing a Smart Object, and swapping one Smart Object for another.
Lesson 23 "Non-Destructive Smart Filters" (95 minutes) continues your education on Smart Objects by looking at how to use Smart Filters. You will learn how to work with filters within a stack, masking Smart Filters, swapping Gallery filters and exploring the difference between Smart Filters vs. Layer Effects.
Lesson 24 "Working with Camera Raw" (78 minutes) takes you through the use of the new Camera Raw 4 that was released with CS3. You will work with all phases of Camera Raw including importing, working with the exposure controls, white balance, the new Tone Curve adjustment sliders, the HSL controls, the non-destructive Retouch tool, as well as the Camera Raw Smart Objects.
Lesson 25 "Auto-Align, Auto-Blend, and Photomerge" (63 minutes) examines the improved Auto-Align command in CS3. Here you will load files into Stack Script, Auto-Align a panorama, use the Auto-Blend command and learn how to use the new Panorama Command.
Lesson 26 "Recording and Playing Actions" (38 minutes) show you how to use Actions to save time when working on repetitive tasks. You will step through all that you need to create, debug and save your Actions.
Lesson 27 "Printing and Packaging" (41 minutes) finishes up with exploring how to generate a quality image. Here you will go over output options, Color Management options, the printing of a contact sheet and packaging multiple images on a sheet.
It would be helpful if you have already worked through Photoshop CS3 One-On-One: Part I – The Essentials and Photoshop CS3 One-On-One: Part II – Beyond The Basics With Deke McClelland, but if you are an experienced user of Photoshop, Photoshop CS3 One-On-One: Advanced Techniques will take you to the next level of understanding. My reviews of Part I and Part II are available here on Blogcritics.
It is obvious that McClelland has been doing this for a while and is very comfortable with teaching Photoshop. His style is entertaining, natural, and never hurried. He takes you from one point to another keeping attuned to the task at hand, but never, never falling into staleness. He constantly shows you tips and tricks that make your use of Photoshop an easier and more enjoyable experience.
You can get Photoshop CS3 One-On-One: Advanced Techniques two ways. One is as part of the DVD training package Photoshop CS3 One-On-One with Deke McClelland and the other is part of the online training experience at Lynda.com. The DVD Training Package is $149 USD and contains all three complete training packages:
• Photoshop CS3 One-on-One: The Essentials
• Photoshop CS3 One-on-One: Beyond the Basics
• Photoshop CS3 One-on-One: Advanced Techniques
The online training Photoshop CS3 One-On-One: Advanced Techniques comes in three flavors. Monthly at $25 USD/month gets you all of the videos that are available online (approximately 21,811 videos on 318 topics at this time). Annually at $250 USD per year or Premium at $375 USD per year which get all the videos as well as all of the exercise files. Take note that the exercise files are not included with the monthly or annual subscriptions. They are included on the DVD and Premium subscriptions.
I can highly recommend Photoshop CS3 One-On-One: Advanced Techniques as the perfect training program for the individual student, as well as the college or vocational teacher looking to supplement their educational materials. It would be of tremendous benefit to the professional looking to upgrade their skills. You can also try out the first lesson for free at Lynda.com.
Wednesday, August 15, 2007
Software Review - Adobe Photoshop Plug-in Plug-In Suite 3: Genuine Fractals 5.0 From onOne
This is the first of a four part review of the products that are included in the onOne Plug-In Suite 3. This review is on the product Genuine Fractals 5.0
The problem begins with the image that is great, but because you shot it with your 3 mega pixel camera, you can get a decent 4x6 inch print, but when you try to get an 8x10 or larger, it just doesn't look the same. Or you have a good 8 mega pixel image, but you want to create a 24x36 inch print; it just doesn’t cut it. Well that is where Genuine Fractals 5.0 comes in. As a stand alone product or as part of the onOne Plug-in Suite, Genuine Fractals 5.0 will do all the heavy lifting when it comes to creating crystal clear enlargements of your images.
This new version of Genuine Fractals 5.0 represents a significant update of onOne's already award winning plug-in software. This version, while retaining the same powerful scaling capabilities, has enhanced its scaling engine and added more end user control for even more fine range image management.
First, what is Genuine Fractals 5.0? Genuine Fractals 5.0 is a Adobe Photoshop Plug-in that will allow you to enlarge your images over 1000% with no loss in quality. The size of the print you want to make is also based on the printer resolution and how many droplets of ink per inch that the printer puts on the paper.
If this seems complicated, it can be, but that is where Genuine Fractals 5.0 comes in. By using the plug-in, all that you have to do is open the image in the new and improved workspace, select the size of print that you want to produce, select the resolution best for your printer; onOne provides a chart for your convenience, and Genuine Fractals 5.0 does the rest.
The latest version of Genuine Fractals 5.0 adds several improvements and enhancements. First is the new interface and Photoshop CS3 compatibility. Next is the improved scaling algorithm which now allows for 1000% enlargements. This version now works with multi-processors which provides faster scaling results.
Add to that, they have added over 70 Document Size Presets which allows users to crop and resize images in a single step. Genuine Fractals 5.0 also supports resizing Photoshop files with multiple layers. These include adjustment layers, non-rastorized layers, smart objects and alpha channels. You no longer have to flatten files before scaling as well.
They have also added Texture controls to fine tune your detail that you want pulled out. There is built in Grain Control, Sharpening Controls an Photoshop Action support. Genuine Fractals 5.0 supports 8-bit and 16-bit RGB and Grayscale images as well. There is even support for CMYK and LAB color modes as well.
I think that you will be amazed with the quality of image enlargements that can be had with Genuine Fractals 5.0. It installs easily and really requires no learning curve to begin to use. It does take a little bit of time to analyze and reproduce your image. If you have the need to enlarge your images beyond the size that is recommended for your image size, or if you want to improve the quality of your larger images with cleaner detail with better shadow and highlight detail then you should check out Genuine Fractals 5.0
Tuesday, August 14, 2007
Video Training Review - Photoshop CS3 One-On-One: Part II - Beyond The Basics With Deke McClelland From Lynda.com.
If you have seen the Adobe Photoshop CS3 One-On-One book review that I did back a while ago, you will have some idea what all of this one-on-one stuff is all about. The Photoshop CS3 One-On-One training video's from Lynda.com are like the book, but on steroids. The DVD contains over 30 hours of one-on-one training. Because it is available online in three parts, I've broken my review into the three individual reviews that correspond with the three parts of the online training system.
For Part II, Photoshop CS3 One-On-One: Beyond The Basics contains over ten hours of video training covering nine lessons that will take you to the next level of Adobe Photoshop CS3 as taught by Deke McClelland; the award winning author and Photoshop Hall-of Famer. Exercise files accompany the tutorials on the DVD as well as with the premium subscription which will give you all you need to learn the topics that are beyond the basics of Photoshop.
Lesson 10 "Masking Essentials" (75 minutes) builds off of establishing a base layer and working with the Color Range command. You will learn what to do when the Color Range falls short as well as selecting a base channel. Soon you will begin to see what you can really do with Layer Masks.
Lesson 11 "Sharpening Focus" (73 minutes) begins with some parlor tricks for edge-enhancement as well as explaining what sharpening is all about. You will learn how to use the Unsharp Mask, learn about the Radius value, and learn how to gauge the best settings. You will also learn about USM vs. Smart Sharpen, as well as whether to leave More Accurate on or off.
Lesson 12 "Blurring and Averaging" (84 minutes) starts you off with answering the question "Why the heck would you want to blur?" You will also learn of the Gaussian Blur, the Linear Box Blur, Surface Blur, the Motion Blur filter as well as other techniques for averaging skin tones and smoothing blemishes.
Lesson 13 "Layer Essentials" (45 minutes) explains the usefulness of Layers and the Layers palette. You will learn how to move a layer, erasing with a Layer Mask, how to combine Layers into a Clipping Mask and adding a frame and expanding the canvas.
Lesson 14 "Groups and Layer Comps" (42 minutes) shows you how to organize your layers and how to assemble a base composition. You will learn how to add adjustment layers, create a layer group and group selected layers. You will also be introduced to layer comps and how to save your layer comps.
Lesson 15 "Opacity and Blend Modes" (83 minutes) quickly shows you the kind of power there is in blend modes. You will learn the difference between Opacity and Fill Opacity as well as how to change the values. The author also explains the lightening modes, contrast modes, comparative mode, composite modes and the brush only modes.
Lesson 16 "Transform, Warp, and Liquefy" (87 minutes) will explain how to scale a layer to fit a composition, replay the last transformation, and what are skews and perspective style distortions. You will learn of the envelope-style Warp function, the Liquefy command, how to adjust brush settings, and how to incrementally undo undesirable effects.
Lesson 17 "Vanishing Point 2.0" (68 minutes) is about planes and perspective. Here you will learn about Vanishing Point 2.0 and how you can take a non-perpendicular surface and wrap around multiple surfaces at a time. You will learn how to draw out perpendicular planes, bending the image to its new home, and wrap it around multiple surfaces.
Lesson 18 "Creating and Editing Text" (75 minutes) finishes this series out with "Type: The great imaging exception." Text is a different beast in Photoshop. It forces it self to its own layer as well as sometimes seems to have a mind of its own. Here you will learn how to edit vector-based text, resize the text frame, adding a ghostly shadow cast as well as many other tricks to working with type and text.
It would be helpful if you have already worked through Photoshop CS3 One-On-One: Part I – The Essentials With Deke McClelland, but if you are an experienced user of Photoshop, Photoshop CS3 One-On-One: Beyond The Basics will take you to the next level of understanding. I reviewed Part I in early August here on Blogcritics.
McClelland's style is entertaining, natural, and never hurried. He takes you from one point to another keeping attuned to the task at hand, but never, never falling into staleness. He constantly shows you tips and tricks that make your use of Photoshop an easier and more enjoyable experience.
You can get Photoshop CS3 One-On-One: Beyond The Basics two ways. One is as part of the DVD training package Photoshop CS3 One-On-One with Deke McClelland and the other is part of the online training experience at Lynda.com. The DVD Training Package is $149 USD and contains all three complete training packages:
• Photoshop CS3 One-on-One: The Essentials
• Photoshop CS3 One-on-One: Beyond the Basics
• Photoshop CS3 One-on-One: Advanced Techniques
The online training Photoshop CS3 One-On-One: Beyond The Basics comes in three flavors. Monthly at $25 USD/month gets you all of the videos that are available online (approximately 21,811 videos on 318 topics at this time). Annually at $250 USD per year or Premium at $375 USD per year which get all the videos as well as all of the exercise files. Take note that the exercise files are not included with the monthly or annual subscriptions. They are included on the DVD and Premium subscriptions.
I can highly recommend Photoshop CS3 One-On-One: Beyond The Basics as the perfect training program for the individual student, as well as the college or vocational teacher looking to supplement their educational materials. It would be of tremendous benefit to the professional looking to upgrade their skills. You can also try out most of the first lesson for free at Lynda.com. The third part of this review is already available on Blogcritics.