Two big updates for Lightroom for mobile are now available for download: Lightroom for iOS 2.4 and Lightroom for Android 2.1.
Lightroom for iOS 2.4
In version 2.4, two major improvements have been added: a raw technology preview and the addition of local adjustment tools. In addition to these major improvements, we’ve also added the ability to use keyboard shortcuts with physical keyboards connected to iPads, the ability to add your copyright to all imported photos, functionality to turn on lens profiles (if your camera and lens combination are supported), as well as the usual bug fixes and improvements.
Raw Technology Preview
We’re sure it’s happened to you before: you’re out taking photos (in raw of course) and you capture a real stunner that you can’t wait to share with the world. Until now, you had to either transfer a JPEG version of the file over or you had to wait until you got back to your desktop or laptop. With the raw technology preview, you’ll be able to import raw photos immediately to either your iPhone or iPad, edit them, and then share them, anywhere you’ve got a connection. Our goal with Lightroom for mobile is to make it an indispensable part of your photography workflow, providing the tools that you’re familiar with and the quality you expect in a product that can be with you, no matter when inspiration strikes. With this technology preview, we want to push the boundaries of how photographers around the world work with their mobile devices.
You get all of the benefits of raw, such as the ability to change the white balance, being able to recover blown out highlights, access to the full range of color information, as well as editing an uncompressed file, all using the exact same technology that powers Lightroom on your desktop. An added benefit is that the raw file that you’ve imported into Lightroom for iOS will be synced with Lightroom on your other devices, such as Lightroom for desktop or Lightroom on the web, along with any of the edits, star ratings, or flags that you added.
Lightroom for mobile supports all of the same raw files that Lightroom for desktop as well as Adobe Camera Raw support, with the full list available here.
To transfer photos to your mobile device, you need to use either the camera connection kit or the lightning to SD or USB kits from Apple to transfer your raw files over to your device, which will bring up the Import tab within the iOS Photos app. Importing the files will add them into your camera roll, where you can then access and load in any raw file directly into Lightroom mobile. It’s important to keep in mind that raw files are significantly larger (3-5 times larger) than JPEGs, meaning the raw files will take longer to import, upload, and take up more space on your device. Even as such, we found that the added control and quality that the raw files afforded were so useful that it outweighed the negatives.
Just as when working with raw files that were synced from Lightroom for desktop or Lightroom on the web, you’ll be able to perform raw-specific enhancements, such as changing the white balance with greater control and recovering clipped highlights, but unlike when working with raw files synced from Lightroom for desktop, you’ll have access to the full resolution file AND you can do it anywhere in the world, even from your iPhone!
We’ve run Lightroom for mobile through its paces on a number of different files, including the 50MP Canon 5DS running on an iPhone 6, proving that you really can edit nearly any photo anywhere. After playing with the app for a few months, we’ve found that it’s a really great way to take a few of your favorite images from the day (or even that you just captured), review to make sure you captured what you saw, edit, and then share them, all right away, and with all of your edits carried through the rest of the Lightroom ecosystem.
We had the pleasure of working with a number of photographers while creating the raw technology preview, take a look at how travel photographer Elia Locardi was able to put the technology to use while shooting on location in Greece.
In addition to the raw technology preview, we’ve also added in the ability to perform local adjustments with linear and radial selections, the two most requested features after raw support.
With the Linear and Radial Selection tools, you can either add or modify existing selections made to your photos and use the tools to draw attention to certain parts of your images.
Lightroom for iOS Availability
Lightroom mobile 2.4 is available immediately for iPhone and iPad from the iOS App Store for free. Both of these improvements are available only for members with a creative cloud subscription.
Lightroom for Android 2.1
While the iOS team was working hard on the raw technology preview, the Android team doubled-down on the unique end-to-end DNG capture experience first announced in Lightroom for Android 2.0 and created a brand new capture experience. Our goal is to create the best mobile photography experience available, and with the amazing quality possible on Android devices, especially thanks to DNG raw capture, we wanted to provide all of the controls and functionality needed.
Now, the built-in camera has a new Pro mode that lets you control the shutter speed, ISO, white balance, and focus all manually, in a brand new interface.
You can access the camera directly using the new Lightroom Camera widget. This new widget will launch the Lightroom camera directly, making it faster for you to get in and start taking pictures.
In addition to the new built-in camera, we’ve also improved the app’s ability to export full-resolution files. If the files are available somewhere within the Lightroom ecosystem, Lightroom for Android will now download the full resolution version and enable you to export them.
The bright, sunny days of spring, summer and fall present perfect image-making opportunities when you have an infrared converted camera in your gear bag. For me, that camera is an EOS 7D converted by LifePixel with a Super Color IR sensor.
While conventional photographic wisdom dictates that the golden hours just after sunrise and before sunset are ideal times for image-making, those with an IR camera at hand can take full advantage of midday sun to create compelling IR images. This IR benefit came in handy a couple of weeks ago.
Seeing a beautiful blue, midday sky overhead on my way to the mailbox around 1pm, I decided to head out with the IR camera to a spot I had filed in the back of my memory. It was a small parking area off of Victory Dr. on the way to Tybee Island from Savannah, GA. After arriving at the location, I photographed various scenes for about a half hour before ultimately deciding it wasn't as photogenic as I had thought (or maybe my creative skills simply weren't doing it justice on that day). With my tail between my legs, I headed home.
However, on my return trip I spotted an interesting dock area to my right on the other side of the bridge that crosses the Wilmington River. After turning off the main road, I worked my way back to the dock and found that it was a public park – W.E. Honey Park, to be exact – and the dock I had seen from the bridge was easily accessible.
I parked and attached the EF 24-105mm f/4L IS USM to the EOS 7D to allow for a wide range of framing opportunities from the dock. I also attached a B+W Circular Polarizer to the lens to see how it might impact the image. After several attempts to capture the bridge as seen from the dock, I turned around to photograph a small river winding its way through the marsh with lots of clouds near the tree-lined horizon. After returning to my vehicle, I realized that my normal custom white balance may not be optimal with the circular polarizer attached. As such, I pulled out my X-Rite ColorChecker Passport and photographed its white balance target in direct sunlight with the CPOL attached for color correction purposes in post processing.
As I do with all my images captured in IR, I set the white balance in Digital Photo Professional and then exported a TIFF into Photoshop CC. There, I view the image a few different ways to see which post processing technique I feel best suits the scene.
Here's what the image looked like straight out of the camera with only an Auto Levels applied:
While I find that non red/blue channel flipped images may work well for some portraits, I rarely find the nearly straight out of camera approach well suited for landscapes.
Let's try another technique. Below I've applied Auto Levels, swapped the red and blue color channels and desaturated the yellow color of the foliage.
The above represents a more typical IR photo, albeit with blue color in the sky and in the water. While this image looks much better than the straight out of camera example, I decided to leave the Yellow channel untouched in the final image above so that there was a clear separation between the clouds and the tree line. The circular polraizer that was used seemed to create an even more intense blue in the scene compared to images taken without the filter in place.
I've been really happy having an IR-converted camera in my kit these past few months. It's been a great investment for me and a fitting use for a DSLR which would have seen little use after upgrading to 7D Mark II. And the great thing about the Super Color IR sensor option, in particular, is that I gain great flexibility in creating multiple image styles from the same capture.
Join fashion photographer Lindsay Adler as she walks you through the exciting process of bringing a fashion shoot to life. Lindsay covers concept development, gathering a creative team, considerations on the day of the shoot, color management, retouching basics, file delivery and more. This webinar is a great overview and introduction of exactly what it takes to create a successful fashion image from one of the world's most renowned fashion photographers.
Note: Being red-green colorblind, I've come to rely on the X-Rite ColorChecker Passport Photo for color balancing when working with various clients. It allows me to take a technical approach to color balancing rather than relying on my own perception. [Sean]
Changes from Firmware Versions “A” 1.02/“B” 1.02 to Versions “A” 1.03/“B” 1.02
Fixed the following issues:
The battery level indicator would on rare occasions flash if the camera was turned on with Clean at shutdown or Clean at startup & shutdown selected for SETUP MENU > Clean image sensor > Clean at startup/shutdown.
Two different pictures with the same file number would on rare occasions be recorded to both memory cards if two cards were inserted with Overflow selected for SHOOTING MENU > Slot 2.
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EXCLUSIVE X-RITE TECHNOLOGY! Flare Correct measures & adjusts display profile for reduced contrast ratios caused by flare light (or glare) falling on surface of display
Intelligent Iterative Profiling - an adaptive technology that measures and analyzes the color capabilities of each unique display for increased color accuracy
Ambient Light Smart Control: measurement, compensation and ongoing monitoring of ambient light conditions
Industry standard 24 patch Classic target used to create custom camera profiles and as a visual color reference
Color patches remain the same as the light changes for professional-quality consistency - each square reflects light in a similar way as its real-life counterpart in all parts of the visible spectrum, under any illumination, and with any color reproduction process
Used by professional photographers around the world for consistent, reliable color - since 1976
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Addressed an issue that sometimes caused errors with certain UHS-II SD memory cards. As we were able to confirm that these were read errors arising not in the camera but in the cards themselves, we addressed the issue with a work-around that switches temporarily to UHS-I mode when a card-side error occurs in UHS-II mode. The camera switches back to UHS-II mode when turned off and then on again or when the standby timer restarts. Card-side read errors may still occur after the update, albeit very infrequently.