All-New Photoshop Lightroom CC With Photoshop CC Lets Anyone Perfect Photos Across Desktop and Mobile for $9.99 per Month
SAN JOSE, Calif. — April 21, 2015 — Adobe (Nasdaq:ADBE) today announced a major update to its Creative Cloud Photography plan with the release of an all-new Adobe Photoshop Lightroom CC that delivers lightning-fast performance and new tools to edit, enhance, organize and showcase beautiful photos. With Lightroom CC and the legendary magic of Photoshop CC, Adobe Creative Cloud Photography empowers photographers to transform photos into amazing shots. Creative Cloud Photography also includes unique sophisticated mobile capabilities: automatically syncing photos with Lightroom CC on the desktop, Lightroom on mobile devices lets users access and edit their entire catalog of photos on iPad, iPhone as well as Android smartphones and tablets. At just $USD9.99 per month, Adobe’s photography plan champions photographers of every level -- bringing the tools relied on by photo pros worldwide within reach of anyone who loves photography.
“Photographers at any level are driven by their passion to capture the perfect shot and make it incredible,” said Winston Hendrickson, vice president of digital imaging products, Adobe. “Whether you shoot with a DSLR or smartphone, the Creative Cloud Photography plan gives everything you need to organize, edit and share amazing photos on mobile, web and desktop – thanks to the imaging power of Lightroom and the magic of Photoshop.”
Photoshop and Lightroom have been fundamental in the evolution of digital photography. Today, Creative Cloud Photography is leading the transition from a traditional desktop-based process to a more mobile, connected workflow for digital images. Anchored by a major update to Lightroom CC, Creative Cloud Photography is the must-have solution, offering powerful editing and photo organization across multiple devices, all powered by Adobe’s industry-defining imaging technologies.
Work Seamlessly Across Desktop, Mobile and Web With New Lightroom CC The standard for photo enthusiasts and professionals, Lightroom CC is essential for perfecting and organizing photos. New features in this release include:
HDR Merge – Create natural-looking or surreal images from extremely high-contrast scenes by easily combining multiple shots taken with different exposure settings into a single raw high dynamic range image
Panorama Merge - Capture super wide fields of view and amazing detail by stitching together multiple images to create stunning raw panorama shots
Performance Improvement & GPU Enhancements - Perfect photos up to 10 times faster than ever
Facial Recognition - Quickly find and categorize images of family and friends.
Video Slideshows - Create beautiful, polished slideshows using still images, video, and music along with professional effects like pan and zoom
Bring Out The Best In Your Photography - Anywhere For anyone who loves photography, it’s essential they can organize, edit, and share photos from mobile devices. Automatically synced with Lightroom CC on the desktop, Lightroom on mobile devices lets users access and edit their catalog of photos across a full range of iOS and Android devices. This release includes a major enhancement for Android with DNG raw file support on compatible Lollipop-enabled devices, providing customers the full power of raw file post-processing on their Android smartphones and tablets.
Take It To The Next Level With Photoshop CC In addition to Lightroom CC, Creative Cloud Photography plan includes Photoshop CC, the imaging software that continues to redefine creativity in the digital age. Celebrating its 25th birthday this year Photoshop’s legendary magic touches virtually all the inspirational imagery that surrounds us. Now, thanks to Creative Cloud Photography, photographers have a powerful round-trip editing workflow from Lightroom to Photoshop CC. Even cut out and combine photos on your iPhone and iPad with Photoshop Mix, connect to Creative Cloud, then refine your work in Photoshop CC.
Share Compelling Stories in Exciting New Ways In addition to sharing instantly with social networks such as Facebook, Flickr and Instagram, new to Lightroom is the ability to create beautiful, polished video slideshows using still images, video, and music, featuring professional effects like pan and zoom. After using Creative Cloud Photography to produce stunning images, anyone can craft amazing stories that place photos at the center of the narrative, using two groundbreaking storytelling apps from Adobe: Slate and Voice. [Link to app pages on Adobe.com.]
New Lightroom CC Available to Creative Cloud Members Worldwide Adobe Creative Cloud has approximately 4 million paid memberships worldwide and all Photography and complete plan members are able to access the new version of Lightroom CC today – at no extra charge – showing, once again, the incredible ongoing value of Creative Cloud. Creative Cloud features the world’s leading creative desktop apps; a growing family of mobile apps that are seamlessly integrate with the desktop apps and creative assets; expert training; and access to a dynamic creative community, where creatives can discover inspiration and opportunity. A free 30-day trial version of Lightroom CC is also available.
Getting Started Is Easy: Creative Cloud Photography plan is designed to make onboarding easy whether you’re a beginner or pro, or have previously used Photoshop, Lightroom, Photoshop Elements or Apple Aperture. Available now is an easy-to-learn library of photography tutorials aimed at all levels. [Link to tutorial page]
Pricing and Availability Adobe's Creative Cloud Photography Plan (USD$9.99 per month) includes Lightroom CC across desktop, web and mobile, Photoshop CC and Photoshop Mix (for iPhone and iPad). All products are also available as part of Creative Cloud complete plan.
By request, I have added two smaller lenses to the big lens comparison tool. Allowing a smaller lens to be placed beside one classified by the site's product image tool as "big" allows a better visualization of the size of the larger lenses.
The two selected "small" (relatively speaking) lenses are the Canon EF 70-200mm f/2.8L IS II USM Lens and the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens. These were selected because they are among the most likely lenses found in one's kit prior to stepping up to one of the big guns (and I have them in my own kit, meaning they were immediately available). Those looking at Nikon lenses can still use the smaller Canon lenses for comparison purposes as these are very similar to their closest Nikon equivalents in size.
As I mentioned before, I have implemented "responsive design" on the site. Browsing the site on smaller devices including phones and tablets should be easier since the initial update. Many additional improvements are now implemented including most of the tools now being mobile-ready. One exception that remains is the Lens Image Quality Comparison Tool. Since looking at 100% resolution crops is the primary purpose of this tool, letting images resize to a smaller browser viewport is defeating to its purpose. Until I come up with the right solution, I'll let this one break out of the browser window size.
Look for the 400 DO II review to be completed early next week. I have a second copy of the Sigma 150-600 Sports Lens coming in this week. That lens will be the next priority on the to-do list. The Sigma 150-600 Contemporary Lens should also be arriving any day now. There is a lot of interest in telephoto zoom lenses right now and I'm anxious to see how these new lenses compare to the previously available Canon 100-400 L IS II and the Tamron 150-600mm f/5-6.3 Di VC USD Lens.
We have found that Live View Mode cannot be used on the EOS 8000D (Rebel T6s / 760D) and EOS Kiss X8i (Rebel T6i / 750D) released on April 17th 2015 by Canon Inc. with some of SIGMA’s Canon mount interchangeable lenses. For those who own the lenses, we are going to provide a firmware update free of charge.
PhenomenonWhen the Live View Mode button on the camera body is pressed, the operation stops without displaying images on the rear LCD monitor.
Products and Serial Numbers that require the firmware update
17-50mm F2.8 EX DC OS HSM
No. 12651501 or later
18-250mm F3.5-6.3 DC MACRO OS HSM
No. 13044001 or later
APO 70-200mm F2.8 EX DG OS HSM
No. 12713001 or later
APO 50-500mm F4.5-6.3 DG OS HSM
No. 12902001 or later
120-300mm F2.8 DG OS HSM | Sports
No. 50064494~ 50347793
APO 150-500mm F5-6.3 DG OS HSM
No. 12669751 or later
17-70mm F2.8-4 DC MACRO OS HSM
No. 12665001 or later
18-200mm F3.5-6.3?DC OS HSM
No. 12851001 or later
18-250mm F3.5-6.3 DC OS HSM
No. 12656101 or later
APO 50-150mmF2.8 EX DC OS HSM
No. 12839001 or later
APO 120-300mm F2.8 EX DG OS HSM
No. 12676440 or later
APO 120-400mm F4.5-5.6 DG OS HSM
No. 12971601 or later
* For lenses that have been repaired in the past, they may require the firmware update even when the serial number is not listed above. In case the mentioned camera does not display images on the rear LCD monitor when Live View Mode button on the camera body is pressed, the firmware update is necessary.
We will make a further announcement when the firmware update becomes available.
For those who own the SIGMA USB DOCK, it will be possible to update the firmware of 120-300mm F2.8 DG OS HSM | Sports through SIGMA Optimization Pro. We will also announce its availability when the update is available.
* If you use the SIGMA USB DOCK with 120-300mm F2.8 DG OS HSM | Sports, even when the lens does not require the update, its firmware will be updated to the new version.
* For those who use APO TELE CONVERTER 1.4x EX DG or APO TELE CONVERTER 2x EX DG with the 120-300mm F2.8 DG OS HSM | Sports, please contact your nearest authorized subsidiary / distributor of SIGMA for further support.
This service supplies software that can be used to update the D4S camera “C” firmware to version 1.20.
Before proceeding, select Firmware version in the camera setup menu and check the camera firmware version. You will not need to download or install this update if the firmware listed above is already installed.
Modifications in firmware v1.10
Commander mode can now be selected for Custom Setting e3 (Optional flash) when an optional SB-500 flash unit is attached. *
The Auto and Flash white-balance options can now be used with the LED light on the optional SB-500 flash unit.
Auto white balance is now more consistent.
There is no longer a limit on the number of shots that can be taken in a single burst at shutter speeds of 4 s or faster when a continuous-release mode is selected in exposure mode S or M. *
There is no longer a limit on how long the shutter can remain open when “Time” is selected for shutter speed. *
We have changed how focus points are displayed in the viewfinder if the camera is rotated between “wide” (landscape) and “tall” (portrait) orientations with Focus point and AF-area mode selected for Custom Setting a10 (Store by orientation) and different focus points chosen in each orientation. We have also changed how focus points are displayed in the viewfinder if a lens focus function button is pressed with AF-area mode selected for Custom Setting f19 (Lens focus function buttons).
Some help text has been changed.
The following issues have been resolved:
If the user focused using the AF-ON button before shooting in continuous-release mode, the frame rate would drop under the following conditions: AF-S selected for focus mode, Single-point AF selected for AF-area mode, Focus selected for Custom Setting a2 (AF-S priority selection), and AF-ON only selected for Custom Setting a4 (AF activation).
When an AF-S NIKKOR 800mm f/5.6E lens was attached, “Err” would be displayed in the top control panel and pictures could not be taken under some exposure conditions.
Images would sometimes fail to display correctly during image review if playback zoom was used while the memory-card access lamp was lit.
Images would not clear from the display if an optional WR-1 wireless remote controller was used with On selected for Image review in the playback menu.
The camera photo info display would not show the correct range for pictures taken with an optional flash unit in distance-priority manual flash mode (GN).
When pictures taken using a PC-E lens were viewed in Capture NX-D and other Nikon software, the Metadata would list the lens as type E rather than type D.
The photo information display for movies, movie stills, and photos taken with the Silent shutter-release option would sometimes list incorrect values for shutter speed, aperture, and ISO sensitivity.
If the camera was connected via HDMI to 4K a compatible TV, neither the camera nor the television would display menus correctly.
Volume sometimes could not be adjusted if indicators were hidden during movie playback.
If both XQD and CompactFlash cards were inserted in the camera when it was connected to a computer, the computer would not recognize the XQD card.
Canon France, in association with Images Evidence, has announced that the 15th annual Canon Female Photojournalist Award is open until 22 May 2015 for submissions from female photojournalists of any age and nationality.
Once again, the award is supported by Elle magazine and Canon France will grant the winning female photojournalist €8,000 to help her to continue and complete a photojournalistic project on a social, economic, political or cultural subject.
A jury made up of photography and press professionals will select the winner in June. Applicants will be judged by both the presentation of their project and their previous work. Among the selection criteria are the quality of the photographs, as well as the journalistic thoughts and relevance of the chosen subject.
The Award will be presented to the winner at the Visa pour l’Image international festival of photojournalism in Perpignan, France, during the professional week from 31 August – 6 September 2015. The winner will produce an ongoing one year project which will lead to an exhibition or showing at the Festival in 2016.
An exhibition of the work of the 2014 award winner – French photojournalist Viviane Dalles (Signatures) – seen above – showing images from her project on teenage mothers in the North of France will feature as part of the exhibition programme of the 2015 Visa pour l’Image festival.
The other previous winners of the Canon Female Photojournalist Award were:
2014 – Viviane Dalles
2013 – Mary F. Calvert
2012 – Sarah Caron
2011 – Ilvy Njiokiktjien
2010 – Martina Bacigalupo
2009 – Justyna Mielnikiewicz
2008 – Brenda Anne Kenneally
2007 – Axelle de Russé
2006 – Veronique de Viguerie
2005 – Claudia Guadarrama
2004 – Kristen Ashburn
2003 – Ami Vitale
2002 – Sophia Evans
2001 – Magali Delporte
To find out more about the 2014 Canon Female Photojournalist Award and download the rules and an application form to enter, please click here.
Please note: the final deadline for entries is 22 May 2015.
It is early spring here in the northern hemisphere and flowering trees, if not already in full bloom, will be so very soon.
While the spring flowering trees are incredibly beautiful, I find them a challenge to compose into an image I like. Part of the problem is that, when the trees flower, most other trees remain leaf-less and low in their color-rating. Lack of leaves reveal highly detracting power lines in many of the landscapes where these trees are planted. This leaves sky, green grass and man-made objects to provide the other good colors to compose with.
So, how does one create a good photo of this subject? A solution that often works well is to fill the frame with only the flowering tree or trees. In this case, I found a very large, densely-flowered tree, moved back to create a compressed perspective and zoomed in to frame only the flowers with a narrow aperture keeping the entire frame remaining in focus. The result is a pattern of complexity that fills the frame. I positioned the larger limbs visible in the picture so that their lines lead the viewer's eye into the frame. The bright color of the flowers becomes the predominant color of the final image.
Working with the same concept of filling the frame with the color of the tree, a close perspective with a wide aperture can be used to blur the background flowers as illustrated here.
If working with a wider angle focal length, the background is more likely to become part of the image. In this case, consider getting above the tree to use the often-bright-green spring grass as the background. Bright green often complements the color of the tree(s). Another advantage that getting higher sometimes affords is a better angle on the flowers in the image. Dogwood tree flowers, as illustrated in the just-referenced image, typically face upward. Looking downward from a ladder allowed me to see the full flower being isolated with shallow depth of field.
Incorporating flowering trees into portrait images is a strategy loved by many. My advice is to make sure that the tree colors do not steel the viewer's focus from the primary subject, your person. Using the fill-the-frame and blur-the-background strategies again work well for portraits. Use a telephoto focal length and wide aperture to isolate the subject against a completely blurred background of flowers.
Winter is past and the winter-like landscape is about to awaken, bursting into vibrant color. Go capture it!
Ability to track and focus on any subject with tap-to-focus ease wins four best of show awards at NAB introductions
Hollywood, CA and Dallas, TX - Redrock Micro, the recognized leader in affordable professional cinema accessories, today announced Halo, a system for video production that solves the challenge of accurate focus control by dynamically mapping and tracking subjects, and providing an easy to use interface for manually selecting or automatically tracking subjects for focus.
Introduced at NAB 2015, Halo was quickly recognized for its potential to shift the industry, creating intense buzz and earning three Best of Show awards.
Focus re-designed from the ground up Incorporating the same technology cars use for collision detection and avoidance, the Halo Explorer creates a real-time scene map, combining pinpoint accuracy with up to 180 degrees of view. Artificial intelligence precisely identifies all your subjects (people and objects) and tracks their distance and location in real-time. The beautifully crafted user interface shows birds-eye view of all subjects, and enables anyone to tap-to-focus, or drag to follow focus with visual audible and haptic feedback. Halo becomes the technician, handling the intricacies of focus so operators can concentrate on the creative performance.
We often refer to this as our Avatar product, says James Hurd, Chief Revolutionary at Redrock Micro. We had to wait five years for technology to catch up so we could deliver a something that solves focus and does it cost-effectively. This quote references Director James Cameron's famous quip that he waited 10 years for technology to evolve before he was able to shoot the groundbreaking feature film Avatar.
Designed for today's production environments and creative shots Production never has time for long setups, extra gear, or constant tweaking. The Halo Explorer is small and lightweight, and lives on your camera. There is virtually no setup or configuration, just power on, and you?re ready to go. Halo also performs brilliantly in a wide range of situations: total darkness or bright light (even heavy backlight), with or without human faces. Halo components can be moved between the camera and your remote AC, wherever it makes the most sense. A light footprint and wide range of usability use make Halo intensely practical.
A valuable tool for a crew of one or a crew of one hundred
Productions at any level can benefit from Halo. High-end productions can use Halo for precise reference and focus assist. Solo operators can use Halo for completely autonomous focus tracking. Any amount of assistance or automation is your choice. Whatever your camera and lens, and whatever your level of expertise for focus control, Halo is incredibly effective, easy to use and understand, and profoundly affordable.