I managed to get the beta of Nikon’s Capture NX-D working again briefly. For some reason, it did not like working with files that weren’t in my home directory (I keep my images on a separate external drive).
Between reader comments and playing around more with the software, I’ve discovered a few more tidbits, some of which I’ve added to my previous post.
Along with the Nikon D4s announcement, Nikon yesterday also announced a long-awaited upgrade to Capture NX2. Called Capture NX-D, this Nikon RAW converter is being offered for download while in beta form. Public beta testing is something Nikon has been reluctant do to in the past, and it’s something I applaud them for. I downloaded the beta of Capture NX-D to see what it would do. Unfortunately, it is clear to me that this new product is more notable for what it lacks than what it offers. Continue reading Nikon Capture NX-D: The end of Capture NX as we know it→
Earlier this year, when Adobe announced that all future versions of the Creative Suite and Photoshop would only be available as part of the Creative Cloud subscription, I was fairly disappointed. I mean, I just upgraded to CS6 last year at a pretty substantial cost. A few months ago, Adobe announced a special “photographer’s” package for previous CS users. This package includes Photoshop CC and Lightroom 5 for a monthly subscription price of $9.99 USD (offer expires 31 Dec. 2013).
At the end of November, Adobe announced that this special offer would be available to anyone, regardless of whether they were a previous owner of the Creative Suite. I decided that this is a pretty reasonable offer, so I upgraded to Photoshop CC. At least for me, this subscription makes sense. I still have my CS6 applications, but I can run the latest version of Photoshop. I still have Photoshop CS6 should I decide that Creative Cloud isn’t worth subscribing to next year.
For someone looking to add Photoshop to their editing arsenal, the $9.99 offer is about as good as it gets. You also get Lightroom 5, and some free cloud storage (20GB). Frankly, I’d still recommend getting a perpetual-use license for Lightroom 5, as Photoshop is something you could choose to live without over time if you were so inclined.
And to clear up any confusion:
You don’t need to be online to run Photoshop
All applications run right from your hard drive, just like they did before
You don’t need to store images in Adobe’s Cloud Server
The $9.99/mo subscription price is locked in for one year; after that it will renew unless cancelled at the then-current price*.
While I’m still not thrilled about “subscription-ware,” Adobe has made it pretty clear that this is the way forward. I’ve managed to get nearly two years out of CS6, and I’m still using the other applications in the suite that I don’t need on a regular basis, like Dreamweaver and InDesign. I’m perfectly content to use slightly older versions of those products for the time being while keeping my version of Photoshop up to date. If you are looking to get the full version of Photoshop, this is currently the best way to go.
*There has been no official word as to whether Adobe plans to offer the $9.99 price perpetually. They have said they have “no intention” of changing the price, but I guess we’ll just have to wait and see. IMO, as long as Lightroom can be purchased as a perpetual-use license, everything is OK by me. Should Adobe move LR exclusively to the subscription model… well I hope that doesn’t happen.
Adobe Photoshop Lightroom relies on the Adobe Camera RAW (ACR) rendering engine to convert camera RAW images. The default color and contrast settings are something called “Adobe Standard” which look different than what you might see on your camera LCD when reviewing your images. However, Adobe offers alternate Camera Profiles which emulate the as-shot settings from many Nikon and Canon DSLRs. You’ll find these settings in the Camera Calibration panel in Lightroom and ACR.
In this example, I have placed an image of a Colorchecker card on the screen so you can see how the colors and contrast change between camera profiles. For this image, I get options based on the Nikon D800 that I used to capture the RAW file. Note that you can only make profile changes to RAW files. If you see “Embedded” under the profile option, it’s because you’re looking at a TIFF or JPEG image in Lightroom. Choose from any of the profile presets in the drop-down menu to change the baseline color and tone curve of your image, and you can fine-tune it with the sliders if you wish.
If you have a ColorChecker card, you can use the ColorChecker software from X-rite to create a custom profile for your camera. Each custom profile is specific to the camera you use to create the image. You can further tweak those profiles using Adobe’s DNG Profile Editor software (free download from www.adobe.com).
Once you have a profile that you like, you might wish to change your defaults to always use that profile going forward. If you do change your default settings, note that ANYTHING you modified in the Develop section gets applied, so keep your adjustments minimal (Calibration, sharpening, lens corrections) so that you don’t over-process your images. Defaults are only applied automatically when you import new images into Lightroom. Existing images will not be changed; you’ll have to adjust them manually or use the “Reset Settings” option in Lightroom to do so.
Not everyone (myself included) has a degree in fine art or has studied art extensively. As such, I find it enjoyable to take a look at classic paintings and see what makes them so effective. One such example is Rembrandt’s “The Night Watch.” If you examine this image, you’ll see that Rembrandt uses light and color to emphasize the important subjects in his painting. Note that the two primary figures are well-lit, but so is the smaller girl in the background. The other characters in this scene are not as bright and colorful as the ones Rembrandt wants us to focus on.
We can use the same technique in our digital photography. Studio photographers use well-positioned lights all the time to achieve this effect. However, if you’re an outdoor photographer, you might not always get the kind of lighting conditions that perfectly illuminate your subject. Continue reading What Can Photographers Learn From Rembrandt?→