Lightroom 4.1 is now available as Release Candidates on Adobe Labs.   The ‘release candidate’ label indicates that this update is well tested but would benefit from additional community testing before it is distributed automatically to all of our customers.  The final release of Lightroom 4.1 may have additional corrections or camera support.

Bugs Corrected in the Lightroom 4.1 Release Candidate

The following bugs that were part the Lightroom 4 releases have been corrected. The team appreciates the very detailed feedback the community has provided on Lightroom 4 and we’re excited to correct a number of issues experienced by our customers. These issues have been FIXED:

• Point Curve adjustments made in Lightroom 3 and before have been restored.
• Lightroom 4 did not properly open external applications when using the “Edit In” functionality.
• Addressed performance issues in Lightroom 4, particularly when loading GPS track logs, using a secondary monitor, and the controls within the Develop module.
• Ability to update DNG previews and metadata for more than 100 photos has been restored.
• This update allows for improved viewing of subfolders and stacks in folders with a large number of photos.
• It was possible that a layout of a saved book could be lost after quitting Lightroom 4.
• Please provide feedback on your experience with the Lightroom 4.1 Release Candidate in our Feedback Portal.

New Camera Support in Lightroom 4.1 Release Candidate

• Canon EOS 5D Mk III

Run over to Adobe Labs to grab the Lightroom 4.1 Release Candidate

First Major Release since April 2010 Packed with New Features and Huge Performance Enhancements

Adobe Systems Incorporated (Nasdaq:ADBE) today announced Adobe Photoshop CS6 beta, a preview of what’s to come in the next release of the industry standard in digital imaging, is available as a free download from Adobe Labs. Customers can download the beta, try out the experience and provide feedback to the product team. Packed with groundbreaking new innovations, features and incredible performance enhancements, Photoshop CS6 beta is available for the Mac OS and Microsoft Windows platforms. The final release is expected in the first half of 2012.

“Photoshop CS6 will be a milestone release that pushes the boundaries of imaging innovation with incredible speed and performance,” said Winston Hendrickson, vice president products, Creative Media Solutions, Adobe. “We couldn’t wait to share this beta of Photoshop CS6 with our customers and are looking forward to hearing from them and seeing the ways they are incorporating the beta into their daily creative workflows.”

New Features in Photoshop CS6 Beta

Photoshop CS6 beta demonstrates Adobe’s focus on huge performance enhancements, imaging magic and creativity tools that offer customers a new experience in digital imaging. Key features include new additions to the Content-Aware tools: Content-Aware Patch allows greater control by letting users select and duplicate an area of an image to fill in or “patch” another. Content-Aware Move lets users select and magically move an object to a new place in the image.

Customers will experience incredible performance, powered by the new Adobe Mercury Graphics Engine, enabling near-instant results from popular editing tools including Liquify, Puppet Warp, Transform and Lighting Effects; and a refined, modern interface featuring dark UI options to make images pop. New and re-engineered design tools make creating designs faster and more efficient. Vector layers allow users to apply dashed lines and gradient strokes, searchable layers help quickly zero in on any layer you need, and new type styles let designers quickly apply type treatments to their designs.

In addition, the Photoshop CS6 beta offers all the features of Adobe Photoshop CS6 and Adobe Photoshop CS6 Extended, such as new 3D editing features and quantitative imaging analysis capabilities. These features will be included in the shipping version of Photoshop CS6 Extended when it becomes available.

Pricing and Availability

The Photoshop CS6 beta is available immediately as a free download in English and Japanese. At installation, users will be required to provide an Adobe ID to complete a one-time login and online product activation. For information on how to install Photoshop CS6 beta visit http://www.adobe.com/go/photoshopcs6. Customers can submit feedback via the Photoshop CS6 beta forum: http://www.adobe.com/go/pscs6_forum. Users can also connect with the Photoshop team via the community-powered site: http://feedback.photoshop.com; on Facebook: http://www.facebook.com/Photoshop; YouTube: http://www.youtube.com/photoshop; Photoshop.com blog: http://blogs.adobe.com/photoshopdotcom/; or via Twitter: http://twitter.com/photoshop.

Adobe Photoshop Family

Adobe Photoshop and Photoshop Extended are at the heart of the Photoshop family, joined by solutions for users at every level who want to bring out the best in their digital images either at home, in the office or on the go. Coupled with Adobe Photoshop, the recently released Adobe Photoshop Lightroom 4 addresses the workflow needs of amateur and professional photographers, helping them create, manage and showcase images in impactful ways. Adobe Photoshop Elements provides consumers with powerful yet easy-to-use tools that organize, edit, create and share photos memories. For mobile devices, the Adobe Photoshop Touch app transforms images with core Photoshop features custom-built for tablets; and Photoshop Express is a free app for simple photo fixes and enhancements, and sharing to social networks.

About Adobe Systems Incorporated

Adobe is changing the world through digital experiences. For more information, visit www.adobe.com.

Changes since the public beta:

• Reverse geocoding now available in the Map Module
• Revamped and improved auto tone in Develop based on new controls
• Increased range of local white balance controls (temperature and tint)
• Updated Develop presets plus added new presets for video
• Maximum Blurb book size is now 240 pages
• Over 800 bugs found and fixed! (Thank you Lightroom 4 beta customers!)

Lightroom 4 provides photographers the tools to create beautiful photo books with text controls and a variety of easy-to-use templates, as well as a direct link for photo book creation from within the new Book module. A new intuitive Map module displays images already assigned a location, provides location tagging and reverse geo-tagging controls and saved locations for easy assignment of a photographer’s common locations.

Now, native video support gives photographers the capability to play, trim and extract frames from video clips shot on DSLRs, point-and-shoot cameras and smartphones. Video-specific presets and many standard Lightroom image adjustment controls can be applied to video clips, and adjusted videos can be exported as a H.264 file or published directly to Facebook or Flickr.

In the Develop module, presets fully utilize new processing technology and the addition of soft proofing helps photographers tune images in a destination color space to ensure content looks its best. In addition, customers can now email images directly from Lightroom using an email account of their choice.

Pricing and Availability

Adobe Photoshop Lightroom 4 is now available for Mac and Windows at www.adobe.com/store. The estimated street price is US$149 for new users or US$79 for upgrades. For more detailed information about product features, upgrade policies, pricing and language versions, please visit www.adobe.com/go/lightroom.

In the following video, Kerry Garrison does a quick overview of some of the new features. Stay tuned for a complete Lightroom 4 Learning Center launching here on CameraDojo.com in the next few days.

To download a copy of the Lightroom 4 beta, please visit http://labs.adobe.com

If you haven’t seen it already, be sure and check out our Lightroom 3 Resource Center.

Now I love Lightroom, it is my primary editing tool but it is not perfect and there are certainly some things I would like to see improved and added and would love to hear what you would like to see in the next major release. Even though Adobe may not be listening to us directly, it will be interesting to see what we can come up with and see what actually makes it into the product when it comes out. I will start with Team Dojo here and then let everyone else chime in with theirs:

Kerry Garrison

• Improved Watermarking
  More options, borders
• Improved noise reduction
  Current NR is really good, but still not quite as good as dedicated software tools
• Improved tethering support
  Current tethering does not allow you to change camera settings and does not support Live View
• Improved Wacom tablet support
  I love my tablet but it is BARELY supported in Lightroom 3, I want FULL support
• Album page design
  Real, actual useful page design with effects, opacity, stacking, etc
• Ability to add video clips to slide shows
  Video editing should be nothing more than beginning and end trimming
• Easier camera specific calibration
  I currently use X-Rite Colorchecker Passport which works well
• Network capabale catalogs
  I use three different machines for editing and this one is a real nightmare for me

Maurice Naragon

• Better image sorting options
• Improved JPEG compression output that matches Photoshops
  Currently you have to use a might higher number in Lightroom for same visual quality at often 2-3 times the file size as a file saved in Photoshop
• Ability to use shift-key to draw straight lines with the local adjustment brush
  Why this hasn’t been there from day one is a mystery

What’s on your Lightroom 4 wishlist? Post in the comments, who knows, maybe Adobe will take a look and try to add some of the more popular requests.

Tune into the podcast on Tonight (Wednesday March 9th) at 6pm PST / 9pm EST

https://www.fuzemeeting.com/fuze/42b310f1/12177029

onOne Software Announces Availability of Perfect Resize
for Adobe Photoshop, Photoshop Lightroom and Apple Aperture

The next generation of Genuine Fractals includes new features to optimize image enlargement quality and time saving interface enhancements to help photographers quickly create high quality images.

Portland, OR- December 9, 2010 – onOne Software, Inc., a leading developer of innovative, timesaving solutions for professional and advanced amateur photographers, today announced the immediate availability of Perfect Resize, one component of the Perfect Photo Suite 5.5 for Adobe® Photoshop®, Adobe Photoshop Lightroom® and Apple Aperture. The next generation of Genuine Fractals technology, Perfect Resize adds new features for achieving sharp detail when enlarging images, new gallery wrap and tiling options, and interface enhancements for photographers who want to make the highest quality prints. Perfect Resize supports Photoshop CS5, CS4 and CS3 and can now be used directly from within Adobe Photoshop Lightroom and Apple Aperture without the need for a separate host application.

“We are very pleased to introduce Perfect Resize and the new capabilities that build on Genuine Fractals, the industry standard for image resizing,” said Craig Keudell, president of onOne Software. “For photographers who print for themselves or their clients, continuing to improve image detail in their enlargements and to quickly create popular Gallery Wraps is critical for their business. We are dedicated to continually offering added value and improving on our best in class tools to help photographers achieve outstanding results quickly and easily.”

“I have had a chance to try out Perfect Resize 7 and I am blown away by how awesome it is! I recently resized a 30 inch print to 90 inches tall and the image quality is amazing”, said Elizabeth Carmel, Nature and Landscape photographer. “The new smoothing slider and the sharpening options are key features that make a huge difference by providing incredible detail and smoothness in the enlarged print. I love this new upgrade and thank onOne Software for helping me produce the highest quality prints possible. Plus, having the canvas wrap fill in the corners is a major time saver.”

New Features in Perfect Resize, the next generation of Genuine Fractals:

NEW Smoothness Control: Designed for the demanding photographer, the new Smoothness control allows users to adjust the smoothness of curved edges to minimize artifacts. This new feature is very useful when resizing images and is especially valuable when working with lower resolution source files or when an extreme crop is required from a higher resolution source file.

NEW Loupe Tool: With the new Loupe feature, photographers can get an instant 1:1 or 100% magnified preview of enlargement quality while still seeing the entire image with the Loupe function of the Navigator.

NEW Presets: Photographers can now achieve consistent results in less time by saving commonly used settings with the new Presets feature. Photographers who routinely send images to labs will benefit by creating a preset that allows them to resize the image, apply a specific sharpening amount and apply a gallery wrap all in one step. Stock photographers who need to resize batches of images before submitting them will also benefit from this new feature.

NEW Sharpening Methods: Two new sharpening methods allow photographers to sharpen small details without causing halos on larger, distinct edges. The first sharpening method targets out-of-focus images and the second method adapts the sharpening amount automatically to the size of image details.

Work Directly with Lightroom and Aperture: Perfect Resize now integrates directly with Photoshop Lightroom and Apple Aperture and no longer requires a host application to get amazing results when enlarging an image. Of course, it still works within Adobe Photoshop as well.

Improved Gallery Wrap: Photographers can now preview the Perfect Resize gallery wrap results in real time, allowing them to quickly fine tune their settings for the perfect gallery wrap. Additionally, gallery wrap corners are automatically filled in with matching image detail from the surrounding area. While it may not sound like much, the improvements to this feature alone will save photographers hours of time when assembling their gallery wraps.

Improved Tiling: The Tiling feature now automatically saves each tile as new file. This makes it much easier to save and print individual tiles especially when sending these tiles out to a print service provider. Additionally, because each tile is its own file, it is now easy to create canvas diptychs, triptychs or mosaics with the improved gallery wrap feature.

Batch Processing Enhancements: Easily work with images of mixed size, type and orientation with more batch-processing engine options. Save time by batch processing images from the Export dialog inside of Lightroom.
Misc Improvements: Additional enhancements include presets for common printer resolutions, improved progress indicators, improved film grain simulation, and the additional document size presets for panoramic and no-crop sizes.

Availability

Perfect Resize is available immediately as a standalone product and as a part of the new Perfect Photo Suite 5.5. Owners of Genuine Fractals 6 or earlier can upgrade to Perfect Resize for $99.95 or to the Perfect Photo Suite 5.5 for $349.95. Owners of Plug-In Suite 5 are eligible for a free upgrade to Perfect Photo Suite 5.5, which includes Perfect Resize 7, and can find the update at: http://www.ononesoftware.com/suite5update/.

Users who purchased Genuine Fractals 6 on or after September 27, 2010 will receive a free upgrade to Perfect Resize 7 and will receive an email from onOne Software with instructions for redeeming their free upgrade.

Owners of Plug-In Suite 1, 2, 3 or 4 can upgrade to the Perfect Photo Suite for $199.95. Perfect Photo Suite 5.5 is available to new customers for $499.95; purchased separately the 7 products would normally cost $1460. For more information on upgrade options visit http://www.ononesoftware.com/upgrade/.
For more information on the Perfect Photo Suite 5.5, visit http://www.ononesoftware.com/.

About onOne Software

onOne Software, Inc., a leading developer of innovative software tools for photographers, develops time-saving software solutions for professional and advanced amateur photographers. onOne Software solutions have been created to help photographers spend more of their time behind the camera taking pictures instead of the computer workstation. Such solutions include a wide range of easy-to-use applications and plug-in enhancements for Adobe® Photoshop®, Photoshop Elements, Photoshop Lightroom, Apple Aperture, iPhone and iPad applications. Founded in 2005, onOne Software is a privately held company located in Portland, Oregon. For additional information, visit http://www.ononesoftware.com/ or call 1-888-968-1468.

onOne Software Blog: www.ononesoftware.com/blog
Facebook: www.facebook.com/onOneSoftware
Twitter: www.twitter.com/onOneSoftware

New Camera Support

• Canon         PowerShot G12
• Canon         PowerShot S95
• Nikon          D7000
• Nikon          Coolpix P7000
• Nikon          D3100
• Olympus     E-5
• Panasonic  DMC-GF2
• Panasonic  DMC-GH2
• Pentax        K-5
• Pentax        K-r
• Ricoh          GXR, GR LENS A12 28mm F2.5
• Samsung    NX100
• Samsung    TL350 (WB2000)
• Sony           A560
• Sony           A580

New Lens Profile Support

**These lens profiles were in the previous release but have been updated to address quality concerns.
NOTE: The Pentax, Tamron and Sigma profiles are the result of collaboration between Adobe and the respective lens manufacturer.

Lightroom 3.3 Bugs – Fixed

• Edit in PS CS4 from LR 3.2 did not give option to render to TIFF/PSD
• Process Version defaulted to PV 2003 when Lightroom’s installed Develop Presets are applied on Import
• All Auto-ISO values were not properly handled for the Nikon D3s
• An error could be generated when sorting by “User Order†in Collections
• There was an incorrect Profile Name tag for Canon 18-55 and 17-40 lens profiles
• Facebook album selection only displayed up to 25 albums
• Lightroom 3 could fail to launch Photoshop CS5 if Photoshop CS4 was uninstalled after the Photoshop CS5 installation
• Numerous cloning or healing spots could have caused Lightroom to become unresponsive
• Lightroom could have crashed when the metadata filter is selected and the grid is displaying all images in the catalog
• Lightroom 3.2 could have failed to import all of the images from an iPhone 4
• Some Sigma X3F raw files were rendering incorrectly
• Choosing the “Make a second copy to†option on import would result in incorrect folder structure for the second copy
• Resetting the crop angle by double-clicking the Angle slider removed a custom aspect ratio
• A tooltip for the Japanese language version of Lightroom 3 displayed the wrong keyboard shortcut for “Flag as Pickâ€
• Paste Settings did not apply to all images in the Develop module Filmstrip
• Smart collections in Lightroom 3 did not use the same definition of “All Searchable Metadata†previously available in Lightroom 2
• Text watermarks or portions of text watermarks could have failed to be applied to images on export
• SmugMug publish collection dialog included a mixture of English text  when using a language setting other than English
• Lightroom would not import files from the Panasonic LX5 that were shot with the iZoom Function set to above 90mm
• Choosing the Limit File Size option in the export dialog could have stripped certain EXIF fields from the exported file
• The Targeted Adjustment Tool may have performed slowly in the Lightroom 3.3 release candidate
• A single image published to multiple collections for a single publish service did not display comments properly
• Updating an existing Develop preset with all settings could have failed under certain conditions
• The watermark drop shadow settings behaved differently in Lightroom 3.2 when compared to Lightroom 3.0.  They have been returned to the Lightroom 3.0 behavior.
• The YYYYMMDD file renaming option was not available when the Lightroom language setting was set to Dutch
• An existing Smart Collection updated to filter for all photos with “Ratings is Zero†would show all images in the catalog
• Publishing an empty category to SmugMug would cause an error
• JPEG exports in the Lightroom 3.3 Release Candidate were significantly slower than the same export process in Lightroom 3.2.
• A graphical Identity Plate included in output was not correctly color managed
• Deleting all images in a Flickr photoset could have caused Lightroom to return an error message
• Changing the sort order to “User Order†while in Survey View on the Mac may have caused an error to appear
• Lightroom could have failed to respond when viewing an image containing numerous cloning or healing spots at 1:1 view
• RGB values were not displaying properly in the white balance tool
• The Smart Collection criteria “Folder starts with†was not working properly
• The navigator panel in the Develop module would incorrectly display threshold information when holding down the alt or option key and applying adjustments
• Applying a flag, star or label setting to an image via the toolbar in the Develop module while in auto-advance mode would result in an incorrect setting display for the subsequent image
• The application of color noise reduction at low color temperatures (e.g., tungsten or candlelight) could have provided results below our quality standards

Camera Raw 6.3 Release Notes
These items have been FIXED in Camera Raw 6.3:

• Camera Raw would not correctly read files from the Panasonic LX5 that were shot with the iZoom Function set to above 90mm
• The scroll bar could stop working properly with over 150 images in the filmstrip
• The DNG Converter could prevent customers from setting a “Destination†folder outside of their Home directory
• Some Sigma X3F raw files were rendering incorrectly
• Embedding GPS information into a Sony ARW file using third party solutions utilizing Exiftool could result in a color shift
• All Auto-ISO values were not properly handled for the Nikon D3s
• Updated Camera Raw default settings were not respected in Bridge thumbnails or previews after applying a rating
• JPEG and TIFF Previews re-rendered as over-exposed after cropping in Camera Raw
• Adjustment settings via the numeric entry field could have failed with multiple raw files selected

Known Issues in Lightroom 3.3/6.3

• A Japanese language file name is not properly preserved when uploading images to SmugMug

Known Issues in Lightroom 3.3/Camera Raw 6.3

• Raw images shot with the Nikon D7000 in Multi Exposure Mode have a strong magenta color cast.  The cast can be partially corrected by setting the white balance using the eye dropper tool. The issue will be corrected in a future update.

onOne Software Announces Availability of Perfect Photo Suite 5.5 for Adobe Photoshop, Adobe Photoshop Lightroom and Apple Aperture

Portland, OR- December 2, 2010 – onOne Software, Inc., a leading developer of innovative,
timesaving solutions for professional and advanced amateur photographers, today announced
availability of Perfect Photo Suite 5.5 for Adobe® Photoshop®, Adobe Photoshop Lightroom® and
Apple Aperture. Tackling specific problems within a photographer’s preferred workflow, the Perfect
Photo Suite 5.5 offers simple yet powerful solutions for color correction, image resizing, masking and
professional photographic effects in one affordable package. With support for Photoshop CS5, CS4
and CS3, the Perfect Photo Suite 5.5 includes FocalPoint 2, PhotoTune 3, PhotoFrame 4.6, PhotoTools
2.6, MaskPro 4.1 and Perfect Resize 7 (the next generation of Genuine Fractals). The Perfect Photo
Suite 5.5 will also include the recently announced Perfect Layers, which will be available in early
2011.

With this new version of the Perfect Photo Suite 5.5, photographers now have more options for where
they use many of the onOne products. For the first time photographers will be able to use FocalPoint 2,
PhotoTune 3, PhotoFrame 4.6 and Perfect Resize 7 directly within Lightroom and Aperture without
the need for a separate host application. In addition, owners of the Perfect Photo Suite 5.5 will receive
Perfect Layers when it becomes available next year. This completely new product provides
photographers with the ability to create layered files directly from within Lightroom and Aperture that
are fully compatible with Photoshop for later editing.

Perfect Photo Suite 5.5 continues to include full support for Photoshop CS5, CS4 and CS3. Mask Pro
4.1 which allows photographers to replace backgrounds and make selections and PhotoTools 2.6,
which allows photographers to leverage the power of Photoshop to enhance and stylize their images,
continue to function directly within Photoshop and do not run as stand-alone applications.

Perfect Photo Suite 5.5 includes full versions of the following onOne Software products:

Perfect Resize 7 – The next generation of Genuine Fractals – Based on the same proven and
patented algorithms as Genuine Fractals, the newest version of the industry standard for image
resizing introduces new Smoothness and Sharpening controls to achieve the highest quality results
when enlarging images. In addition, Perfect Resize adds features that make printing easier and faster
including the new Loupe Tool for an instant 1:1 magnified preview. The upgrade also adds the ability
to save custom Presets, a new Gallery Wrap preview with Auto Corner Fill, and Image Tiling
improvements. Perfect Resize 7 now enables those who prefer a Lightroom or Aperture only workflow
to resize a single or batch of images directly within those applications.

PhotoTools 2.6 – PhotoTools 2.6 adds a dozen new effects to the highly acclaimed Photoshop plug-in
that allows photographers of all skill levels to maximize the full power of Photoshop with its ability to
preview and combine Photoshop Actions in a single, intuitive interface. Designed by photographers
for photographers, PhotoTools 2.6 includes the MaskingBug control, based on the FocusBug control
from the award-winning FocalPoint plug-in, to selectively apply effects to images. PhotoTools 2.6
now has a total library of close to 300 effects that photographers can easily browse, preview and
combine to create images that truly stand out.

PhotoFrame 4.6 – With PhotoFrame 4.6, you can add the perfect finishing touch to your images and
layouts with new backgrounds, borders, layouts and adornments. With over one thousand design
elements like film edges, borders, textures, backgrounds and adornments, PhotoFrame 4.6 even has
complete layouts where users can simply drop an image in and they are done. It is the easiest and
fastest way to add an authentic darkroom touch with a film edge or to create beautiful albums or
scrapbook pages. Photographers can now use PhotoFrame 4.6 directly within Lightroom and Aperture.

FocalPoint 2 – Like bringing the camera lens inside Photoshop, FocalPoint 2 gives photographers the
best way to add realistic depth of field and selective focus control to any image. Photographers now
have an incredible amount of flexibility and control over the look of the blur with the new blur
algorithm, FocusBrush, Lens Presets and multiple FocusBug features. Photographers can now use
FocalPoint 2 directly within Lightroom and Aperture or on its own.

PhotoTune 3 – PhotoTune 3 uses patented technology to optimize the dynamic range, color and
sharpness of images so that they look more true-to-life. The Wizard offers fast color and tone
correction in as little as two steps while giving pro users direct access to advanced and innovative
controls. SkinTune, which represents two years of research and analysis of thousands of skin tones,
offers one-click color correction of portraits and the option to correct just the skin in an image.
Photographers can now use PhotoTune 3 directly within Lightroom and Aperture or on its own.

MaskPro 4.1 - When a subject needs to be quickly extracted from a photo, Mask Pro 4 provides a
color-based method that helps photographers easily remove unwanted backgrounds. Mask Pro’s unique
Color Decontamination technology allows users to get realistic results by maintaining transparency in
hard to mask objects like hair, smoke and glass in a fraction of the time using traditional tools.

Perfect Layers 1 (New!) – The newest product in the onOne Software line-up provides a fast and
easy way to bring a layered workflow to Photoshop Lightroom and Apple Aperture. For those using a
Lightroom or Aperture workflow, but not yet using Photoshop, Perfect Layers introduces the ability to
create and edit multi-layered Photoshop files. With Perfect Layers photographers can combine
multiple images into a layered Photoshop compatible file, adjust layer size, position, blending mode
and opacity and use the built-in masking tools to blend multiple layers together. Perfect Layers will be
made available at no cost to current owners of Perfect Photo Suite 5.5 as a free upgrade when it
becomes available in 2011.

Availability
The new Perfect Photo Suite 5.5 is available immediately to owners of Plug-In Suite 5 as a free
upgrade at http://www.ononesoftware.com/suite5update. New users may purchase Perfect Photo Suite
5.5 for $499.95. Purchased separately the products would normally cost $1,460. Existing owners of
Plug-In Suite version 1, 2, 3 or 4 can upgrade to the Perfect Photo Suite 5.5 for $199.95. Customers
who own one or more of the products in Perfect Photo Suite 5.5 can now upgrade as well by visiting http://www.ononesoftware.com/upgrade/. For more information on the Perfect Photo Suite 5.5, please
visit http://www.ononesoftware.com/.

About onOne Software
onOne Software, Inc. a leading developer of innovative software tools for photographers, develops
time-saving software solutions for professional and advanced amateur photographers. onOne Software
solutions have been created to help photographers spend more of their time behind the camera taking
pictures instead of the computer workstation. Such solutions include a wide range of easy-to-use
applications and plug-in enhancements for Adobe® Photoshop®, Photoshop Elements, Photoshop
Lightroom, Apple Aperture, iPhone and iPad applications. Founded in 2005, onOne Software is a
privately held company located in Portland, Oregon. For additional information, visit
http://www.ononesoftware.com/ or call 1-888-968-1468.

This release also introduces the Adobe Lens Profile Downloader.  The Lens Profile Downloader is a free companion application to Photoshop CS5, Photoshop Lightroom 3, and the Camera Raw 6 plug-in. It allows customers to search, download, rate and comment on the online lens correction profiles that are created and shared by the user community

New Camera Support in Lightroom 3.3 and Camera Raw 6.3 Release Candidates

• Nikon D7000
• Nikon Coolpix P7000
• Nikon D3100
• Canon PowerShot S95
• Canon PowerShot G12
• Panasonic Lumix DMC-GH2
• Samsung NX100
• Samsung TL350 (WB2000)

New Lens Profile Support in Lightroom 3.3 and Camera Raw 6.3 Release Candidates

Lens Mount	Lens Name
Canon	Canon EF 24mm f/1.4 L USM
Canon	Canon EF 28-300mm f/3.5-5.6 L IS USM
Canon	Canon EF 70-300mm f/4.5-5.6 DO IS USM
Canon	Canon EF-S 18-135mm f/3.5-5.6 IS
Nikon	Nikon AF DC-NIKKOR 105mm f/2D
Nikon	Nikon AF NIKKOR 180mm f/2.8D IF-ED
Nikon	Nikon AF NIKKOR 20mm f/2.8D
Nikon	Nikon AF NIKKOR 24mm f/2.8D
Nikon	Nikon AF NIKKOR 28mm f/2.8D
Nikon	Nikon AF NIKKOR 85mm f/1.8D
Nikon	Nikon AF-S DX Micro NIKKOR 85mm f/3.5G ED VR
Nikon	Nikon AF-S DX NIKKOR 18-200mm f/3.5-5.6G ED VR II
Nikon	Nikon AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR
Nikon	Nikon AF-S NIKKOR 14-24mm f/2.8G ED
Nikon	Nikon AF-S NIKKOR 200-400mm f/4G ED VR II
Nikon	Nikon AF-S NIKKOR 300mm f/4D IF-ED
Nikon	Nikon AF-S NIKKOR 400mm f/2.8G ED VR
Nikon	Nikon AF-S NIKKOR 500mm f/4G ED VR
Nikon	Nikon AF-S NIKKOR 600mm f/4G ED VR
Nikon	Nikon AF-S VR NIKKOR 200mm f/2G IF-ED
Nikon	Nikon AF-S VR NIKKOR 300mm f/2.8G IF-ED
Nikon	Nikon AF-S VR Zoom-NIKKOR 200-400mm f/4G IF-ED
Nikon	Nikon AF-S VR Zoom-NIKKOR 24-120mm f/3.5-5.6G IF-ED
Nikon	Nikon AF-S NIKKOR 28-300mm f/3.5-5.6 ED VR
Nikon	Nikon AF-S NIKKOR 55-300mm f/4.5-5.6G ED VR
Canon	Canon PowerShot G11
Canon	Canon PowerShot G12
Samsung	Samsung TL350 (WB2000)
Canon	TAMRON SP AF Aspherical Di LD [IF] 17-35mm f/2.8-4 o77
Sigma	SIGMA DP1
Sigma	SIGMA DP1S
Sigma	SIGMA DP1X
Sigma	SIGMA DP2
Sigma	SIGMA DP2S
Canon	Canon EF 17-40mm f/4 L USM**
Canon	Canon EF 70-300mm f/4-5.6 IS USM**
Canon	Canon EF-S 18-55mm f/3.5-5.6 IS**
Nikon	Nikon AF NIKKOR 50mm f/1.8D**

**These lens profiles were in the previous release but have been updated to address quality concerns.

Bugs Corrected in the Lightroom 3.3 Release Candidate

The following bugs that were part of previous Lightroom 3 releases have been corrected. The team appreciates the very detailed feedback the community has provided on Lightroom 3 and we’re excited to correct a number of issues experienced by our customers. These issues have been FIXED

• Edit in PS CS4 from LR 3.2 did not give option to render to TIFF/PSD
• Process Version defaulted to PV 2003 when Lightroom’s installed Develop Presets are applied on Import
• All Auto-ISO values are not properly handled for the Nikon D3s
• An error could be generated when sorting by “User Order†in Collections
• There was an incorrect Profile Name tag for Canon 18-55 and 17-40 lens profiles
• Facebook album selection only displayed up to 25 albums
• Lightroom 3 could fail to launch Photoshop CS5 if Photoshop CS4 was uninstalled after the Photoshop CS5 installation
• Numerous cloning or healing spots could have caused Lightroom to become unresponsive
• Lightroom could have crashed when the metadata filter is selected and the grid is displaying all images in the catalog
• Lightroom 3.2 could have failed to import all of the images from an iPhone 4
• Some Sigma X3F raw files were rendering incorrectly
• Choosing the “Make a second copy to†option on import would result in incorrect folder structure for the second copy
• Resetting the crop angle by double-clicking the Angle slider removed a custom aspect ratio
• A tooltip for the Japanese language version of Lightroom 3 displayed the wrong keyboard shortcut for “Flag as Pickâ€
• Paste Settings did not apply to all images in the Develop module Filmstrip
• Smart collections in Lightroom 3 did not use the same definition of “All Searchable Metadata†previously available in Lightroom 2
• Text watermarks or portions of text watermarks could have failed to be applied to images on export
• The Japanese version of the SmugMug publish collection dialog was a mixture of English and Japanese language text
• Lightroom would not import files from the Panasonic LX5 that were shot with the iZoom Function set to above 90mm
• Choosing the Limit File Size option in the export dialog could have stripped certain EXIF fields from the exported file
• Please provide feedback on your experience with the Lightroom 3.3 Release Candidate Bug Report Form.

Camera Raw 6.3 Release Notes

• Camera Raw would not correctly read files from the Panasonic LX5 that were shot with the iZoom Function set to above 90mm
• The scroll bar could stop working properly with over 150 images in the filmstrip
• The DNG Converter could prevent customers from setting a “Destination†folder outside of their Home directory
• Some Sigma X3F raw files were rendering incorrectly
• Embedding GPS information into a Sony ARW file using third party solutions utilizing Exiftool could result in a color shift
• All Auto-ISO values were not properly handled for the Nikon D3s
• Please provide feedback on your experience with the Camera Raw 6.3 plug-in and the DNG Converter on the Camera Raw User to User forum.

Lightroom 3.2 and Camera Raw 6.2 are now available as final releases on Adobe.com and through the update mechanisms available in Photoshop CS5 and Lightroom 3.  These updates include bug fixes, new camera support and new features for Lightroom.

New Camera Support

Canon EOS 60D

Casio EXILIM EX-FH100*

Fuji FinePix HS10

Leica S2 (DNG*)

Panasonic DMC-FZ100

Panasonic DMC-FZ40 (FZ45)

Panasonic DMC-LX5

Pentax 645D

Samsung NX10

Samsung TL500 (EX1)

Sony A290

Sony A390

Sony Alpha NEX-3

Sony Alpha NEX-5

Sony SLT-A33

Sony SLT-A55V

^*The DNG raw file format is supported in previous versions of Lightroom and Camera Raw. This update improves the color and noise profiles for these models.

New Lens Profile Support

Lens Mount	Lens Name
Apple	Apple iPhone 4 (back camera)
Canon	Canon PowerShot S90
Canon	Canon EF-S 18-200mm f/3.5-5.6 IS
Canon	Canon EF-S 55-250mm f/4-5.6 IS
Canon	Canon EF-S 60mm f/2.8 Macro USM
Canon	Canon EF 14mm f/2.8L II USM
Canon	Canon EF 24mm f/1.4L II USM
Canon	Canon EF 50mm f/1.2L USM
Canon	Canon EF 50mm f/1.8 II
Canon	Canon EF 75-300mm f/4-5.6 USM
Canon	Canon EF 100mm f/2.8 Macro USM
Canon	Canon EF 100mm f/2.8L Macro IS USM
Canon	Canon EF 100-400mm f/4.5-5.6L IS USM
Canon	Canon EF 300mm f/4L IS USM
Nikon	Nikon AF-S DX NIKKOR 16-85mm f/3.5-5.6G ED VR
Nikon	Nikon AF-S DX Zoom-NIKKOR 17-55mm f/2.8G IF-ED
Nikon	Nikon AF-S NIKKOR 16-35mm f/4G ED VR
Nikon	Nikon AF-S NIKKOR 50mm f/1.4G
Nikon	Nikon AF-S Zoom-Nikkor 17-35mm f/2.8D IF-ED
Nikon	Nikon AF NIKKOR 35mm f/2D
Nikon	Nikon AF NIKKOR 50mm f/1.4D
Penax	smc PENTAX-D FA645 55mmF2.8AL[IF] SDM AW
Penax	smc PENTAX-FA645 33-55mmF4.5AL
Penax	smc PENTAX-FA645 35mmF3.5AL[IF]
Penax	smc PENTAX-FA645 45mmF2.8
Penax	smc PENTAX-FA645 45-85mmF4.5
Penax	smc PENTAX-FA645 55-110mmF5.6
Penax	smc PENTAX-FA645 75mmF2.8
Penax	smc PENTAX-FA645 80-160mmF4.5
Penax	smc PENTAX-FA645 MACRO 120mmF4
Penax	smc PENTAX-FA645 150mmF2.8[IF]
Penax	smc PENTAX-FA645 150-300mmF5.6ED[IF]
Penax	smc PENTAX-FA645 200mmF4[IF]
Penax	smc PENTAX-FA*645 300mmF4ED[IF]
Penax	smc PENTAX-FA645 300mmF5.6ED[IF]
Penax	smc PENTAX-FA645 400mmF5.6ED[IF]
Samsung	Samsung EX1
Samsung	Samsung 18-55 f/3.5-5.6 OIS
Samsung	Samsung 30mm f/2
Samsung	Samsung 50-200mm f/4-5.6 ED OIS
Phase One	Schneider LS 80mm f/2.8 (For 645DF System)
Nikon	SIGMA 17-50mm F2.8 EX DC OS HSM (Nikon mount)
Nikon	SIGMA APO 70-200mm F2.8 EX DG OS HSM (Nikon mount)
Sony	Sony E 18-55mm F3.5-5.6 OSS (For NEX System)
Sony	Sony E 16mm F2.8 (For NEX System)
Canon	TAMRON 18-200mm F/3.5-6.3 DiII A14E
Canon	TAMRON 18-250mm F/3.5-6.3 DiII A18E
Canon	TAMRON 18-270mm F/3.5-6.3 DiII VC B003E
Canon	TAMRON 28-200mm F/3.8-5.6 Di A031E
Canon	TAMRON 28-300mm F/3.5-6.3 Di A061E
Canon	TAMRON 28-300mm F/3.5-6.3 Di VC A20E
Canon	TAMRON 55-200mm F/4-5.6 DiII A15E
Canon	TAMRON 70-300mm F/4-5.6 Di A17E
Canon	TAMRON SP 10-24mm F/3.5-4.5 DiII B001E
Canon	TAMRON SP 17-50mm F/2.8 DiII A16E
Canon	TAMRON SP 17-50mm F/2.8 DiII VC B005E
Canon	TAMRON SP 180mm F/3.5 Di MACRO 1:1 B01E
Canon	TAMRON SP 200-500mm F/5-6.3 Di A08E
Canon	TAMRON SP 28-75mm F/2.8 Di A09E
Canon	TAMRON SP 60mm F/2 DiII MACRO 1:1 G005E
Canon	TAMRON SP 70-200mm F/2.8 Di A001E
Canon	TAMRON SP 90mm F/2.8 Di MACRO 1:1 272EE
Nikon	TAMRON 18-200mm F/3.5-6.3 DiII A14N
Nikon	TAMRON 18-250mm F/3.5-6.3 DiII A18N
Nikon	TAMRON 18-270mm F/3.5-6.3 DiII VC B003N
Nikon	TAMRON 28-200mm F/3.8-5.6 Di A031N
Nikon	TAMRON 28-300mm F/3.5-6.3 Di A061N
Nikon	TAMRON 28-300mm F/3.5-6.3 Di VC A20N
Nikon	TAMRON 55-200mm F/4-5.6 DiII A15N
Nikon	TAMRON 70-300mm F/4-5.6 Di A17N
Nikon	TAMRON SP 10-24mm F/3.5-4.5 DiII B001N
Nikon	TAMRON SP 17-50mm F/2.8 DiII A16N
Nikon	TAMRON SP 17-50mm F/2.8 DiII VC B005N
Nikon	TAMRON SP 180mm F/3.5 Di MACRO 1:1 B01N
Nikon	TAMRON SP 200-500mm F/5-6.3 Di A08N
Nikon	TAMRON SP 28-75mm F/2.8 Di A09N
Nikon	TAMRON SP 60mm F/2 DiII MACRO 1:1 G005N
Nikon	TAMRON SP 70-200mm F/2.8 Di A001N
Nikon	TAMRON SP 90mm F/2.8 Di MACRO 1:1 272EN
Pentax	TAMRON 18-200mm F/3.5-6.3 DiII A14P
Pentax	TAMRON 18-250mm F/3.5-6.3 DiII A18P
Pentax	TAMRON 28-200mm F/3.8-5.6 Di A031P
Pentax	TAMRON 28-300mm F/3.5-6.3 Di A061P
Pentax	TAMRON 70-300mm F/4-5.6 Di A17P
Pentax	TAMRON SP 10-24mm F/3.5-4.5 DiII B001P
Pentax	TAMRON SP 17-50mm F/2.8 DiII A16P
Pentax	TAMRON SP 28-75mm F/2.8 Di A09P
Pentax	TAMRON SP 70-200mm F/2.8 Di A001P
Pentax	TAMRON SP 90mm F/2.8 Di MACRO 1:1 272EP
Sony	TAMRON 18-200mm F/3.5-6.3 DiII A14S
Sony	TAMRON 18-250mm F/3.5-6.3 DiII A18S
Sony	TAMRON 28-200mm F/3.8-5.6 Di A031S
Sony	TAMRON 28-300mm F/3.5-6.3 Di A061S
Sony	TAMRON 55-200mm F/4-5.6 DiII A15S
Sony	TAMRON 70-300mm F/4-5.6 Di A17S
Sony	TAMRON SP 10-24mm F/3.5-4.5 DiII B001S
Sony	TAMRON SP 17-50mm F/2.8 DiII A16S
Sony	TAMRON SP 180mm F/3.5 Di MACRO 1:1 B01S
Sony	TAMRON SP 200-500mm F/5-6.3 Di A08S
Sony	TAMRON SP 28-75mm F/2.8 Di A09S
Sony	TAMRON SP 60mm F/2 DiII MACRO 1:1 G005S
Sony	TAMRON SP 70-200mm F/2.8 Di A001S
Sony	TAMRON SP 90mm F/2.8 Di MACRO 1:1 272ES
Canon	Zeiss Distagon T* 3,5/18 ZE
Canon	Zeiss Distagon T* 2,8/21 ZE
Canon	Zeiss Distagon T* 2/28 ZE
Canon	Zeiss Distagon T* 2/35 ZE
Canon	Zeiss Makro-Planar T* 2/100 ZE
Canon	Zeiss Makro-Planar T* 2/50 ZE
Canon	Zeiss Planar T* 1,4/50 ZE
Canon	Zeiss Planar T* 1,4/85 ZE
Nikon	Zeiss Distagon T* 2/28 ZF.2
Nikon	Zeiss Distagon T* 2/35 ZF.2
Nikon	Zeiss Distagon T* 2,8/21 ZF.2
Nikon	Zeiss Distagon T* 2,8/25 ZF.2
Nikon	Zeiss Distagon T* 3,5/18 ZF.2
Nikon	Zeiss Makro-Planar T* 2/50 ZF.2
Nikon	Zeiss Makro-Planar T* 2/100 ZF.2
Nikon	Zeiss Planar T* 1,4/50 ZF.2
Nikon	Zeiss Planar T* 1,4/85 ZF.2
Canon	Canon EF-S 10-22mm f/3.5-4.5 USM**
Canon	Canon EF-S 17-55mm f/2.8 IS USM**
Canon	Canon EF-S 18-55mm f/3.5-5.6 IS**
Canon	Canon EF 17-40mm f/4 L USM**
Canon	Canon EF 70-300mm f/4-5.6 IS USM**
Nikon	Nikon AF Nikkor 50mm f/1.8D**

**These lens profiles were in the previous release but have been updated to address quality concerns.
NOTE: The Pentax, Tamron and Zeiss profiles are the result of collaboration between Adobe and the respective lens manufacturer.

Lightroom 3.2 Release Notes

• Direct publishing to Facebook and SmugMug is now available
• Tethered capture now supports the Leica S2
• A larger list of corrected issues has been included as part of the Lightroom 3.2 Release Candidate notes. Additional issues have been address in the final Lightroom 3.2 update:

Fixed authentication issues that could be experienced with the Facebook publish collection

Adressed performance issues that could occur while reviewing images in Loupe view

Corrected several Adobe Photoshop Elements upgrade issues

Corrected a file renaming bug involving date or time fields

Export with watermark will now function correctly when choosing the Limit File Size option

Camera Raw 6.2 Release Notes

• Scroll bar arrow performance has been improved
• Fixed: Slow Scrolling could occur when working with the Mac Trackpad and a multiple image selection
• Full screen performance issues have been addressed

You can use the Adobe or Photoshop updater or download the update installer at http://www.adobe.com/downloads/ ]]> http://cameradojo.com/2010/08/30/adobe-photoshop-lightroom-3-2-and-camera-raw-6-2-now-available/feed/ 2 Lightroom3_Box http://cameradojo.com/2010/08/10/adobe-posts-release-candidates-for-lightroom-3-2-and-camera-raw-6-2/ http://cameradojo.com/2010/08/10/adobe-posts-release-candidates-for-lightroom-3-2-and-camera-raw-6-2/#comments Tue, 10 Aug 2010 13:37:35 +0000 KerryG http://cameradojo.com/?p=2407 Unfortunately Lightroom 3.0 did not ship completely flawless and there are always news cameras to add as well as new lens profiles now for the lens correction tools. This release candidate of Lightroom 3.2 fixes a large number of issues and adds quite a bit more built-in lens correction profiles. Continue reading for the complete list of changes.

Lightroom 3.2 and Camera Raw 6.2 are now available as Release Candidates on Adobe Labs.  (Download here: Lightroom 3.2, Camera Raw 6.2, including the DNG Converter 6.2)  The ‘release candidate’ label indicates that this update is well tested but would benefit from additional community testing before it is distributed automatically to all of our customers.

WAIT!  What happened to Lightroom 3.1?  Well, it never happened.  In order to simplify the presentation of updates for raw file format compatibility, the Lightroom and Camera Raw “dot†version numbers have been aligned at “2″.  We update the Camera Raw plug-in and Lightroom regularly to provide access to new proprietary raw file formats and have aligned the decimal place so that there’s no confusion over which Lightroom update corresponds to a Camera Raw plug-in update and vice versa.

The final releases of Lightroom 3.2 and Camera Raw 6.2 may have additional corrections or camera support.

New Features

• The ability to publish directly to Facebook from within the Library module

New Camera Support in Lightroom 3.2 and Camera Raw 6.2 Release Candidates

• Casio EXILIM EX-FH100 (DNG^*)
• Leica S2 (DNG^*)
• Panasonic DMC-FZ100
• Panasonic DMC-FZ40 (FZ45)
• Panasonic DMC-LX5
• Pentax 645D
• Samsung NX10
• Samsung TL500 (EX1)
• Sony A290
• Sony A390
• Sony Alpha NEX-3
• Sony Alpha NEX-5

^*The DNG raw file format is supported in previous versions of Lightroom and Camera Raw. This update improves the color and noise profiles for these models.

New Lens Profile Support in Lightroom 3.2 and Camera Raw 6.2 Release Candidates

Lens Mount	Lens Name
Canon	Canon PowerShot S90 Lens
Canon	Canon EF-S 18-200mm f/3.5-5.6 IS
Canon	Canon EF-S 60mm f/2.8 Macro USM
Canon	Canon EF 14mm f/2.8L II USM
Canon	Canon EF 24mm f/1.4L II USM
Canon	Canon EF 50mm f/1.2L USM
Canon	Canon EF 50mm f/1.8 II
Canon	Canon EF 100mm f/2.8 Macro USM
Canon	Canon EF 100mm f/2.8L Macro IS USM
Canon	Canon EF 100-400mm f/4.5-5.6L IS USM
Canon	Canon EF 300mm f/4L IS USM
Nikon	Nikon AF-S DX NIKKOR 16-85mm f/3.5-5.6G ED VR
Nikon	Nikon AF-S NIKKOR 16-35mm f/4G ED VR
Nikon	Nikon AF-S NIKKOR 50mm f/1.4G
Pentax	smc PENTAX-D FA645 55mmF2.8AL[IF] SDM AW
Pentax	smc PENTAX-FA645 33-55mmF4.5AL
Pentax	smc PENTAX-FA645 35mmF3.5AL[IF]
Pentax	smc PENTAX-FA645 45mmF2.8
Pentax	smc PENTAX-FA645 45-85mmF4.5
Pentax	smc PENTAX-FA645 55-110mmF5.6
Pentax	smc PENTAX-FA645 75mmF2.8
Pentax	smc PENTAX-FA645 80-160mmF4.5
Pentax	smc PENTAX-FA645 MACRO 120mmF4
Pentax	smc PENTAX-FA645 150mmF2.8[IF]
Pentax	smc PENTAX-FA645 150-300mmF5.6ED[IF]
Pentax	smc PENTAX-FA645 200mmF4[IF]
Pentax	smc PENTAX-FA*645 300mmF4ED[IF]
Pentax	smc PENTAX-FA645 300mmF5.6ED[IF]
Pentax	smc PENTAX-FA645 400mmF5.6ED[IF]
Samsung	Samsung EX1
Samsung	Samsung 18-55 f/3.5-5.6 OIS
Samsung	Samsung 30mm f/2
Samsung	Samsung 50-200mm f/4-5.6 ED OIS
Phase One	Schneider LS 80mm f/2.8 (For 645DF System)
Nikon	SIGMA 17-50mm F2.8 EX DC OS HSM (Nikon mount)
Nikon	SIGMA APO 70-200mm F2.8 EX DG OS HSM (Nikon mount)
Sony	Sony E 18-55mm F3.5-5.6 OSS (For NEX System)
Canon	Zeiss Distagon T* 3,5/18 ZE
Canon	Zeiss Distagon T* 2,8/21 ZE
Canon	Zeiss Distagon T* 2/28 ZE
Canon	Zeiss Distagon T* 2/35 ZE
Canon	Zeiss Makro-Planar T* 2/100 ZE
Canon	Zeiss Makro-Planar T* 2/50 ZE
Canon	Zeiss Planar T* 1,4/50 ZE
Canon	Zeiss Planar T* 1,4/85 ZE
NIKON	Zeiss Distagon T* 2/28 ZF.2
NIKON	Zeiss Distagon T* 2/35 ZF.2
NIKON	Zeiss Distagon T* 2,8/21 ZF.2
NIKON	Zeiss Distagon T* 2,8/25 ZF.2
NIKON	Zeiss Distagon T* 3,5/18 ZF.2
NIKON	Zeiss Makro-Planar T* 2/50 ZF.2
NIKON	Zeiss Makro-Planar T* 2/100 ZF.2
NIKON	Zeiss Planar T* 1,4/50 ZF.2
NIKON	Zeiss Planar T* 1,4/85 ZF.2
Canon	Canon EF-S 10-22mm f/3.5-4.5 USMt
Canon	Canon EF-S 17-55mm f/2.8 IS USMt
NIKON	Nikon AF Nikkor 50mm f/1.8Dt

^tThese lens profiles were in the previous release but have been updated to address quality concerns.

Bugs Corrected in the Lightroom 3.2 Release Candidate

The following bugs that were released as part of Lightroom 3.0 have been corrected. The team appreciates the very detailed feedback the community has provided on the Lightroom 3.0 release and we’re excited to correct a number of issues experienced by our customers. These issues have been FIXED

• Develop: A custom aspect ratios get rounded to nearest standard ratio when adjusting crop overlay
• Develop: A history state is incorrectly added after creating a preset that includes a graduated filter or lens profile correction
• Develop: In the crop mode the X key sets a photo to reject instead of rotating the crop (Windows only)
• Develop: Lens profile corrections were synced even when they were not selected in the sync dialog.
• Develop: The escape key incorrectly applies a crop after a CTRL/CMD right arrow with the crop tool enabled
• Develop: The local adjustment brush could have a very slow first stroke when exposure is the selected adjustment
• Develop: The Live Loupe view on a second monitor could become unresponsive when switching images in the Develop module
• General: Certain menu items were missing from the Windows version of Lightroom
• Help Documentation: Inaccuracies and translation errors were corrected throughout the help documentation
• Import: Copy as DNG selection not remembered for subsequent imports
• Import: For some devices the import dialog did not allow directory browsing
• Import: Import image number sequence is not incrementing properly
• Import: Panels in the import window fail to scroll via the mouse wheel in some multiple monitor configurations
• Import: The EXIF renaming token was not available
• Import: Windows could crash when attempting to import video files
• Library: Sub-optimal preview rendering performance could impact application performance
• Library: If a directory tree is collapsed prior to closing Lightroom it will appear expanded after re-launching the application
• Library: 1:1 preview generation could appear to repeat itself for DNG files
• Library: Importing keywords causes a catalog to hang when imported keywords already exist in the catalog
• Library: Attempting to drag and drop a folder when multiple folders are selected removes a folder
• Library: Cancelling a catalog backup can require an excessive wait time before the cancellation is complete
• Library: Cancelling a catalog export process could require an excessive wait time
• Library: An internal error could occur when published smart collection conditions are updated
• Library: Choosing to apply recent keywords in a keyword set would cause the recent keywords to reorder
• Library: Clicking the metadata flag on an image in the filstrip acts incorrectly on the selected image in the grid view
• Library: Failed publish comments remain in the comment box across different images
• Library: Flickr Publish Collection publishes to a Photostream in the reverse of the expected order
• Library: Grid scrolling in a publish collection with the hand tool could fail (Windows only)
• Library: Importing from a catalog fails when both catalogs contain images from the same folder
• Library: In Smart Collections a hyphen (“-â€) Is now treated as a word delimiter for “contains wordsâ€
• Library: In the IPTC Date Created field the seconds could be incorrectly removed on writing to XMP
• Library: Lightroom 2 search criteria “+abc†meant “starts with abc†and “abc+†meant “ends with abcâ€. This was reversed in Lightroom 3
• Library: Moving a stack to another folder only moves the top image and unstacks the remaining images
• Library: Panning an image at 1:1 while the image is still loading can cause Lightroom to crash (Windows only)
• Library: Ratings and Labels were not propogated to a TIFF or PSD file created for an Edit in External Application workflow
• Library: Saving metadata on a folder is inccorectly labeled as “undoableâ€
• Library: Scrolling or louping through many photos can cause Lightroom to start paging aggressively
• Library: Setting “Caption is Empty†in a smart collection failes for some images
• Library: Setting “Rating is Zero†incorrectly includes all images in a catalog
• Library: Setting rating “is not†in a smart collection fails to include unrated photos
• Library: Smart collection exposure time incorrectly limited to 1,000 seconds instead of 100,000 seconds.
• Library: The “metadata for this photo has changed†dialog box lacks clarity
• Library: The keyword list will fail to display properly if there are database integrity problems
• Library: The save metadata command was incorrectly available when a video file was selected
• Library: There is no warning when incorrect data types are entered into IPTC fields
• Library: Updating DNG Previews and Metadata is incorrectly labled as “undoableâ€
• Library: Upgrading a Lightroom 2 catalog via the import catalog function will fail if duplicate files are present
• Library: Using an exclamation point in search criteria fails to work properly
• Print: A faulty or corrupt print template could cause a “nil†error message when changing templates
• Print: Image loses “pan†position when placed in cells that are not big enough
• Print: Lightroom could crash while preparing a print
• Print: The Print to JPEG save dialog box resets for every save
• SDK: A URL could fail to open properly in a web browser (Mac only)
• SDK: Calling info.publishedCollection:getName() from within updateCollectionSettings() causes “can only wait within a task†exception.
• SDK: copyrightState was not documented (Will be corrected when documentation is posted with the final release)
• SDK: Errors during collection or collection set update callbacks are not recognized when a collection or collection set is created
• SDK: Function “withPrivateWriteAccessDo†lacks clear behavior documentation (Will be corrected when documentation is posted with the final release)
• SDK: Lightroom does not respect the default system web browser (Windows only)
• SDK: Per comment URLs were incorrectly included in the documentation (Will be corrected when documentation is posted with the final release)
• SDK: Plug-in error reports “nil†instead of proper filename
• SDK: Renaming a publish collection dissasociates it from collectionSettings
• SDK: setEditedFlag does not work as intended
• SDK: The publish icon size was incorrectly documented as 26 pixels instead of 24 pixels wide
• Slideshow: Exporting a video that will overwrite an existing video that is currently being played will cause Lightroom to crash (Windows only)
• Tethered Capture: The develop settings text was misaligned (Windows only)
• Web: In-line editing of Site Info stops working if a number is entered
• Web: Setting “sequence†as the title or caption fails to work properly
• Web: Certain galleries do not handle accented characters properly
• Please provide feedback on your experience with the Lightroom 3.2 Release Candidate Bug Report Form.

Camera Raw 6.2 Release Notes

• Scroll bar arrow performance has been improved
• Please provide feedback on your experience with the Camera Raw 6.2 plug-in and the DNG Converter on the Camera Raw User to User forum.

Sunday Aug 1st – Anaheim, Ca [Register Now]
Saturday Aug 14th – Phoenix, Az [Register Now]
Saturday Aug 28th – Denver, Co [Register Now]
Saturday Sep 11th – Minneapolis, Mn [Register Now]
Saturday Sep 25th – Seattle, Wa [Register Now]
Sunday Sep 26th – Portland, Or [Register Now]

Seats are expected to go fast as this is a full day workshop aimed at getting you up to speed with Lightroom 3 whether you are new to the game, or ready to jump in for the first time!  With lots of content, including “bags-o-schwagâ€, door prizes, and resource DVD’s, the dirt cheap Early Bird Price of $79 for the first 15 to sign up, we’re sure to hit capacity quickly!  After that, the regular price of $99 per person kicks in.  Special thanks to our sponsors:  Vanguard, Adobe, Thinktank Photo, Nations Lab, and many more for their generous contributions to help get this off the ground.  We’ve also got lots of local vendors who will be showcasing some super cool products at super cool discounts, and we’ll have gift certificates to give away too!  So, come on out and check things out.

Also, if you don’t live near any of the initial launch cities, make sure to submit a request for your own city (and get your friends to do the same!).  Fifteen requests for another city brings us to you!  There’s also an email subscription link on our launch page, (and here on the blog) so be sure to stop in and visit us at: Lightroom Dudes

Also be sure and check out Lightroom 3 Learning Center.

http://www.youtube.com/watch?v=YjRnE7vaZKk

General

• On Mac, the ‘hit zone’ for the right scroll bar in the grid view has been expanded so that a closed right hand panel doesn’t automatically open too easily. The automatic panel opening experience has been modified so that it takes a longer amount of time for the panel to open in cases of overshooting the scrollbar. (Mouse towards the white triangle for instant opening) Please provide feedback on this new behavior so that it can be modified or added to the Windows version of Lightroom.
• Images can be sorted by aspect ratio
• The catalog selection dialog has been expanded and improved

Library

• You can backup your catalog when you quit Lightroom instead of on launch
• A volume can be ejected or un-mounted from your system directly from the volume browser in the Library module.
• Collections can be created directly within a collection set by right-clicking on the collection set
• Images can be sorted by aspect ratio
• The name of a collection is displayed when an image is added to a target collection
• Stack badges can now be toggled on or off independently in the filmstrip via an interface preference
• Erasing with the spray paint tool now requires the use of the Alt key
• Select a folder in the Library module and choose a new option “Import to here” to launch the import dialog with that folder preselected as the destination
• The import dialog provides source folder and destination volume capacity information
• The option to include items from subfolders has been included in the primary Folder panel drop down menu
• Choose Library -> Show Missing Images to locate offline or missing files
• A lock icon has been added to the metadata filter bar in the Library module to make filter selections “global” across folders or collections
• An icon has been added to grid thumbnails to indicate that an image is part of a collection. Click on that icon to view and/or visit the collection
• Favorite sources can be added to the filmstrip source pop-up menu for quick access to specific collections or folders
• Flash state is now included as part of the smart collection filter criteria
• When the ‘spray can’ is used to add an image to a collection, the collection name is now displayed upon application
• The optimize catalog feature is now available in the File menu
• Lightroom now imports CMYK files. Any output, with the exception of export original, or adjustments to these images will take place in an RGB color space
• Filters are now longer automatically “sticky” on folders or collections

Develop

• Hitting the X key in crop mode will rotate the aspect ratio
• Crop presets choices have been edited for clarity
• A checkbox has been added to the toolbar to turn on/off overlay visibility
• All adjustment brush and graduated filter sliders can be reset by holding down Option/Alt and clicking on Amount
• The color setting for the adjustment brush and graduated filter clearly display an ‘x’ overlay when no color is selected
• The Collections panel is now available in the Develop Module
• The targeted adjustment tool is deactivated when switching to a new Develop panel
• The local adjustment brush and graduated filter panel have been simplified to a single mode (Previously there was a button and slider ‘mode’)

Slideshow

• The music selection in the Slideshow module has been decoupled from iTunes on the Mac
• Click the track duration to sync the length of the slideshow to the length of the music track

Print

• Black or a custom color can be selected for a print layout background
• The Identity Plate can be moved in small increments by selecting it and using the arrow keys
• Match photo aspect ratio is now a persistent option in the Cell panel

Export

• The file extension case(UPPER/lower) can be selected in the export dialog

Be sure and check out out complete Lightroom 3 Learning Center for lots of other information about Lightroom 3.

To download the Lightroom 3 Shortcut keys file, follow this link:
http://blogs.adobe.com/edtechatadobe/lightroom_3_shortcuts.pdf

To Download a 30 Day trial version of Lightroom 3, please visit: http://www.adobe.com/downloads/

Be sure and check out our Learning Lightroom 3 Workshop coming to a city near you!

Lightroom 3 Quick Links Learning Lightroom Workshop Tour Lightroom 3 Shortcut Keys Podcast with Tom Hogarty, Lightroom 3 Product manager Tom Hogarty’s Lightroom Journal Lightroom 3′s Lesser Known New Features

Kerry Garrison Publisher – CameraDojo.com Welcome to the CameraDojo Lightroom 3.0 Learning Center. We have prepared some of our favorite videos here for you and will be adding more resources to this page as often as we can.

• Enhanced Watermarking
• Performance Improvements
• Exportable Slideshow Videos
• Improved Importing
• Better Noise Reduction
• Improved Sharpening
• Multiple Image Print Layouts

and much much more

Be sure and check out the CameraDojo Lightroom Learning Center for tons of information about Lightroom 3 at http://cameradojo.com/lightroom3

You can download the tool right now from Adobe Labs and follow the directions to print out the calibration target. Once you have the target, you take a series of images and then you use the tool included in the downloaded package to analyze the images and come up with a new profile file.This is quite unique for Adobe, to allow community generated information into such a core product. What I would like to see is the lens makers like Sigma and Tamron put out as many as possible to ensure that they are done as accurately as possible. Only time will tell if this will prove to be a major pain or something absolutely incredible.

Download link: http://labs.adobe.com/technologies/lensprofile_creator/

The “Just Do It” features incorporate over 30 different features that address workflow as well as performance issues.

The complete list of JDI features includes:

• Added a Gradient Tool preset for neutral density
• Added the ability to save to unsupported bit depth for JPEGs (down-sampling 16-bit files to 8-bit)
• Enabled easier reversing of clone source
• Included a “Don’t Show this Message Again†checkbox for the “Maximize Compatibility†option
• Lowered the default amount for Shadows/Highlights
• Enabled the ability to move a selection while an active layer is hidden
• Added an option for turning off Mac touch gesture support
• Added a command for deleting all empty layers
• Added straighten image behavior to the existing ruler tool
• Added the ability to close all open images without saving
• Added a preference to always default to the folder you last saved an image to
• Added the ability to drag and drop a file onto an open PSD to create a layer
• Made 7 improvements to Lens Correction along with significant feature work:
  • The grid display is now off by default
  • The show grid, grid size and grid color are now sticky
  • Default grid size has been increased from 16 to 64
  • Decimal point adjustments for the chromatic aberration correction sliders are now allowed
  • Added a third slider to correct the common green/magenta aberrations with one slider instead of two
  • Replaced “Background Color†with “Black Color†and added “White Color†edge fill option in the edge fill type drop-down
  • Reset to reset calibration settings only
• Added tile size control plus presets for setting cache and tile size simultaneously
• In the Adjustments panel, enabled an option to have panel text fields take focus when an adjustment is created or selected
• In the Adjustments panel, enabled a keyboard shortcut (Shift-Enter/Return) to put the focus on the panel text fields
• Increased performance for the OBJ file importer, making it faster to import OBJ files
• Added the ability to adjust the opacity of multiple layers
• Added the ability to adjust the fill of multiple layers
• Added individual layer style defaults (user-configurable)
• Added GPU rule-of-thirds to the crop tool and color picker

Be sure and grab a trial version of Photoshop CS5 at http://adobe.com

• Content Aware Fill/Healing
• Merge to HDR Pro
• Noise Reduction Improvements
• Refine Edges Improvements
• Puppet Warp
• Lens Correction Improvements
• Brush Engine Enhancements
• Mini Bridge

Bryan also mentions some major enhancements to the sharpening tool which hasn’t been mentioned anywhere else before.

Call in to leave a question for future shows at (888) 436-8647

Show Host

Kerry Garrison

http://kerrygarrison.com Twitter Facebook FriendFeed

This podcast is also available on iTunes.

“The technology is designed to address lens correction via two methods: Lens Profiles and Manual Correction. The easiest application of lens correction is to apply the lens profile technology that encompasses geometric distortion(barrel and pincushion distortion), chromatic aberration and lens vignetting characteristics. A handful of lens profiles will be provided by default and a Lens Profile Creator Utility will be posted on Adobe Labs allowing photographers to create their own lens profiles using a simple procedure discussed in the video below. There are also manual distortion corrections that extend beyond traditional geometric distortion and provide horizontal and vertical transform adjustments.(As well as rotation, scale and crop to visible image data tools.) ”

Source: http://blogs.adobe.com/lightroomjournal

• Canon EOS 550D (Digital Rebel T2i/ EOS Kiss X4 Digital)
• Kodak Z981
• Leaf Aptus-II 8
• Leaf Aptus-II 10R
• Mamiya DM40
• Olympus E-PL1
• Panasonic G2
• Panasonic G10
• Sony A450

Release Notes:

• Camera Raw 5.7 includes an updated demosaic algorithm designed to provide compatibility with settings applied in Lightroom 3 beta 2.
• Lightroom 2.7 also includes the same updated demosaic algorithm. The updated demosaic algorithm will appear as a subtle shift in noise characteristics at default values.
• By default Camera Raw will display the image adjustments exactly as performed in the Lightroom 3 beta 2 develop module.  However, at this time Camera Raw 5.7 is unable to support further adjustments to the following settings or tools:
  • Highlight Priority and Color Priority post-crop vignette
  • Enhanced Luminance and Color Noise Reduction
  • Grain effects
  • Process Version

Source: Adobe.com

• Apple’s iPad – http://apple.com
• New Drobo FS – http://drobo.com
• Zosh.com – http://zosh.com
• OpSound.org – http://opsound.org
• Lightroom 2.7 – http://adobe.com
• Lightroom 3.0 Beta 2 – http://labs.adobe.com
• Adobe CS5 Launch – http://adobe.com
• Selecting a Printer and much more!

Call in to leave a question for future shows at (888) 436-8647

Show Host

Kerry Garrison
http://kerrygarrison.com Twitter Facebook FriendFeed

This podcast is also available on iTunes.

• Canon EOS 550D (Digital Rebel T2i/ EOS Kiss X4 Digital)
• Kodak Z981
• Leaf Aptus-II 8
• Leaf Aptus-II 10R
• Mamiya DM40
• Olympus E-PL1
• Panasonic G2
• Panasonic G10
• Sony A450

Release Notes

• Slideshow playback on Windows could cause Lightroom and/or the computer to crash. This has been corrected in Lightroom 2.7
• In Lightroom 2.7 the camera raw cache limit was increased to 200GB

With Lightroom 3 beta 2, watermarking has finally grown up, pretty much copying feature for feature from LR2/Mogrify. LR2/Mogrify still wins if you need to add different borders around your image and even place watermarks in the logos, but most of us are going to be quite happy with the new built-in watermarking tool.

To use the new watermarking tool, simply go to the Export dialog box from clicking on the Export button in the Library module or go to the Edit menu and select “Edit Watermarks”.

The image above shows the watermark selection and editor from within the Export dialog box. Once you select the Edit Watermarks, you will be taken to the Watermark Editor.

The Watermark editor will let you create text or graphical watermarks. I think most people will probably stick with the graphic one since the text version only allows for a single font and style to be used so if you have a multi-line and/or multi font/style text logo, you will not be able to recreate it in the text mode.

For graphical watermarks, you can use either a JPG or a PNG file. I recommend using a PNG so you can use transparencies instead of being stuck with a box shape for your logo. You can also set the opacity level (transparency) and determine the size within the image. I like using a proportional size of about 30% myself with a 2×2 Inset just to bring it away from the edges a little. Finally, you can select where on the screen you would like it to go.

The following image is an example of the type of output you can get using the new Lightroom 3 beta 2 watermarking tool.

While this new watermarking tool will mean a lot of people don’t need to go to third-party tools, it could still use a little improvement. My suggestions would include the following:

• Allow for the use of Photoshop .PSD files
• Provide multiple effects settings based on image orientation
• Provide some basic border controls
• Allow for custom rotation angles
• Ability to use filenames as watermarks

Don’t get me wrong, I am thrilled to have this new ability and I personally won’t need another tool now. I suspect this is where the Lightroom watermarking will most likely end up and if you need more advanced watermarking, you can use LR2/Mogrify.  Check it out and have some fun with it, you now have no reason not to watermark your images.

Lightroom 2.6.1 : Mac, Windows

Source: http://blogs.adobe.com/lightroomjournal/

• Canon EOS 1D Mark IV
• Canon EOS 7D
• Canon PowerShot G11
• Canon PowerShot S90
• Leaf Aptus-II 5
• Mamiya DM22
• Mamiya DM28
• Mamiya DM33
• Mamiya DM56
• Mamiya M18
• Mamiya M22
• Mamiya M31
• Nikon D3s
• Olympus E-P2
• Panasonic DMC-FZ38
• Pentax K-x
• Sigma DP1s
• Sony A500
• Sony A550
• Sony A850

Release Notes:

• Camera Raw 5.6 and Lightroom 2.6 provide a fix for an issue affecting PowerPC customers using the final Lightroom 2.5, Camera Raw 5.5 and DNG Converter 5.5 updates on the Mac. The issue, introduced in the demosaic change to address sensors with unequal green response, has the potential to create artifacts in highlight areas when processing raw files from Sony, Olympus, Panasonic and various medium format digital camera backs.
• The Lightroom 3 beta has not been updated with this new camera support. If you’re working with one of these newer cameras and the Lightroom 3 beta, please use the DNG Converter 5.6 to convert proprietary formats to DNG files that can be used in the Lightroom 3 beta.

Download at: http://www.adobe.com/downloads/updates/

• A new “Canvas†section for placing the (resized) image onto a fixed size canvas. Useful when images have to have a fixed size but you don’t with to crop them (such as for sending them to photo labs or displaying them on a digital projector).
• Multiple different watermarks may now be added to an image.
• PNG watermarks may now be scaled proportionally.
• Watermarks can now be specified as a percentage of the width or height of the image while preserving the aspect ratio.
• Horizontal/Vertical insets now work in each of the nine watermark positions.
• The limit of 3 text annotations has been removed – add as many as you want.

Thanks to the Lightroom Lab for breaking this news!

• Nikon D300s
• Nikon D3000
• Olympus E-P1
• Panasonic DMC-FZ35**
• Panasonic DMC-GF1

**Note that in Europe and Japan this model is marketed as the DMC-FZ38. Unfortunately, due to a metadata difference between these cameras, files from the DMC-FZ38 will *not* be supported until the next Camera Raw and Lightroom updates.

Release Notes:

• Camera Raw 5.5 and Lightroom 2.5 include a correction to the demosaic algorithms for Bayer sensor cameras with unequal green response. Olympus, Panasonic and Sony are among the more popular camera manufacturers affected by this change. But the demosaic correction provides only a subtle visual improvement to the processing of those raw files.
• Lightroom 2.5 corrects for the following problem in Lightroom 2.4. Lightroom 2.4 on Windows continued to display the import dialog when a memory card was detected regardless of the preference setting “Show import dialog when a memory card is detected.”

Yes, sometimes it IS who you know

I had heard there was an easy way to organize images from multiple cameras but I had poked around trying to find it but I never really figured it out. Of course, the actual answer was far simpler than I had thought and had thus overlooked it several times. I was recently talking to my good friend Rick Miller who is a solution specialist for Adobe, and had mentioned I thought there should be an easier way to accomplish this. Rick, not wanting to be stumped by a Lightroom question helped me look for the answer and sure enough, there it was…sort of.

Metadata is your friend

This is going to be so simple you may wonder how come you didn’t accidentally run across it yourself. When you are in the Library module, make sure you are in Grid mode. At the top of the Grid you should see the Library Filter bar, if you don’t, just hit the key. Next, click on Metadata on the Library Filter bar. Right here you will see that the images are group by camera model. If the different cameras you are using are all separate models, then you are set, just select the Camera model to filter all of the images associated with that camera.

If you were using different cameras but they were the same camera model, fear not, we just have to go through one more small step. At the top right of any of the columns you see there is a small icon, click on that and add a new column, now click on the blank column title and select Camera Serial Number. Now you can filter by the individual camera.

Timing is Everything

Now that we know how to sort on the images, we now need to have a reference point so that we can adjust the time on what set of images to match the time on the rest of the images. Now if you haven’t done the shoot yet, the best thing to do is have everyone take a picture of something like their feet. Even if you are shooting alone, just take one shot with the first camera, then swap cameras and take a shot with the second camera, there is no need to try to do them at the same time.

If you are editing an existing shoot, you need to figure out the time difference. With multiple shooters there is almost always a shot from each camera at the beginning, if you didn’t pick up your second camera until the middle of the shoot, this can be a little more tricky. But play along and let’s see how to do it anyway.

Let’s say our sync shot was taken at 1pm, and the second camera is off by 20 minutes. All we have to do is filter by the second camera, go over to the Metadata block and select the edit icon next to Capture Time. At this point a dialog box will come up with several options for time adjustments.

The problem here isn’t that the functionality we want (to adjust by 20 minutes) isn’t here, the problem is the text for the option isn’t very clear. If you read the description at the top of the dialog box it actually tells you that it will adjust the time of the image that is displayed and all of the other images that are selected will be adjusted by the same amount of time. So if we are seeing the first image, and we set the time to 1pm, all of the rest of the images will be adjusted accordingly and all of the images from both cameras will now be in complete time sync.

Video Demo

In the following video, Kerry Garrison shows how to adjust the time of your images to all sync up together.

Features

As we have already said, the core purpose of DSLR Remote Pro is to allow for tethered shooting. While that seems like a pretty trivial thing, its all of the extra things that DSLR Remote Pro brings to the table.

• Take control of your Canon DSLR camera from your PC (supported models)
• Retain full control from the camera
• Photos automatically downloaded to the PC and displayed in a large preview window
• Large high quality live view display on the  PC with live histogram, autofocus and intuitive manual focusing using mouse wheel with Canon EOS 40D, Canon EOS 50D, Canon EOS 500D/Rebel T1i, Canon EOS 450D/Rebel XSi, Canon EOS 1000D/Rebel XS, Canon EOS 5D Mark II, Canon EOS-1Ds Mark III or Canon EOS-1D Mark III
• Photos are saved on the PC’s hard disk and can also be saved on the memory card in the camera
• Full size preview window can display a critical area of the photo e.g. the eyes and face of your model during a portrait shoot
• Flashing highlight display to highlight over exposed areas
• Grid overlay display for accurate alignment of studio shots. The size and color of the grid is user definable
• Color management and sharpening options for more accurate display of preview images
• Auto bracketing of up to 15 shots ideal for HDR images, interior shots and product photography
• Timed bulb exposures controlled from the PC – ideal for astronomy (Canon EOS-1Ds Mark III, EOS-1D Mark III, EOS 5D Mark II, EOS 40D, EOS 50D, EOS 500D/Rebel T1i, EOS 450D/Rebel XSi and EOS 1000D/Rebel XS only)
• Focus point overlay display for more precise control of auto focus
• Automatic screen blank option – blanks the screen before taking a photo so that the light from the PC display doesn’t affect the subject lighting
• Fullscreen mode for large, uncluttered display of images
• Automatic edit option – automatically loads the image after downloading into the editor or program of your choice
• Automatically stores a short comment in the shooting data of images for easy identification e.g. the person’s name when taking id photos. The comment can also be used for the image filename to make it easier to identify images when taking product shots, school portraits etc.
• Automatically stores IPTC data in images as they are downloaded
• Time-Lapse feature which allows the number of photos in a sequence and the interval between shots to be specified.

Stack it and Bracket

Typically if you want an exposure bracket for HDR images you are limited to the camera’s 3 shot bracket. While three shots is often sufficient, there are times you really want to use more images, with DSLR Remote Pro you can do bracket sequences using either shutter speed or aperture of up to 15 shots. Using tools like PhotoMatix, you can get really incredible results when using larger groups of images.

Another interesting thing you can do with multiple images is called focus stacking. With Focus Stacking you take a series of images of the same object with the focus positioned at different points. When you combine the images you can achieve a super sharp image with a longer depth of field. Photoshop CS4 now has this ability and there are some free tools that can do the processing as well. To use Focus Stacking you actually need a script that will automate some of the steps in DSLR Remote Pro. If you are interested in this functionality, read more about it at http://www.breezesys.com/DSLRRemotePro/focus_stacking.htm.

Live and in Color!

With the newer Canon cameras that support Live View, a whole realm of possibilities is opened up to you since you can display full-screen Live View with a live histogram. The Live View mode also allows you to zoom into the frame at 100% magnification to ensure that your focus is dead on. This is exceptionally useful when doing macro, product, or food photography.

What’s really unique is the ability to do autofocus while in Live View mode. Hitting Ctrl-F will perform a contrast detection routine that may be a little slow but is usually quite good. This however will not work well with moving objects.

Another interesting feature is Onion Skinning. Onion Skinning is a term that is used in animation to be able to see an overlay of the previous image in order to draw a smooth animation. With DSLR Remote Pro in Live View mode you can load in another image or the previous image in order to get precise alignment. This is good for stop motion animation or to accurately align images for panoramas.

Step into my booth

One thing you really wouldn’t expect from a program like this is the Photo Booth mode since there are a handful of companies that make specific photobooth software. With DSLR Remote Pro you can setup a nice photobooth station, even build a whole booth around it, and offer prints right after a series of images are taken. This can be a fun option to offer your clients at different events.

Integrating with Lightroom

Since Adobe Photoshop Lightroom doesn’t have direct tethering ability at this time, the next best thing is to use DSLR Remote Pro and Lightroom together. Lightroom has a feature that allows it to watch a folder and import any files that it sees show up in the folder. This allows you to take full advantage of all of DSLR Remote Pro’s features while having the images go into Lightroom automatically.

Summary

If you want to take tethered shooting to the next level than DSLR Remote Pro is probably worth looking into. The only real downside is that you are limited to the length of cable between the camera and the computer. For $95 you pick up a ton of functionality that the free EOS Utility doesn’t have. For my own studio shooting, I rely heavily on DSLR Remote Pro and as it continues to evolve it just keeps getting better and better.

Breeze Systems Website: http://www.breezesys.com

Show Links

• Canon EOS 5D Mk II Hands-On Impressions
• Canon EOS 50D Review
• Lightroom 2.4 / Camera Raw 5.4

Show Hosts

Kerry Garrison
http://kerrygarrison.com
Twitter: http://twitter.com/kerrygarrison Facebook: http://www.facebook.com/garrisonphotography

David Esquire
http://esquirephotography.com
Twitter: http://twitter.com/esquirephoto Facebook: http://www.facebook.com/davidesquire

This podcast is also available on iTunes.

Camera Raw 5.4
update June 24, 2009
This new version of the Camera Raw plug-in replaces the original one that was installed with Adobe® Photoshop® CS4; Adobe Photoshop Elements 7.0; and Adobe Premiere® Elements 7.0 software. Visit the Camera Raw page for a complete list of supported cameras.
English: Windows | Macintosh

Lightroom 2.4
update June 24, 2009
The Adobe Photoshop Lightroom® 2.4 update includes these enhancements: * Additional camera support for several new camera models including the Nikon D5000 and Canon EOS 500D (Digital Rebel T1i) * Includes several corrections for issues introduced by previous Lightroom 2 releases
English: Windows | Macintosh

• Canon EOS 500D (EOS Rebel T1i)
• Epson R-D1x
• Hasselblad CF-22
• Hasselblad CF-22MS
• Hasselblad CF-39
• Hasselblad CF-39MS
• Hasselblad CFH-22
• Hasselblad CFH-39
• Hasselblad CFV
• Hasselblad 503CWD
• Hasselblad H2D-22
• Hasselblad H2D-39
• Hasselblad H3D-22
• Hasselblad H3D-31
• Hasselblad H3D-39
• Hasselblad H3DII-22
• Hasselblad H3DII-31
• Hasselblad H3DII-39
• Hasselblad H3DII-39MS
• Hasselblad H3DII-50
• Kodak EasyShare Z980
• Nikon D5000
• Olympus E-450
• Olympus E-620
• Panasonic Lumix DMC-GH1
• Sigma DP2

To download Camera Raw 5.4, go to http://labs.adobe.com/wiki/index.php/Camera_Raw_5.4.

What exactly is this colorspace stuff anyway? Basically its the amount of color that is contained in the file when you save it. The three most common colorspaces are Adobe RGB, sRGB, and ProPhoto RGB.  As my friend Rick Miller puts it, you can relate gamut to containers of beer. With sRGB being a 12oz can of beer, Adobe RGB would be a pony keg, and ProPhoto RGB being a full kegger.

The image shown here (courtesy of Cpesacreta) shows the relative sizes of the different colorspaces.

The difficulty here is knowing when to use which colorspace. Who would take a 12 ouncer when they can have a whole keg right? You would think, but the problem is that not all devices can actually display the larger colorspace  which can cause even more problems when it comes to viewing the images, add to that the lack of color management in most applications (like web browsers) and you will often get dull or washed out colors when viewing the images.

Wait a second, huh? If you use a colorspace that allows MORE colors, than why would the images look WORSE when viewing them? The answer that since almost no devices can actually display Adobe RGB, you wind up with an intepretation of the image causing it to look dull.

Effects of Color Space

Does all of this really make a difference? Let’s take a look at some images that were shot in RAW (thus no colorspace recorded on capture) and then saved as both Adobe RGB and sRGB using Adobe Photoshop Lightroom.

Adobe RGB

sRGB

Adobe RGB

sRGB

Adobe RGB

sRGB

Adobe RGB

sRGB

In all of these cases, the images saved as sRGB should appear more vibrant in Internet Explorer and Firefox since they are not color managed applications. Apple’s Safari browser is supposed to properly display Adobe RGB files and Firefox is supposed to have color management in upcoming versions. However, until everyone is using a browser you should avoid Adobe RGB in order to provide the best images to the widest audience.

What about ProPhoto?

ProPhoto offers the widest gamut of the available common color spaces so should have a place somewhere right? Well yes it does. The best use of the ProPhoto is to use it within your workflow to preserve the largest amount of color in your images and then only do a final conversion to sRGB when saving your images as jpegs.  This is quite easy with Photoshop and Camera Raw while Lightroom uses ProPhoto RGB internally (Geek Note: Actually, Lightroom uses Melissa RGB which uses ProPhoto RGB chromatisity values working in linear gamma, named after Melissa Gaul, one of the Lightroom engineers).

Should you shoot in Adobe RGB or sRGB?

This is another tough question that different people will answer differently. The simple answer is niether. Shoot in RAW and convert to the colorspace you want during your workflow process. If you want to shoot in JPEG then you have to make the choice. The best thing to do is actually experiment with your equipment and software to determine what gives you the best results. Some people think you should shoot in Adobe RGB and then convert to sRGB if the file is for the internet, while others think you should shoot in sRGB so no conversion or translation is applied, thus you should get more accurate color representation.

In the end, you have to make up you own mind as to what works best for you, but you do need to be aware of the differences and some of the issues you can run into based on your choice.

Author: Kerry Garrison

References used in this article

http://www.cambridgeincolour.com/tutorials/sRGB-AdobeRGB1998.htm
http://www.kenrockwell.com/tech/adobe-rgb.htm
http://www.steves-digicams.com/techcorner/October_2006.html
http://www.smugmug.com/help/srgb-versus-adobe-rgb-1998

So, what can you do with these? Here are some images from some of our beta testers:

Photo courtesy of Sipper Photography

Photo courtesy of Sipper Photography

Photo Courtesy of Black Diamond Productions

Photo Courtesy of Black Diamond Productions

To order these or other Lightroom presets, check out our Dojo Tools page (link).

Enter to win a copy of Adobe Photoshop Lightoom! Go to the Lightroom product page and find the six word tagline and fill in the blanks:

Simplify photography from _______ to _____

Send your entry to contest@cameradojo.com with the subject: Lightroom Contest, in the body of the email have the completed tagline, your name, and twitter name if you use twitter. The winner will be drawn and announced (via twitter) on March 20th.

Here are the links mentioned in the show:

Lightroom Journal (http://blogs.adobe.com/lightroomjournal)
John Nack’s Blog (http://blogs.adobe.com/jnack/)
Lightroom Suggestion form (http://www.adobe.com/cfusion/mmform/index.cfm?name=wishform)
Dear Adobe (http://dearadobe.com)

Show Hosts

Kerry Garrison (http://kerrygarrison.com)
David Esquire (http://esquirephotography.com)

You can listen to this podcast now using our player widget in the right hand sidebar

This podcast is also available on iTunes.

• Nikon D3X
• Olympus E-30

This update also includes preliminary support for the recently announced Epson R-D1x (and R-D1xG).

The Lightroom 2.3 update includes several bug fixes.

FIXES originally provided in the Lightroom 2.3 Release Candidate

• In the Windows 64-bit version of Lightroom an sFTP upload process could cause Lightroom to crash.
• Slideshows could return to the first image randomly during playback.
• A memory leak could cause Lightroom to crash while attempting to process files with local adjustments.
• Canon EOS 5D Mk II sRAW files could process with artifacts in Lightroom 2.2.
• Lightroom 2.2 could cause disc burning to fail for Windows customers.

FIXES new to the final version of Lightroom 2.3

• Attempting to undo(CTRL-Z) a single step in Lightroom 2.2 on Windows could cause a series of previous actions to be undone.

Lightroom 2.3 now provides language support for the following additional languages:

• Chinese (Simplified)
• Chinese (Traditional)
• Dutch
• Italian
• Korean
• Portuguese (Brazilian)
• Spanish
• Swedish

Updates for award-winning Photoshop plug-ins include new features, improved effects and added support for Adobe Photoshop CS4, Lightroom 2 and Apple Aperture 2.1

Portland, OR – February 23, 2009 – onOne Software, Inc., a leading developer of time-saving software solutions for professional and advanced amateur photographers, today announced the immediate availability of Plug-in Suite 4.5 and FocalPoint 1.1.  Plug-In Suite 4.5 is the latest version of onOne Software’s Photoshop^® plug-in collection, which combines the recently announced FocalPoint 1.1, Genuine Fractals 6 Professional Edition, PhotoTools 2 Professional Edition and PhotoFrame 4 Professional Edition in addition to Mask Pro 4 and PhotoTune 2.2.

“Plug-In Suite 4.5 represents a significant upgrade for our users as four of the six products have been recently updated,” said Craig Keudell, president of onOne Software.  “Despite the large amount of new content, Plug-In Suite 4.5 is a free upgrade for registered Plug-In Suite 4 owners, a testament to onOne’s dedication to providing value for its customers.”

Plug-In Suite 4.5 includes full versions of the following onOne Software products:

NEW! Genuine Fractals 6 Professional Edition can resize digital images over 1000% with no loss of detail or sharpness. Genuine Fractals 6 now includes texture control presets, a gallery wrap feature, batch processing, tiling for small format printers, and support for Lightroom 2 and Aperture 2.1.

NEW! PhotoTools 2 Professional Edition features professional-grade photographic effects created by onOne Software, Kevin Kubota and Jack Davis.  These effects may be previewed, stacked and blended together just like filters over a camera lens while the built-in batch processing engine improves productivity. PhotoTools 2 includes a new effects library, many new effects, the ability to paint effects in or out, video support within Photoshop CS3/CS4 Extended, and support for Lightroom 2 and Aperture 2.1.

NEW! PhotoFrame 4 Professional Edition contains 1000+ realistic film edges, backgrounds, textures, adornments and even complete layouts making it the fastest way to create flush-mount albums, scrapbooks and edge effects. PhotoFrame 4 now includes a new frame library, new design elements, output options, and integration with Lightroom 2 and Aperture 2.1.

NEW! FocalPoint 1.1 simulates selective focus or tilt-shift lenses, helping photographers blur and/or vignette an image to focus a viewer’s attention.  Support for Lightroom 2 and Aperture 2.1 has been added to the new FocalPoint 1.1.

Mask Pro 4.1 creates high-quality masks and selections even from tough subjects like hair and glass, making it easy to place a subject in a new background.

PhotoTune 2.2 provides professional quality color correction in an easy-to-use interface. PhotoTune 2.2 includes ColorTune for general color correction and SkinTune for color correcting skin tones accurately.

Availability and Pricing

Plug-In Suite 4.5 is now available to new users for $499.95 – a savings of $799.75 compared to purchasing the products separately. Registered users of Plug-in Suite version 4 will automatically receive a free upgrade to version 4.5 via a downloadable software update.  Existing users of Plug-in Suite version 1, 2 or 3 can upgrade to Plug-In Suite 4.5 for only $199.95. Registered owners of any other product from onOne Software can upgrade for $399.95. For more information on the Plug-In Suite 4.5, please visit http://www.ononesoftware.com.

About onOne Software

onOne Software, Inc. is a leading developer of time-saving software solutions for professional and advanced amateur photographers. Our products allow photographers to spend more time behind the camera and less time behind the computer screen. They include a wide range of easy-to-use plug-in enhancements for Adobe^® Photoshop^®, Photoshop Elements, Photoshop Lightroom^®, and Apple Aperture. Founded in 2005, onOne Software, Inc. is a privately held company located in Portland, Oregon.

onOne Software blog: http://www.ononesoftware.com/blog
onOne Exchange: http://www.ononeexchange.com

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© 2009 onOne Software. All rights reserved. onOne Software and the onOne Software logo are registered trademarks in the United States, and all are the property of onOne Software. Adobe and Photoshop are registered trademarks of Adobe Systems, Inc. All other trademarks are property of their respective owners.

My good friend Rick Miller, one of the Senior Solutions Engineers for Adobe has written up a document that will help you learn all of the shortcut keys and put you on the path to Lightroom Shortcut nirvana.

Special thanks to Rick for compiling this list and making it available to everyone!

Download Shortcut List PDF (click here)

YOU WILL LEARN…

• 32 ways to use your on and off-camera flashes for creative and dramatic effects.
• 10 of the best camera settings and lens choices for creating striking images on every job.
• 7 ways to use the new DSLR video capabilities to transform your product offerings.
• 10 “Magic Bullet” techniques to make your digital workflow nearly effortless, highly efficient, and fun with today’s top software from Adobe Lightroom, NIK, and LumaPix: FotoFusion.
• 20 new product and solid marketing ideas targeted to today’s customers to add substantially to your bottom line.

PROGRAM BONUS:

• Tour Handbook including: program notes, photography, marketing and more
• 2 Hour DVD with extended program content
• $100 Rebate from American Color Imaging
• 1 year membership to WPPI and Rangefinder magazine, a $99 value
• FREE 3 month membership to DigitalProTalkPlus.com, a $45 value

$2,500 in Door Prizes at EACH location and 4 Grand prizes totaling $20,000

If you sign up now, the price is only $59!! At the door the price is $79 which is still an amazing deal.

Go visit the Digital Wakeup Call website for additional information and to sign up. This event is most likely going to sell out in every city so I highly recommend you get registered as soon as possible.

• Camera Dojo
  We have free and paid sets of Lightroom Presets available Our most popular are our Camera Tools and Dojo Essentials.
• Adobe Exchange
  There are a growing number of presets available on the official Adobe Exchange website
• Lightroom Killer Tips
  About once a week Matt posts a new Lightroom preset for free. There are quite a few there now.
• Wonderland
  Over at Wonderland they have two really nice set of free Lightroom presets
• OnOne Software
  OneOne Software has 85 free Lightroom Presets designed by Jack Davis
• Presets Heaven
  Presets Heaven is trying to be the ultimate list of free Lightroom presets
• Inside Lightroom
  Inside Lightroom has a nice collection of free Lightroom presets organized into different categories
• Digital Freak
  The folks over at Digital Freak have a file with over 600 free Lightroom presets in it
• Gantico
  Very nice selection of free Lightroom presets that is added to on a regular basis
• Mathias Blix
  Mathias created some really creative Lightroom presets and now offers them up for free
• X-Equals
  Bandon Oelling has created some really nice presets that he has made available
• Laconic Stockpile
  Really nice sets of B&W and Vinage presets
• Gavin Seim
  Gavin sells several preset packs but has some free samplers that are really good as well.
• Lightroom Presetting Group
  This Flickr group has collected over 180 Free Lightroom Presets
• Life In Digital Film
  free film emulation presets

• Nikon D3X
• Olympus E-30

There are several bug fixes in this update :

• In the Windows 64-bit version of Lightroom an sFTP upload process could cause Lightroom to crash
• Slideshows could return to the first image randomly during playback
• A memory leak could cause Lightroom to crash while attempting to process files with local adjustments
• Canon EOS 5D Mk II sRAW files could process with artifacts in Lightroom 2.2
• Lightroom 2.2 could cause disc burning to fail for Windows customers

Additional Languages
Lightroom 2.3 now provides language support for the following additional languages:

• Chinese (Simplified)
• Chinese (Traditional)
• Dutch
• Italian
• Korean
• Portuguese (Brazilian)
• Spanish
• Swedish

The translation effort for these languages is over 90% complete in this release. We appreciate your feedback as we complete this work so that we can ensure that the final release provides a high quality update for all of these new languages. If you find a translation error or problem with these new language versions please report them here: Bug Report Form

Notes on the Additional Languages

• Localized help is not yet available for these additional language versions
• The new language versions cannot be installed simultaneously with the English/French/German 2.3 RC build

What is a RAW image?

By RAW, I mean an image that is shot with your camera image quality set to RAW mode which stores the actual sensor data for the scene that was shot. This is different than a JPEG image that is a rendered image of the RAW data that has different effects applied to it by the camera such as sharpening, saturation, and contrast. A good quality JPEG image can look incredibly good and can be printed at large sizes and will look great. A RAW image will need some form of software program to convert the RAW data to something usable. The most popular programs for this today are Lightroom, Photoshop, Aperture, Capture One (Nikon), and Digital Photo Professional (Canon).

Is there a technical difference?

Anyone that tries to tell you there is no difference in image quality between a RAW image and a JPEG is simply mistaken or ill-informed. From a purely technical perspective, a RAW image will always give you a better image. A RAW image simply has more data, for each pixel there is at least twice as much data on older cameras like my 30D and as much as eight times as much data with newer cameras that have more bit depth. This means that a RAW image has the ability to have a greater tonal range than a JPEG. A RAW image will also then have greater latitude than a JPEG image, giving you the ability to process the image to recover shadows and highlights more than you can if you started with the JPEG. Since white balance settings are applied when an image is saved as a JPEG, shooting in RAW will allow you to adjust the white balance during post processing without sacrificing any image data.

This is not an opinion, it is a pure technical fact. So let’s accept that this is true and that RAW has a distinct technical advantage over a JPEG saved from the camera. I don’t think we need to debate that RAW has an inherent technical advantage and I think some people get caught up in this. I think the real issue is whether or not you need the advantages of RAW versus the negative reasons for using RAW that we will look at later.

Getting down with the downside of RAW

The big debate over RAW vs JPEG is whether or not the pros outweigh the cons so let’s look at the cons and see what the downside of using RAW images is:

• Increased file size
  This is probably the biggest issue there is. RAW images are considerably larger files than their corresponding JPEG images. With my 30D, a RAW file will typically be around 5mb while a fine quality JPEG will be around 1.5mb. As the megapixel count goes up, the files get downright huge with RAW images from a new Canon 5D MkII being around 22mb each. If you are shooting lots of images, at a wedding for example, then the larger size of RAW files will be a significant hit. Since the files are larger, they will require more horsepower from your computer to process. For the same number of images, you will need more flash card storage.
• Specialized software needed to process
  If you can call Photoshop, Lightroom, or Aperture specialized software, then yes, you will need something like this or use the software that came with your camera. If you use something other than these programs then you may have issues dealing with RAW files. For a brand new camera, you may have to wait for updated versions of these programs before they can recognize your files. This also means that if your camera is discontinued in the future, there is no guarantee that your camera’s format will always be supported (this is a good reason to use DNG files, but that’s for another article).
• RAW workflow is different than a JPEG workflow
  Is it? If you are already using Aperture, Lightroom, or Adobe Bridge for processing JPEG’s, then there is little to no change in your workflow. Two years ago, before tools like Lightroom and Aperture, working with RAW images was such a pain that RAW was said to mean “really awful workflow”. Since many of us are using Lightroom and Aperture now, there is little to no changes at all for working with RAW files other than they take longer per image to download off a CF card.
• RAW images in third party tools don’t look as good as the JPEGs
  This has been a real serious problem for a while as only the camera manufacturers really have the secret sauce for decoding their RAW images properly. Adobe has pretty much solved this issue with Lightroom 2.2 and the inclusion of camera profiles that setup the RAW processor to match the settings used to create the JPEG images in your camera.

Again, we are looking at facts here and not opinions, but it is important to understand that there is a downside to using RAW files even if I personally feel that the negatives are typically blown a bit out of proportion with the exception of the increased file size which can be a really significant issue for heavy shooters.

The non-destructive workflow

One of the biggest advantages of shooting RAW is that it inherently provides you today with a non-destructive workflow. What it means is that there is no image degradation between saves and any given step in the editing process can be removed. If we are using any of the three most popular tools today (Photoshop, Aperture, or Lightroom) then when we edit a JPEG, and make our changes, those changes are permenant, and because we just re-saved our image as a JPEG some compression has occured, every time we do this we lose some image quality. Sure you can make multiple copies along the way so you can go back to previous versions, but that negates the whole point of JPEG’s saving disk space. I personally work in Lightroom and I can take my RAW images and apply as many edits to them as I want but these changes are simply stored as a set of instructions to Lightroom, thus the original image is never modified. This also allows me to make virtual copies of an image so I can have a color, B&W, Sepia, or dozens of different versions of an image and take up only a trivial amount of disk space since it is only storing the steps to make the changes and isnt storing a new copy of the image itself and again, no matter what I do, there is no image quality lost at all during the post-production process.

Is anyone still using JPEG these days?

If nobody was shooting JPEG anymore than I wouldn’t have so many questions about it but are any real professionals shooting JPEG and the answer is yes.

Carlos Baez is a wedding photographer from Florida, this is someone who makes his living delivering top quality images to high paying clients and yet Carlos shoots JPEG because he can consistently deliver great images without the extra overhead of RAW files. Carlos is an expert at lighting and understanding exposure so he doesn’t rely on post processing to get his images right.

Ken Rockwell is a huge advocate for shooting in JPEG mostly because a lot of people use it as an excuse to not get the image right in camera. Although he has an article about this (http://www.kenrockwell.com/tech/raw.htm). I have posted a link to his article because he does make a few valid points but I think he does go over the top a little on some of the negatives while I do agree that many people use RAW without either knowing why or using it to correct their mistakes from not knowing how to use their camera properly.

Pros against JPEG

It’s only fair that I point out a few pros who have made the switch to RAW and some of their reasons for doing so.

Scarlett Lillian from Florida has been shooting RAW since she started shooting weddings but then tried going to JPEF to save disk and CF card space. After really giving it a try, she finally switched back to RAW because she felt she just wasn’t getting the color and skin tones from the JPEG files that she was when she was using RAW. She uses Photoshop with Bridge as her workflow tool.

David Ziser is, without a doubt, one of the biggest names in wedding photography and recent convert to the RAW side. David’s big switch came when he started using Lightroom for his workflow and then discovered that the images he was getting with Lightroom and RAW files simply gave him a better image than starting with JPEG. David details his experience in a post on his site, although he also make a case for use JPEG for less critical shots that will never be printed at larger than 5×7. Anything destined for the album or enlargements he suggests shooting in RAW and the filler shots can safely be shot in JPEG to conserve space.

Rick Miller who is a Senior Solutions Engineer at Adobe does a segment when he is demoing Lightroom where he shows a picture of his girlfriends dog that is a white curly haired dog. Rick took a picture of the dog that when the rest of the scene is properly exposed, the dog is overexposed. Saved as a JPEG, the details in the dogs fur are completely lost and unrecoverable. The same image shot in RAW is able to use tools like recovery and exposure control to regain all of the detail in the dog’s fur. This demonstrates how even a shot that is technically correct for the rest of the scene may still suffer from being shot in JPEG.

RAW or JPEG — Which is for you?

Since I am far more likely to forget to change my camera from JPEG back to RAW when I need to, I simply leave it on RAW and take the disk space penalty. With a large wedding costing me around 10-12gb of space, it isn’t that big of an issue. If I upgrade this year to a 50D or 5D MkII and I move to having 30-40gb of space per wedding, I may have to rethink this strategy. What I like about shooting RAW for weddings is that in the thick of things, if you do make a small error in exposure or white balance, it is far easier to correct it afterwards. I don’t use this as a crunch, but it is a safety net.

To decide If you should stick with JPEG all you need to do is to take a close look at your images and compare them with what you can get from a product like Lightroom and then decide if your images are good enough or if any improvements that you get from using the RAW image are noticeable and worthwhile.

What do some other photographers say?

Mark Teskey “RAW only. Shooting JPEG is like working without backing up files or a second body/flash. There’s no safety net with JPEG.”

JE Images “RAW all the way. if I need to tweak anything then I have full access to all the info..”

Denise Clay “[I shoot] RAW – I used the best film I could that matched the job in film days, why not do the same now with the best digital file?”

MrsBoesch “I shoot JPG. It takes up less space on my hard drive, and I am of the opinion that you should try to “get it right” the 1st time”

So what are you to make of this?

There is certainly a case to be made that higher quality final images can be made from using RAW files and that shooting in RAW provides a technical safety net (even if you dont need it because you are wicked good). The main issues of working with RAW for me are the non-destructive workflow and the ability to have multiple virtual copies of an image without eating up more disk space. I do believe that almost all of the main complaints about RAW have been more than satisfied with current software leaving the issue of disk space and storage being the only real issue, albeit a signifigant issue for some people.

In the end, the only thing that matters is that you are happy with the images that you are delivering and if you are shooting for clients, that they are happy with the images you are delivering. If you are shooting in JPEG and are happy with your images and you see no compelling reason to switch, then don’t. If someone like Carlos Baez can shoot a wedding in JPEG and he makes a LOT more per wedding than I do, I am not going to tell him he is wrong for shooting in JPEG. On the flip side, if you are shooting in RAW and the disk space is killing you and you are good enough that your images require basically no tweaks for color, white balance, exposure, fill light, highlight recovery, or saturation, then you may be a good candidate for shooting in JPEG. It all comes down to a personal choice. There is no right or wrong answer to this debate, its just a question of what works for you in order for you to deliver the best quality images to your clients.

Author: Kerry Garrison

Have you ever imported some RAW files and when you first open the image in Lightroom the image is vibrant and looks great and then all of a sudden the image switches to something that is less sharp and the colors are all bland? If you have seen this phenomenon, what you are seeing initially is the embedded JPEG image being displayed first and then the on-screen image changes to the RAW sensor data image. The reason why there is a difference is that the JPEG images have had your camera settings applied to them before being saved. With Canon camera, this is usually Standard, Faithful, Landscape , Neutral, and Portrait. Other camera brands have similar types of basic settings. Many people complained that the JPEG image was often very nice and it took a lot of work to get your RAW images to look as good as the JPEG image.

To solve this, Lightroom needed to have a way to understand what the cameras where doing to the images. Initially, you could use the camera calibration controls to dial in some default settings, but this was really inaccurate and rather a pain to use. Shortly after Lightroom 2.0 came out, Adobe came out with the first beta versions of the camera profiles. These profiles were actually based on the characteristics of the different cameras and can be used to very quickly get your image looking better right from the beginning.

Sometimes the effect is more subtle

For some people who still shoot JPEG instead of RAW, one of the complaints about RAW is that it takes longer to process RAW images to get them look good. Lightroom 2.2 with camera profiles solves this problem quite nicely. You can easily create a camera profile preset (or download ours here) and use them as an import preset so that it is applied to every image as you are importing them. Applying the Standard profile during import will get the vast majority of your images looking almost identical to what you would get from saving the image as a JPEG.

Beta Profiles

If you have installed the beta profiles, you can go ahead and remove them using the following instructions specific to your operating system.

Go to the following folder (based on your operation system) and delete anything with the word “Beta” in it’s title. Then restart Lightroom and all should be good in the world again.

Mac: /Library/Application Support/Adobe/CameraRaw/CameraProfiles
(note: the Library folder for Macintosh HD, not your user account)

Windows 2000 / XP: C:Documents and SettingsAll UsersApplication DataAdobeCameraRawCameraProfiles

Windows Vista: C:ProgramDataAdobeCameraRawCameraProfiles

Video Demo

Adobe Photoshop Lightroom 2.0 Camera Calibration from Kerry Garrison on Vimeo.

Author: Kerry Garrison

1. DIY Photography
   (http://www.diyphotography.net)
   Udi does a terrific job at bringing alternative ways of lighting, shooting, and creating light modifiers to people without unlimited budgets.
2. John Nack’s Blog
   (http://blogs.adobe.com/jnack/)
   John is the product manager for Photoshop and almost every day has a new blog entry with something interesting or cool to look at.
3. Photo Business News
   (http://photobusinessforum.blogspot.com/)
   John Harrington writes several times a week with news and information relevant to the business of photography. This is one of my must-read blogs every week.
4. Strobist
   (http://www.strobist.blogspot.com/)
   David Hobby has several posts a week that specialize in talking about working with small accessory flash units and getting the most out of them. This is definitely one of the best sites if you are into lighting.
5. Lightroom Journal
   (http://blogs.adobe.com/lightroomjournal/)
   This is the official blog from Adobe for Photoshop Lightroom. All official Lightroom news is posted here.
6. Lightroom Killer Tips
   (http://lightroomkillertips.com)
   Matt Kloskowski posts excellent tips and presets several times a week for Lightroom users.
7. Digital Pro Talk
   (http://digitalprotalk.blogspot.com/)
   This is the home of David Ziser, one of the top wedding photographers in the world. David is one of the most prolific bloggers around and posts awesome shooting and lighting tips virtually every day. He posts so much that its hard to keep up with all of his posts. This is another must-read site.
8. Flash Flavor
   (http://flashflavor.com/)
   Matt Adcock takes some of the most amazing photos you will see anywhere and is simply an inspiration to go through and see what he is doing and how he does it.
9. Digital Photography School
   (http://digital-photography-school.com/blog/)
   This site from Darren Rowse is chock full of good tips and tutorials with new content on a regular basis.
10. Rob Galbraith DPI
    (http://www.robgalbraith.com)
    Rob always has good information and is often the first with breaking news.
11. TWIP
    (http://twipphoto.com/)
    Although known more for their podcast than their blog, the This Week in Photography blog has a new post every day. Maybe someday CameraDojo will get mentioned on their show (hint hint) – wow, CameraDojo got mentioned on their site today!
12. Photoshop Insider
    (http://scottkelby.com)
    Another site with several new posts every week from Scott as well as regular guest bloggers.
13. 1001 Noisy Cameras
    (http://www.1001noisycameras.com)
    With new info more often than you change your underwear, 1001 Noisy Cameras may never win a design excellence award but certainly is at the top of most lists of useful and informative sites.
14. Pro Photo Life
    (http://www.prophotolife.com)
    This site from Jim Talkington amazes me that I don’t see it on most “top sites” lists like this. Jim does regular video tutorials and the wealth of content on his site is awesome. If you aren’t visiting this site every week, you are missing out on some fantastic stuff.
15. PhotoJojo
    (http://photojojo.com)
    You don’t even have to remember to go to PhotoJojo, this is a twice a week newsletter that is emailed to you with cool stuff in every email. Sign up and never miss it.
16. Photo Walk Pro
    (http://www.revellphotography.com/blog/)
    Jeff Revell’s site is another often-0verlooked site since many people think it is just about photo walking. Jeff also does a good amount of tips and tutorials for shooting and for working with Photoshop.
17. The Pioneer Woman
    (http://thepioneerwoman.com/photography/)
    Ree Drummond must be the most amazing woman on the planet, with multiple blogs about her life including photography, cooking, home and garden, and more she is a non-stop blogging phenomenon. While her sites appeal mostly to women, her photography stuff appeals to everyone.
18. Lighting Essentials
    (http://www.lighting-essentials.com)
    This is another excellent site for tutorials on lighting. Don Giannatti is an awesome photographer and is bringing his knowledge and experience into this website.
19. DPReview
    (http://dpreview.com)
    If you just have to know everything there is to know about camera bodies and lenses, DPReview is the encyclopedia of all camera knowledge when it comes to specs and unbiased technical reviews.
20. AllTop
    (http://photography.alltop.com/)
    Alltop.com is the brainchild of Guy Kawasaki and the photography section is filling up with a great list of photography sites. Bookmark this page there and never have a lack of reading material.

While there are dozens of other sites out there that are all worthy of being on any list like this, I decided I was going to stick to the top 20 sites that I personally use. Please add your own favorites into the comments.

What is selective Focus?

We have talked about selective focus here numerous times using depth of field (here) (here) (here) and lenses such as the Lensbaby 3G. Selective focus simply means that the main subject of the image is in sharp focus while the rest of the image is blurred out, this forces the viewer’s eye to the section of the image that we want them to be looking at. This can have a dramatic effect on the image and give it a much more dramatic feel. The problem with simply using aperture settings to control the selective focus is it doesn’t allow you to control the shape, direction, direction, or opacity of the blur effect. With a Lensbaby lens you have more control over the sweet spot of the focus area but you are limited to a round pattern and you don’t have some of the other controls either, and you can’t do a true tilt-shift effect with a Lensbaby lens. With a tilt-shift lens you have more control in the different directions but you still can’t control some of the effect, a tilt-shift lens will also set you back over $1,000. This is where Focal Point comes in. You can use your high quality auto-focus glass to take a great picture, and then add a variety of selective focus effects to the image in post production.

Lensbaby Image

Comparison to using a specialty lens

Before jumping to conclusions, bear in mind that I am a fan of the Lensbaby lenses and I use them at different times to achieve a look that I know how to get in-camera. I have the new Lensbaby Composer and have a review of it coming as well. I know what that lens will do and I use it to create images like the one you can see here. You get a sweet spot where the lens is pointing and then there is a blurring effect that gets more intense the further away from the sweet spot you get. If you are a huge fan of doing things in-camera, then a Lensbaby is a great lens to use. However, the amount of effects that you can get is limited. If you have the time to swap lenses and get the image dialed in, the effect is very cool. If you don’t have a Lensbaby, or if you find later that you have a great shot that would have been even better with that effect, then you are out of luck without a re-shoot. With Focal Point, we can now add the effect in post production and get very similar results.

What can we get with Focal Point?

The best way to see what Focal Point can do is to take a look at several before and after images for comparison.

Original Shot		Focal Point Effect
Original Shot		Focal Point Effect

Using Focal Point

Focal Point installs as a Photoshop plug-in for Photoshop CS3 or CS4. Once launched you can move the “Focus Bug” around to select your sweet spot, and then grab on the handle to adjust the effect. You also have 3D effects that can control the focal plane by holding down the alt key on Windows or the Option key on the Mac and dragging within the focus bug.

Focal Point Plug-In Interface

On the right side of the interface are sliders for fine tuning the effect as well as adding a vignette effect and film grain into the blurred image. Any of the settings can then be saved as a preset for easy access at a later time.

Key Features of Focal Point

While we have mentioned most of them already, let’s take a quick look at the key features of the Focal Point plug-in:

• Focus Bug
  This unique control gives you very simple control over the effects. Just drag and click to move the sweet spot or to adjust the amount of effect.
• Aperture Shape
  While we have only looked at the round shape so far, you can also use a planer shape that simulates narrow depth of field that is often used with food or macro photography or for simulating the miniature effect that you can get with a tilt-shift lens.
• 3D Tilt
  As mentioned, you can adjust the tilt of the sweet spot to create the effect of a tilt-shift or view camera.
• Blur Types
  You can choose from a standard “defocused” look or add a bit of motion to the blur
• Add Layer Mask
  By default (you can turn this off if you want) a new layer is created in Photoshop containing the image with the effect applied. This allows you to change the opacity of the layer or paint out areas that you don’t want affected.
• Vignettes
  Focal Point allows you to add either a dark or light vignette effect to the image with the ability to adjust the amount of the vignette as well as the midpoint.
• Presets
  If you have created an effect that you like and may want to use again, you can save it as a preset within Focal Point so you can easily apply it to another image later.
• Film Grain
  While you may not think you want to add grain to an image, adding the film grain effect to the blurred image will help to maintain a realistic image as well as prevent posterization during printing.

System Requirements

Macintosh

• Mac OS X 10.4.10, 10.5 or Higher
• 1 GHz or faster G5 or Intel Core Processor(s)
• 1GB RAM (2GB+ recommended)
• 25 MB hard disk space for installation
• OpenGL 1.5 Compatible video card with 128MB VRAM at 1024×768 or higher.
• Adobe Photoshop CS2 (9.0.2) CS3 or Elements 4.0.1 and higher.
• Internet Connection & Flash 9 player
• Adobe Acrobat 6 Reader or higher

Windows

• Windows XP SP2, Vista or Higher
• 1 GHz or faster Pentium 4 processor(s) or equivalent
• 1GB RAM (2GB+ recommended)
• 25MB hard disk space for installation
• OpenGL 1.5 Compatible video card with 128MB VRAM at 1024×768 or higher.
• Adobe Photoshop CS2, CS3 or Elements 5 and higher
• Internet Connection & Flash 9 player
• Adobe Acrobat 6 Reader or higher
• Microsoft dotNET Framework 2.0 or higher

Focal Point Demo

Here is a video of Focal Point in action so you can get a feel for how it works.

Focal Point Demo from Kerry Garrison on Vimeo.

Results

Focal Point retails for $159.95 which puts it into the mid-range of prices for lenses from Lensbaby and is significantly cheaper than a tilt-shift lens.  Given that you have more control with Focal Point than you do with any type of lens, its hard to argue the value of Focal Point. There are certainly people like myself who enjoy using specialty lenses as they force you to slow down and really think about the image you are trying to make. Even for me though, there are times when I look at an image and wish I would have broke out the Lensbaby to take the shot and now I can get the effect that I want in post production. The effect that Focal Point creates may not be for everyone but if you shoot weddings, food, macro, still life, or nature shots, then Focal Point can add a new dimension to your images.

Product Review Scorecard

Product Page: http://www.ononesoftware.com/detail.php?prodLine_id=35
Company Page: http://ononesoftware.com

Author: Kerry Garrison

• Canon EOS 5D Mark II
• Canon PowerShot G10
• Panasonic DMC-G1**
• Panasonic DMC-FX150**
• Panasonic DMC-FZ28**
• Panasonic DMC-LX3**
• Leica D-LUX 4**

Adobe has also fixed a few bugs that were introduced with the Lightroom 2.0 release:

Lightroom 2 Bugs – Fixed

• Images rendered from the Slideshow export process produced a jagged effect on hard edges relative to the quality of normal JPEG export
• Increased the number of characters allowed in Web gallery labels beyond 150 characters
• Catalogs with hundreds of root (top level) folders caused very slow launch times
• Drag and drop to move a subfolder to a different folder showed the incorrect photos in the grid
• Print Sharpening produced edge artifacts in certain conditions
• Density defaulted to 100 percent for initial stroke regardless of position of slider
• The  Adjustment brush created blocky, straight edges to brush strokes under certain conditions
• Lightroom could become unresponsive when using the graduated filter under certain conditions
• It was possible to lose the ability to edit an adjustment brush setting after applying a graduated filter with hidden pins
• Turning auto-mask on produced a lag in Lightroom performance in when applying the adjustment brush
• Print to JPEG functionality produced a low resolution image when printing photos with panorama aspect ratios
• Extended characters in a folder name caused Edit in Photoshop functionality to fail
• Smart collection did not respond to changes in custom metadata
• Enabling auto-mask produced a lag in performance in when applying the local adjustment brush

Lightroom 2 Enhancements

• Camera profiles are now available in the Calibration panel in the Develop module.  These profiles are designed to provide different interpretations of raw capture.

**With the release of Camera Raw 5.2 (and upcoming Lightroom 2.2 release) there is an important exception in our DNG file handling for the Panasonic DMC LX3, Panasonic DMC FX150, Panasonic DMC FZ28, Panasonic DMC-G1 and Leica D-LUX 4. In this release the native, proprietary files from these cameras can only be converted to linear DNG files. A linear DNG file has gone through a demosaic process that converts a single mosaic layer of red, green and blue channel information into three distinct layers , one for each channel. The resulting linear DNG file is approximately three times the size of a mosaic DNG file or the original proprietary file format.

This exception is a temporary solution to ensure that Panasonic and Leica’s intended image rendering from their proprietary raw file format is applied to an image when converted DNG files are viewed in third party software titles. The same image rendering process is applied automatically in Camera Raw 5.2 and in Lightroom 2.2 when viewing the original proprietary raw file format.

In a future release Adobe plans to update the DNG specification to include an option to embed metadata-based representations of the lens compensations in the DNG file, allowing a mosaic DNG conversion. In the interim Adobe recommends only converting these files to DNG to allow compatibility with third party raw converters, previous versions of the Camera Raw plug-in or previous versions of Lightroom.

Adobe.com. (Mac, Win)

While there are a number of other programs available to do HDR with, we are going to look at the three most common ones mentioned in most posts and blogs, these are:

• Adobe Photoshop CS4 – Merge to HDR Function
• Photomatix
• Enfuse

Photoshop CS4

To be completely fair, I am using the different HDR tools here with their default settings and am not doing any additional tweaking afterwards to make the images look better. That being said, the Photoshop result is certainly the worst of the batch. The dark areas are too dark, the bright areas are too bright and it just didn’t do anything to really impress me. I also cannot find any noticeable difference between Photoshop CS3 and Photoshop CS4 in the final output. Even though you could tweak this image in Photoshop, it would be quit a bit of work because you really need to darken the sky and brighten up the building and parking lot. There may be a particular type of image that Photoshop likes better, of perhaps it doesn’t like that the images covered a 4 stop range. If someone has some tips on working with the Photoshop HDR merge, please post them in the comments.

Photomatix

Photomatix is another commercial tool (http://www.hdrsoft.com) that many people consider to be the best HDR tool available. Comparing the images, the Photomatix output most certainly gave the most dynamic range, so much range that it is actually easy to get an image that doesn’t actually look natural. The way Photomatix works is a complete mystery as even in the overexposed image, you can’t see the detail in the windows and doorways of the building the way you can in this Photomatix output. From a “wow” perspective, it is most certainly the most vivid image and has an amazing amount of range, there is almost nothing in the image that is too bright or too dark. While this may be good for some images, if you are trying to replicate what you are seeing with your eye, this isn’t quite accurate. Is it stunning in it’s range? Absolutely, no question there, it wins hands down in that area.

Enfuse

Enfuse is a different type of tool that compares multiple images and chooses to keep the pixels it feels are the best exposed. Using Enfuse by itself can also be an exercise in frustration. To simply using Enfuse, I use LR/Enfuse from Timothy Armes (http://timothyarmes.com/lrenfuse.php) which integrates into Adobe Photoshop Lightroom. Using just the default settings, the result is an image that is much more natural and is truer to what you would see with your eye. A big advantage of using Enfuse (especially with LR/Enfuse) is that it is significantly faster than Photomatix, the downside is that you don’t get the amazing results that you can get from Photomatix. Enfuse is going to give you a far more natural look.

Summary

It’s not entirely clear if these is a real no-brainer choice between Photomatix and Enfuse as it is really dependant on what you are trying to accomplish with the final image. Photomatix can certainly deliver outstanding images that are virtually impossible to achieve any other way and can also create more natural looking results by toning down the resulting image making it a more versatile tool overall. Enfuse has its advantage in being fast and easy to use when integrated into Lightroom and will create very nice, natural looking results, and if that is your goal then sending a few bucks to Timothy for LR/Enfuse is well worth it. Personally, I have both installed and will choose when to use each tool based on what result I am looking for, and knowing the strengths and weaknesses of each option will make it easier for me to decide when to use which tool.

Author: Kerry Garrison

Support for the following cameras has been added in this update. Visit the Camera Raw page for a complete list of supported cameras.

• Canon EOS 5D Mark II
• Canon PowerShot G10
• Panasonic DMC-G1*
• Panasonic DMC-FX150*
• Panasonic DMC-FZ28*
• Panasonic DMC-LX3*
• Leica D-LUX 4*

The Camera Raw 5.2 plug-in is not compatible with versions of Photoshop earlier than Photoshop CS4, versions of Photoshop Elements earlier than Photoshop Elements 6, or versions of Adobe Premiere Elements earlier than 4.0.

The latest updater for both Windows and Mac can be found at http://www.adobe.com/downloads

The plugin we will use is Timothy Armes’ LR2/Mogrify which uses ImageMajick to do things such as:

• Graphic watermarking
• Multiple text annotations
• Multiple borders
• Image resizing
• Adjust saturation and brightness
• Export against an ICC profile file

How much does this amazing plug-in cost? Well, it is free if you want to be limited to only exporting 10 images at a time. If you need to do more, than Timothy will accept any donation that you think is fair.

Installation
First off, we need to download LR2/Mogrify from Timothy Armes site at:

http://timothyarmes.com/lr2mogrify.php

Follow the installation instructions there for either Windows or Mac OSX. I won’t cover the installation since it is only a few simple steps.

Usage
Using LR2/Mogrify is as simple as using Lightroom’s existing Export function as the functions are added into the export utility. The easiest way to get things started is to create a new file in Photoshop with an empty (transparent) background and your logo on other layers. If you don’t have Photoshop, anything that can create a PNG or GIF with a transparent background will work.

From the Library module in Lightroom, select an image or images (up to 10 with the free version) and click on the Export button.

In the Post-Process actions enable the features you want like borders, or Graphical Watermark. In our case we will select the Graphic Watermark, select the file that we want to use, select the bottom left hand corner of the image, and resize the image if needed.

After you configure all the settings you want, click on the Export button to start the process. In a few seconds you have created your first watermarked images.

Here are a few images showing some different watermark styles as well as a multi-line border setup.

Who would have thought that doing advanced watermarking would be this easy? Please consider donating to Timothy for his hard work on bringing us a tool that provides the functionality that should have been included in Lightroom.

Below is a video showing exactly how this works:

Advanced watermarking with Adobe Photoshop Lightroom from Kerry Garrison on Vimeo.

Pixel Blender: http://labs.adobe.com/technologies/pixelbender/
Pixel Blender Plugin Download: http://labs.adobe.com/downloads/pixelbender.html
Pixel Blender Exchange: http://www.adobe.com/cfusion/exchange/

• It runs filters really, really fast on your graphics card (GPU)
• The plug-in is not one filter, but rather a harness into which you can drop Pixel Bender files (.PBK and .PBG)
• Pixel Bender also runs cross-platform in After Effects CS4 & Flash Player 10
• The filters people write for Flash will also work in Photoshop
• We should therefore see an explosion in the number of new Photoshop filters becoming available

The above image used the zoomblur plugin to achieve the final image. More information on this is available at John Nack’s Blog. To get Pixel Blender, visit Adobe Labs.

Adobe Configurator 1.0

Configurator is a simple drag-and-drop tool for creating panels that extend Photoshop CS4.  It’s an important step in the process of making the Photoshop UI much more flexible–much better able to be “everything you need, nothing you don’t.”  John Nack has a lot more information about this on his blog.

Cloning and Stamping tool Live Preview with Photoshop CS4 from Kerry Garrison on Vimeo.

Kerry and David discuss the new features of Adobe Photoshop CS4 and give their impressions of Lightroom 2.1.

Kerry talks about OnOne Software’s Photoframe 4.0 and FocalPoint 1.0.

Before using FocalPoint

After using FocalPoint

Video Light Link
SUNPAK RL-20 Readylite 20 Video Light

Please feel free to send in your letters, questions, and comments to podcast@cameradojo.com, leave a message in the forums, or send us a message at twitter or facebook.

You can listen to this podcast now using our player widget in the right hand sidebar

This podcast is also available on iTunes.

Photoshop CS4 Fluid Zoom and View Rotation from Kerry Garrison on Vimeo.

Content Aware Scaling in Photoshop CS4 from Kerry Garrison on Vimeo.

Adobe has released Lightroom 2.1 and Camera Raw 5.1 along with the DNG Converter 5.1. Lightroom 2.1 has been in a release candidate state for several weeks and has some improvements and fixes over the initial 2.0 release. Both Lightroom 2.1 and Camera Raw 5.1 include camera support for the following new models:

The beta versions of the Camera Profiles and DNG Profile Editor on Adobe Labs have also both been updated.  The Profile update includes additional profiles and incremental improvements to the previous beta profiles.  The DNG Profile Editor update includes minor enhancements.

Lightroom 2.1 (Mac, Win)
Camera Raw 5.1 (Mac, Win)

The Adjustments Panel

Working with adjustment layers has always been a serious tool for hardcore Photoshop geeks, now this has been made much simpler with a new adjustments panel. This can be used to easily adjust Curves, Levels, Hue/Saturation, Vibrance, and more. New On-Image controls allow you to adjust colors in the image without the guesswork of trying to match a complex color. The panel features a wide range of modifiable presets for each type of control and more than 20 preconfigured, customizable starting points are included.

New to the masks is the concept of Density and Feathering to control how much of the mask is used. This is a huge improvement from before where deciding you wanted more or less effect would require constant redrawing of the mask.

Improved Dodge, Burn, and Sponge Tools

If you are a big fan of the dodge, burn, and sponge tools, one of the big issues in the past is that they could sometimes affect the color underneath in odd ways. The new versions of these tools work in a much more natural way and help you to make the adjustments you want while retaining tonal quality.

Improved Image Aligning and Panorama tools

CS3 has some really good photo merge tools and panorama tools, but CS4 takes these tools to all new levels. The improved algorithms improve blending, vignetting, and geometric distortion which results in much better final images. The blending tool can take multiple images of the same shot using different focal points and combine them into a single image with a greater depth of field.

Content Aware Scaling

Ok, this is some wicked cool sh** right here. What happens when you want to scale an image that has people in it? The people can get severly distorted ruining the new image. With content aware scaling, you can size an image and retain the original sizes of key elements like people. Using this you could change a horizontal image to a vertical image and the people or key objects in it will look the same while scaling the remaining parts of the image in a very natural and usually undetectable way.  When you see this in action, you will simply be amazed at what it can do.

Fluid Canvas Rotation

If you use a Wacom tablet or just need to view the world a little differently, you can now easily rotate the canvas around to make it easier to work on a it. Rotating the canvas does not affect the rotation of the actual image, this is simply a tool to make it easier for you to work on images by being able to look at it from different angles.

Smooth Pan/Zom and Flick effects

Some people may think that the new smooth pan/zoom and “flick” effects are just for show, but as you begin to use them you will see how much nicer it is to smoothly zoom in and out of an image and be able to toss the image around as if “flicking” it with your finger. The built-in physics engine makes this new way of dealing with images much more natural.

Bridge

I have always hated Bridge, I’m not afraid to admit it, it was slow, real slow, painfully slow to start up and slow to use. Even on my new quad core system with a nice video card, I still didn’t like Bridge. But get ready you fellow Bridge haters, Bridge is one sweet tool now. Not only is Bridge faster, but it has been improved in a number of areas. There are several new views such as Carousel view which makes working with large numbers of images signifigantly faster. Bridge now also has a PDF-based contact-sheet creator and preview along with web gallery tools. Bridge has certainly grown up and is more integrated into the majority of the CS4 tools besides just Photoshop.

Camera Raw 5

Take the Develop module tools from Lightroom 2.0 and put them all into Camera Raw and you now have Camera Raw 5. And I do mean virtually all of the tools like port-crop vignetting, the gradient filter tool, and the local adjustment brush tool. Unfortunately, Lightroom Develop presets are not available in Camera Raw.

Smarter Smart Objects

Smart Objects were introduced with CS4 and made a huge impact on how you dealt with new objects. With CS4, Smart Objects can now accept perspective transformations.

64 Bit Support (Windows 64 ONLY)

As a HUGE shocker to long time Macintosh users, the advantage this year goes to 64 bit Windows systems. Apple changed a bunch of things without telling Adobe and thus Adobe had to pull 64 bit support out of the Macintosh version. Are Mac users going to have to switch to Vista 64? Not really, only the heaviest of users is going to see much of a performance difference according to sources at Adobe.

Live Preview for Clone Stamp and Healing Brushes

As cool as the cloning tool and healing brushes are, the results have always been somewhat black magic, you just never really knew what you werew going to get. The new versions of these tools provide a live preview for easier and more precise cloning and healing results.

Availability and pricing
Adobe Photoshop CS4 Extended is now available in North America for an estimated street price of US$999. Adobe Photoshop CS4 will be available for an estimated street price of US$699. Both can be obtained directly from Adobe or through Adobe Authorized Resellers.

To order directly from Adobe, visit the Adobe Store at www.adobe.com or call
1-800-833-6687.

Licensed owners of Photoshop CS3 Extended, Photoshop CS2, or Photoshop CS can upgrade to Photoshop CS4 Extended for US$349.

Licensed owners of Photoshop CS3, Photoshop CS2, or Photoshop CS can upgrade to Adobe Photoshop CS4 for US$199.
Licensed owners of Photoshop 5 or 6 can upgrade to Photoshop CS4 Extended for $899 or Photoshop CS4 for $599.
Licensed owners of Photoshop CS3 Extended, Photoshop CS3, Photoshop CS2, or Photoshop CS are also eligible for special upgrade pricing to certain editions of Adobe Creative Suite 4.

• Local adjustment brush
• Graduated Filter
• “Post Crop” Vignetting
• Opacity for the cloning/healing tool
• Improved Auto Adjustment
• Support for the new Camera Profiles that are still in beta form

The Camera Raw code is the ‘engine’ that drives the non-destructive adjustments in Lightroom’s Develop module so you’ll see that the two products are now aligned in terms of image adjustment capabilities.

Camera Raw 5.0 is installed automatically with Photoshop CS4 so there’s no update process beyond installing Photoshop.  One important note is that the new camera support added in the last Camera Raw update for CS3 is not currently available in Camera Raw 5.0.  Adobe will be providing a Camera Raw 5.1 update next week that will include additional camera support.

Source: http://adobe.com

Apple Releases Camera Raw 2.2
Adobe Releases Camera Raw 4.6 Release Candidate
Leica M8 Firmware 2.00
Sony Alpha Firmware

Lightroom 2.1 Available on Adobe Labs
http://labs.adobe.com/wiki/index.php/Lightroom_2.1

Lightroom Web Gallery Module
http://cameradojo.com/2008/09/23/lightroom-web-gallery-modulelightroom-web-gallery-module/

Canon EOS 5D Mk II
http://cameradojo.com/2008/09/16/canon-announces-eos-5d-mark-ii/

Canon Powershot G10 IS
http://cameradojo.com/2008/09/16/canon-powershot-g10-is-camera-announced/

Canon Powershot SX1 IS
http://cameradojo.com/2008/09/17/canon-powershot-line-in-sx1-is-with-1080p-video/

Sunny 16 Rule
http://cameradojo.com/2008/09/18/the-sunny-16-rule-in-photography/

Guest on the Digital Photography Show
http://digiphoto.thepodcastnetwork.com/

This podcast is also available on iTunes.

• Fuji Finepix IS Pro
• Nikon D700
• Nikon D90
• Nikon Coolpix P6000

• 21.1 Megapixel Full-frame CMOS sensor, 14-bit A/D conversion (16,384 colors/each of 3 primary color), wide range ISO setting of 100-6400 (expandable L: 50, H1: 12800 and H2: 25600).
• Full HD Video capture at 1920 x 1080 resolution for up to 4GB per clip with HDMI output for HD viewing of stills and video.
• Next generation DIGIC 4 Image Processor for faster processing of fine detail and color reproduction as well as reduced image noise.
• High performance with 3.9 fps continuous shooting, new shutter with a durability of 150,000 cycles and improved weather-resistant body.
• Live View Function for stills (Quick, Live and Face Detection AF modes) and video.
• 3.0-inch Clear View LCD (920,000 dots/VGA) monitor with anti-reflective and scratch-resistant coatings for improved viewing and smudge protection.
• Updated EOS Integrated Cleaning System specifically designed to work with a full-frame sensor.
• Compatible with over 60 Canon EF/EF-S lenses and most EOS System accessories.

The EOS 5D Mark II features a huge, full-frame sensor. A 21.1-megapixel CMOS sensor delivers images of up to 5616 x 3744 pixels. And since it is full-frame, all lenses will deliver the angle of view they would on a 35mm camera without a conversion factor. This comes in handy especially when shooting with wide-angle lenses. For the flexibility to shoot in even the most dimly lit situations, the EOS 5D Mark II offers Canon’s highest ISO sensitivity to date, ranging from 100-6400 (expandable to ISO L: 50, H1: 12800 and H2: 25600). Thanks to improved noise reduction technologies, images shot even at highest sensitivity will be remarkably smooth.

The Canon EOS 5D is slated to ship towards the end of November 2008 at an expected street price of US$2699 in the U.S.

New plug-in for Photoshop® and Aperture™ incorporates
U Point® technology for precise selective sharpening

Las Vegas, NV — September 4, 2008 (Photoshop World, Booth #321) — Nik Software today announced the latest version of its popular Sharpener Pro photographic plug-in for use with Adobe® Photoshop® and Apple® Aperture™. Designed for professionals and photo enthusiasts, Sharpener Pro 3.0 is the most advanced and powerful sharpening solution for photographers, eliminating the guesswork typically required for achieving superior and consistent results.

Now featuring Nik Software’s patented U Point technology, Sharpener Pro 3.0 enables photographers to selectively sharpen objects within their images. U Point powered Control Points are easy to use and offer precise control over sharpening intensity without the need to create complicated selections and layer masks.

“Sharpener Pro 3.0 has been dramatically improved with a range of new features, including powerful creative sharpening tools, a soft proofing option, and integrated U Point technology,†said Michael J. Slater president and CEO of Nik Software. “This new version of Sharpener Pro offers the most comprehensive tools for optimally sharpening images for any output device while also offering photographers the complete control they expect,†Slater concluded.

Key Features

• New U Point Powered Control Points—Enables precise, selective sharpening control
• Updated Output Sharpening—Provides the ultimate control to create perfectly sharpened images on all devices and media types such as display, inkjet, continuous tone, half tone, and hybrid tone
• New Creative Sharpening—Enhances fine details and textures with new structure, focus, and local contrast tools for drawing attention to desired areas within the image
• New Industry-First Sharpening Soft Proof—Allows detailed inspection of sharpening results on screen before printing, eliminating costly test prints
• New Output Presets—Enables custom settings to be saved for consistent, professional results
• Updated RAW Presharpener—Retains and enhances sharp details within images without amplifying noise and other artifacts
• Updated Powerful Selective Tool (Photoshop only)—Enables the use of Photoshop’s brush tools to paint in sharpening selectively
• New Smart Filter Support (Photoshop only)—Provides compatibility with Adobe Photoshop’s Smart Objects enabling adjustments to sharpening after Sharpener Pro has been applied
• New Multi-Image Support (Aperture only)—Provides compatibility with Aperture’s multi-image support, allowing photographers to easily copy and paste settings between images to maintain consistency

Pricing and Availability

Sharpener Pro 3.0 will be available in September for electronic delivery directly from Nik Software (www.niksoftware.com) in four languages (English, French, German, and Spanish) and will be available through specialty camera retailers in October of 2008. A complete list of resellers may be found at www.niksoftware.com/resellers.

The suggested retail price of Sharpener Pro 3.0 is $199.95. Upgrades from any previous version are available for $99.95. Sharpener Pro 3.0 installs as a plug-in for either Adobe Photoshop or Apple Aperture 2.1 and is available for Windows and Macintosh operating systems, including Vista and Leopard. For more information about Sharpener Pro 3.0, including video tutorials showing the software running within Photoshop and Aperture and a free 15-day fully functional trial version, please visit www.niksoftware.com/sharpenerpro.

About Nik Software

Nik Software, Inc. is a privately held company that develops software solutions for the growing digital imaging and photography markets. Established in 1995, Nik Software has become the recognized leader in digital photographic filter development and produces award-winning technology and software products for digital photography and imaging professionals including U Point® technology (www.upoint.com), Dfine®, Viveza™, Color Efex Pro™, Silver Efex Pro™, and Sharpener Pro™ software.

We knew when we sat down to write this review that many of your would be sitting there thinking that the guys at the Dojo had totally lost it if all they can come up with for a product review is a simple camera strap. In all seriousness, we have appealed to every company we know to come up with a better camera strap. The two main issues we have are comfort for shooting all day long and the security that your camera won’t fall off your shoulder. If someone could solve these two basic issues then it would surely rate a full blown product review article, BlackRapid has done exactly that with the new R-Strap.

David using the R-Strap

Overview
Take 10 pounds or more of camera equipment and hang it on your shoulder for 8-10 hours and you are simply going to be sore, this is just something we have come to expect over the years. Some manufacturers have tried to overcome this with thick padded sections so while this may help a little the fact that the weight is still pulling down on one shoulder cannot be overcome. The second main issue is security. Most straps have some kind of rubberized surface to help keep them from slipping off your shoulder. We have never found a strap that combines both comfort and gives you confidence that it’s not going to fall off. I often carry two cameras at a wedding and am in constant fear that one of them is going to take a header onto the pavement, so when I know I am not going to use one for a while I bring the strap up over my head to make sure it won’t fall off, but this makes it very difficult to shoot. BlackRapid took this simple idea and created the R-Strap.

Kerry wearing the R-Strap

How it works
Think of the R-Strap as an oversize camera strap, but instead of the strap attaching to the standard strap mounts on your camera, it is a continuous loop. The camera is attaches to the strap via a sliding ring so the camera can move around without the strap moving. The sliding ring attached to the D-Ring on the bottom your tripod mount or via at attachment piece that comes with the R-Strap.

Because the strap goes around one shoulder and the camera rests at your hip on the opposite side, the weight of the camera feels more like its down the middle of your body instead of one shoulder. This is significantly more comfortable and it completely eliminates the possibility of your camera slipping off your shoulder.

When I first saw the R-Strap and tried it on, my first reaction was something like DUH!!!! How is it that the greatest minds on the industry that have taken us into the digital age and into sensors that can push 60 megapixels haven’t improved on the single most important interface you have to the camera since the introduction of the SLR?

I’m really being serious here. The lowly camera strap hasn’t been improved virtually at all and it took BlackRapid to finally take the basic camera strap and make it comfortable and safer around your neck. I really hope this makes the big camera makers feel stupid for not addressing this most basic needs of ALL camera owners.

In Shooting Position

Setup
Since the R-Strap connects to the D-Ring on the bottom of your tripod mount plate, many of us who keep the plate on our cameras have only to connect the strap to the D-Ring, adjust the length and stopper and you are set to go. This is FAR easier than trying to connect any traditional strap to a camera.

Once you have it on, you will want to adjust the length, this is going to be personal opinion but you will find there is a certain “sweet spot” that gives you the best position when the camera is down and allows you to bring it up fast and get the camera into position easily. There is piece that you will want to adjust down to the camera when it is resting at your side, this will help you to quickly position the camera and keep it from sliding back.

Adjustment Point

Usage
You first want to get the R-Strap adjusted properly. For most people you want to be able to pull the camera up and be able to hold it 6-7 inches away from your face, this will give you plenty of freedom to move around.

I will certainly admit I was a little uneasy at first dangling a couple grand worth of hardware on a $49 strap that connects to the D-Ring on the tripod mount, but within a short period of time I became very comfortable with it and the ease of using the camera with the R-Strap paid for itself over and over again. After while it becomes very natural to place the camera at your side and then reach for it and sling it into shooting position.

R-Strap hanging at David's Side

Results
Ok, so you have a strap that won’t fall off your shoulder, feels very comfortable to use, and doesn’t cost a fortune, But wait! There’s more! Not only does the R-Strap keep your gear secure, there is a side benefit of not being nearly as sore after a long shoot. Both David and I have both been using the R-Strap for about a month now and have shot a handful of weddings and events, because the weight is distributed differently, the neck pain normally associated with long shoots is greatly reduced. While the security and comfort make the R-Strap worthwhile, the comfort level makes it priceless. Every camera should come standard with and R-Strap!!

With the R-Strap I can easily put my camera down at my side and walk up to people to pose them without poking them with a big lens.” – David (Esquire Photography)

Summary
I’m sold! I am not taking the R-Strap off my camera! I vow to never use a regular camera strap again. David (Esquire Photography) is also a convert and uses a R-Strap on every shoot.

Final results:

Website: http://www.blackrapid.com
Author: Kerry Garrison

I have been a fan of Wolverine products for almost four years now and my trusty Wolverine FlashPac was in need of an upgrade. Not that the FlashPac didn’t do it’s job, its just that it was pretty slow and didn’t have a display that could be used to view the images. Without hesitation I turned back to Wolverine to see what they had available and I found the new ESP Digital Photo Album and Multimedia Player. While the full name may be a bit long, it does convey a lot more of the ESP’s features as well as being a card reader, external hard drive, and FM radio.

Overview
The ESP is an incredible multimedia device that can handle most all of your portable multimedia needs from listening to MP3′s, watching videos, playing a photo slideshow, or listening to FM radio. While many people will love all of those features, from a photographers point of view the most important things to me are the ability to do backups of my compact flash cards in the field, review the pictures on the device, and to have a portable device to show potential clients a slideshow of my work. The ESP does all of these tasks quite well and at a price that won’t make you wonder why you didn’t just buy a nice laptop instead.

Top view of the ESP

Features
As already mentioned the ESP has a multi-function card reader that can either make backups to the internal hard drive of the ESP or when connected to your computer’s USB port your cards will appear of drives that you can access directly.

• Store and View Thousands of Photos

• • Download images directly from any digital camera without a computer
  • Use it to backup and carry all your digital images
  • Display JPEG, Bitmap, Tiff, Text and RAW images (most popular SLR Cameras)
  • Print directly to printers

• Store and Play Thousands of Songs

• • Supports five music Formats: MP3, WMA, OGG, WAV, AAC (MP4-audio) & CDA
  • Easy, drag and drop music files from your computer and play them instantly

• Store and Play Hundreds of Hours of Video

• • Supports: MPEG-1, MPEG-4, WMV9 and Xvid

• Built-in FM Radio

• • Listen and RECORD your favorite talk shows or music from any FM Radio Station
  • Scan and preset up to 18 different Radio Stations

• Plugs to TV and Stereo System

• • With the included Video/Audio cable connect the ESP directly to any TV or Projector
  • View a slide show of your favorite photos or watch recorded videos on the big screen
  • Connect to a stereo system to enjoy and share your music collection

Setup
The setup of the ESP is quite simple, it comes with both an AC adapter and a USB cable, be sure and plug it in until fully charged before using it the first time, after that the simple to navigate menu system walks you through everything you need to know.

“The ESP was a lifesaver for us at a fashion shoot when the assistant left the CF cards back in the car. With the ESP we would fill up a card, tell everyone to take a five minute break, dump the cards to the ESP and get right back to shooting.” – David , Esquire Photography

ESP Controls

Usage
The ESP’s operating system is very simple to use and works the way I would expect it to, when I insert a card it pops up and asks me what I want to do with it, I select backup and it just starts working. The main controls consist of the “joystick”, a menu button, and the ESC button.

Using just these three simple controls you can manage everything on the system. The “-” and “+” buttons control volume. The only other control is the power button on the right side as well as a lock control to keep the power from coming on accidentally.

At the bottom you can see a small mic port for doing audio notes and near the top are the LED indicator lights.

The has an optional docking station that can also be used for capturing video and audio from remote devices. Since I don’t have a use for that right now I didn’t get one yet to see how that works.

ESP Menu System

The menu system is an icon driven system with easy-to-read captions to help you navigate. Pushing left/right or up/down on the directional pad will move you from application to application and then pushing in will select the item. The Menu key will give you a list of available options from wherever you are while the ESC key will back you out one step at a time.

The main thing to keep in mind is that images that are backed up from a memory card are found in the Backup application instead of the Pictures application. You have to specifically copy images into the Pictures folder for them to be viewed there. This is a great way of having a photo slideshow of images without getting confused as to what images are from your current photo shoot.

What I actually like to do is to backup my images to the ESP and then if I have time, review them for focus issues or just for being a bad image, I can delete them right from the ESP and save time later when importing the images into my computer.

ESP playing video

For client meetings, I also created a couple of really nice slideshows using Proshow Gold and output them formatted properly for the ESP. Let me tell you, the image shown here does not do the ESP justice, the screen may only be 320×240 but the slideshows and pictures look fantastic on it. So far, everyone that has seen the slideshow videos on the ESP have been very impressed.

The ESP has a bunch of other features that I could spend a few more pages writing about but they really don’t have much appeal to me, these include the mp3 player, the FM radio, the audio recorder, and the Tetris-like game that is included. While those are nice add-ons, they really aren’t the main reason a photographer is going to want the ESP.

Tested Transfer Speeds (1gb of data)

Reader to Computer    3:31 minutes
Reader to ESP    3:43 minutes
ESP to Computer    1:44 minutes

Why the ESP?
Why would I choose the Wolverine ESP over the Epson P-5000? The simple answer is a cost/benefit analysis blows the Epson out of the running. For almost twice the price of the Wolverine ESP, the Epson P-5000 offers basically a nicer screen. When the folks at Wolverine decided to make a new device, they interviewed tons of photographers and asked them what they would like to see that would compete against the Epson units and the top answer was that they wanted a much more affordable device even if it meant having a lower resolution LCD display.  If I am going to spend $800 for a portable media device, its going to be a new laptop, not a small box I throw into my camera bag and use mostly as an external drive and card reader. Coming in at $329, the ESP is much more affordable and does it’s job exceptionally well. It’s a nice upgrade from my old FlashPac in terms of functions and download speeds which is a nice bonus as well.

What’s in the box
In the box you will find the ESP unit itself along with the nice quality carrying case along with the user documentation and CD, AC charger, USB cable, Audio/Video cable (to connect to TV), and Earphone.

Summary
The Wolverine ESP competes nicely against other units offering similar features and at a price that doesn’t give you sticker shock. The base features do exactly what they are supposed to do while there are enough extras to add even more value to the package. I don’t leave for a shoot without my ESP in my bag and often will be making my backups of my cards on the drive home. With my old Flashpac I would have to be quite far away to actually finish a large backup on the drive home but now it takes a fraction of the time.

Final results:

Website: Wolverine Data
Author: Kerry Garrison

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Lightroom 2.0 Library Module from Kerry Garrison on Vimeo.

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If you are using the new adjustment tool in Lightroom 2.0, this is going to save you lots of time in getting your adjustments painted in properly. If you hit O (oh, not zero), while you are in the adjustment tool you can turn on the overlay and paint with it still turned on. Hit O again to turn it off. You can also use Shift-O to toggle the overlay colors. A second tip is to use the Alt key to “un-paint” an area. This video shows how these shortcuts work.

Before using this technique you will need to install the camera profiles that are available here:
http://labs.adobe.com/wiki/index.php/DNG_Profiles

Lightroom 2.0 Overview from Kerry Garrison on Vimeo.

Here is my list of things that make Lightroom 2.0 simply awesome, and I will point out changes from the public beta for those of you who have been using it for a while.

• Adjustment Brush
  Called the retouching tool in the public beta this originally was going to be a tool to add selective dodging and burning to an image, but that’s just the tip of the iceberg. You have brush-type control to “paint” in exposure, brightness, contrast, saturation, clarity, sharpness, color, and there is a new soften skin option as well. This is one amazing tool that actually puts Lightroom ahead of Photoshop in terms of ease of retouching images.

Clarity Control
You can now use negative values in the clarity control, you can get some really cool effects with this, especially since you can use negative numbers for clarity in the Adjustment Brush.

Gradient Filter
This is a software version of a gradient neutral density filter but is totally controllable. If you are shooting a landscape and need to tone down the sky this is a perfect tool. There is no doubt you will find lots of other uses for this really cool new tool.

Vignette Control
In Lightroom 1.x the Vignette tool was designed to solve problems with certain lenses and filters but people wanted to use it for more creative adjustments. In the beta of 2.0 they added a post-crop vignette that great improved the vignette options, the problem was it was pretty easy to tell a picture that has been subjected to the post-crop vignette tool. In the final release of 2.0 the post-crop vignette tool now gets a roundness control and a feather control, these help you adjust the vignette to make it blend in much more naturally into the image.

Multiple Monitor Support
If you use multiple monitors, Lightroom 2.0 has some really nice multiple monitor support. This can not only help you when using Lightroom for your workflow but is very cool when showing images to a client.

Slideshow Improvements
One of my big complaints about the slideshow tool was that it would simply start on the first images and go forever. In Lightroom 2.0 you can now have opening and closing title pages, start the slideshow on the first title page and hit spacebar to stop it. When you are ready to continue, hit spacebar to begin the sequence. There is also a new checkbox to turn off the looping of the slideshow.

Camera Profiles
I have yet to play with this one, but a lot of people would click on the image in Lightroom and see an image they thought was really nice and them BAM! it would lose some level of saturation or sharpness, this happens because the first image you see is the embedded JPEG preview and then Lightroom switches over to the RAW file after it finishes loading. Adobe has added Camera Profiles so you can get that JPEG look right at the beginning and hopefully have to less corrections.

• http://www.adobe.com/products/photoshoplightroom/
  Price: Lightroom 2 is $299 or available as a $99 upgrade for Lightroom 1 customers.
• 30 Day Trial Available

Watch for a slew of new videos here showing off all of these amazing new features.

Camera Raw 4.5
Camera Raw for Photoshop CS3 has been updated to version 4.5.  It will provide exactly the same rendering obtained in Lightroom 2 but will not have all of the new controls provided in Lightroom 2.   Download Camera Raw 4.5 and DNG Converter 4.5 (Mac, Win)

Adobe® Photoshop® Lightroom® 2.0 eSeminar
Friday, May 30, 2008 1 PM PST

To View the Online Session, visit:
https://admin.adobe.acrobat.com/_a500201843/lightroomrickmiller

To Access the Audio Portion dial into: 1-866-705-2554 User ID: 797570

Correcting white balance with Adobe Photoshop Lightroom 2 from Kerry Garrison on Vimeo.

Flickr integration
Photoshop Express is now officially hooked up with Flickr. Now you can pull photos from Flickr into Photoshop Express, amp them up, then upload them back into Flickr to show them off to your vast and adoring fan base.

Embeddable player
Take your photo slideshows to the wider webified world with the embeddable player, which lets you post your slideshows to Facebook, MySpace, and other sites where your audience awaits.

Save as
Go version crazy with the new Save As feature. With Save As, you can keep the original shot of your best friend alongside all the ones where you gave him a tragically oversized head. (Your work is genius—why not save it all for posterity?)

Source: Photoshop Express

Adobe Photoshop Express Demo from Kerry Garrison on Vimeo.

Creating vignettes with Adobe Photoshop Lightroom from Kerry Garrison on Vimeo.

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Author: Kerry Garrison

Lightroom Digital Workflow from Kerry Garrison on Vimeo.

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