Adobe’s eSeminars

This morning, I took part in a free, hour-long CS4 for Photographers class. Using hi-speed Comcast web technology, Adobe broadcast their first eSeminar Live using Adobe Flash Player. This one is on Cs4; Adobe plans to have 3 additional Connect Pro Meetings in the next month or so. You can find the info here.

And, yes, after working hard on the reinvigorated laptop for several busy days, I am watching Adobe live, listening to their intro Beethoven on it right now …

After synchronizing Flash Player and determining connection speed, when Connect Pro comes up, it takes Internet Explorer 8 over, creating a full screen (Argh…). CTRL-ALT-DEL lets me log onto Task Manager to get the Start menu back ~ so I can do other things while waiting for the extravaganza to start. Ahh, Beethoven…

Bryan Hughes Bryan Hughes began the session a few moments after 1000 Pacific time – I could actually post these remarks on Google Blogger as I write – But I’d rather watch and listen to Bryan…

Here’s the Most Amazing Part…
Bryan’s composite pano image above is the most amazing thing I’ve ever seen CS4 do…
Bryan took 2 different hand-held panos. When I first saw the original images, they were in no particular order in Bridge. That’s to say “They were mixed together”. He merged them (without stacking – 2 sets of different pano images), and displayed them on screen.
Result: Both panos appeared - separately, mind you - from the input melee...
I simply did a screen capture to commemorate this unique CS4 feature (the image above)…
Now, that’s quite a stunning technology feat!!!

Some 50+ minutes in, somewhat saturated, I had learned several Tips and Tricks which I would not normally find in textbooks or on DVDs.

I encourage you to register with Adobe and watch over the next few Thursdays (July 23 - Aug 30) as their eSeminars whet your appetite for ever sharper Lightroom, Bridge, and CS4 workflows…

Thanks, Bryan and Adobe…

Rave - Strong, Intuitive Tone Mapping Tools in CS4

New tools in Lightroom 2 and Photoshop CS4 are real time savers.  I'm thinking about Tone Mapping with Clipping Points, Targeted Adjustment Tools, and the Adjustments Panel.

CS4 Adjustments Curves Clipping Point
This image shows red channel clipping.  After checking Show Clipping, by moving White Point slider to the left, I deliberately over clipped the area.
When real clipping was set to 235, underlying red and orange arch colors were more dramatic.  217 blew out some of the red channel.

What is Tone Mapping?
It’s how to look at an image and "listen" to it; how changes to the delicate matrix of light and shadow can transform drama and mood in the meaning of an image; how to sculpt perspective with light and contrast; and how to imagine gorgeous color and tonal changes to best express your vision.
Tone refers to the level of brightness.  Common terms describing tonal values are shadow, mid tone, and highlight brightness categories.
Contrast - simply put, contrast is difference between tonal values.  The greater the difference in brightness between tonal regions, the more contrast.
Clipping – tonal values recorded as either total black or total white.
So, let’s create a simple workflow which listens to our need for speed and accuracy as we Tone Map images?

Clipping Points
Our first step is to use Clipping Points of Curves dialog to set neutral Highlights and Shadows.  In CS4, click Adjustments panel, open Curves dialog, then click on the Expanded View list (upper right).  Check the 5th item Show Clipping for Black/White Points.  I know; it was a little easier to find in CS3 - you simply checked a Show Clipping box.
The horizontal histogram scale has two triangular points; on the left, the Black point, on the right, the White point.  When you move either point towards the middle, your image visually changes to begin showing when global clipping occurs.  This clipping image may have up to six colors, primary RGB or secondary CYM. 
You just decide when clipping starts and how much, if any, you want as you neutralize shadows and highlights.




Targeted Adjustment Tool
But, we're not done quite yet… let's move to the talented, localized Targeted Adjustment Tool!
First, we must warn you; this tool doesn't work as a single feature.  Rather, it works on Curves, Hue, Saturation, Lightness, and Black-and-White Adjustments.  Because it is selective, it only changes these effects for colors under the cursor.  WOW... that's more than a triple threat!
The icon for the TAT tool is a hand with forefinger pointing upward.  Next to the forefinger is a double headed arrow; it suggests you move the cursor up-and-down to independently modify contrast (Curves).  For color, intensity, and brightness, the double headed arrow is horizontal; move the cursor right-or-left (Hue, Saturation, Lightness, and Black-and-White). 
As you move the cursor, contrast or color may change - becoming stronger or weaker.  In HSL and B/W situations, one or more of the color sliders may react to your cursor motion.  This indicates more than one color is involved under the cursor.

Most of this discussion deals with CS4; the Lightroom 2 TAT tool icon performs the same functions.

Rant - Textbooks with Poor Indexing Using Different Terminology
While Clipping Point and TAT aren't gorgeous glamour tools, their early workflow usage is quite important.  Both tools are sort of buried in several functions of the Adjustments panel.
When asked about upgrading Photoshop, one of my tenant's is, "Get the best text to explain the complexity of your brave New World."  By best, I mean a text which clearly and explicitly explains where and how Adobe has adapted each of the new features.  I do not mean a users manual.
I have a Photoshop library of detailed works from Fraser (CS3), Kelby (LR2), Eismann  (CS3), and Evening (CS4).  Unfortunately, a methodical, by item approach to reporting Photoshop doesn't naturally group powerful tools with a similar, yet pervasive function. 
Some books contained a full index; Evening clearly didn't think to carefully guide you with a complete, in-depth index.  Some books treated these tools in more depth than others.  Some writers used English with both greater clarity and higher precision...
The result can be a lot of time-consuming digging.

For advanced Photoshop users who seek more than a ‘cook book’ approach to learning new and unique workflow, I suggest, if possible, you preview potential library entries prior to buying.  Make sure your new addition meets all your criteria for a new, exciting learning path.

Meanwhile, why not take a look at Clipping Points and TAT tools to smoothly speed your workflow!
Enjoy...

Bisti : Small Scale

Pharaoh’s Saddle
©Joe Bridwell
Most geologists learn to look both at the land where they're walking as well as at their surroundings. This lifelong habit provides so much incredible delight in the multi-faceted Bisti.
Delicate strata of interleaved white and gold; sandstone caps; dark broken rock fragments from nearby; all seem to complement the Sun's stark shadow. Just components in water's consummate artistry as it's carved such Bisti microcosms...

Surreal, Ever-Changing Character
The Bisti is an amalgam of characters - almost like a stage play. Walk here and see this character; walk there and see a completely different character. So, just simply finding your true Bisti can be a challenge.
When you add ever changing light, you begin to have time's very slow kaleidoscope effect. All right, you ask, "What does kaleidoscope effect mean?"
Practically speaking, it's not a difficult task to see each of the Bisti's spatial characters. Just get out there, walk around, and remember where you went.
Luckily speaking, it is a rather difficult task to find the Bisti's enhanced character as light changes. Of course, this truism represents any other natural wonder.

Exploration vs. Artistry
To figure out where interesting hoodoos are, you need to trek the Bisti during daylight. Be careful; it can be incredibly hot in the summer. Beyond that, you need to imagine what each of these spectacular sights might look like under specific, yet differing lighting conditions.
To become a Bisti artist, you need to know how to get where you want to be either before sunrise or near sunset. Magic Hour, that hour around dawn and dusk, may require you to shoot after the Sun's gone down. In either case, the artistry lies in the often spectacular combination of right light and surreal hoodoo.

But... this process offers an artist's strongest hope. Such persistent choices increase your lucky odds. Such choices put you in the artistic position of images.

Bisti Treks
Click to see other Bisti Images
Oh My…!
Surreal
Sphinx
Solitude

Enjoy…

Proud CS4 Owner – Breakin’ It In

I ain’t no April Fool…

But, I have just spent the last several hours installing Adobe Photoshop CS4. The update is on a DVD; 20 minutes to upgrade. CS4 comes with Adobe Camera Raw 5 …to update from DVD to present configuration, you will need another 123 Mb including ACR 5.3. Fortunately, it can be an automatic download of ~ 6 minutes (industrial Comcast). Simply ask CS4 to update software and sit back til it’s done…

CS4 Setup

Then there’s setup for your prior choices of workflow. For example, bringing in old actions and preferences. I’ve learned to set aside these special features in subfolders for each Photoshop version. Then, its simply a matter of renaming those folders and adding them in the proper place for CS4.

Learning the Ropes...

CS4 has a What’s New in CS4 dropdown menu. It turns new menu features blue so you can quickly go thru to get acclimated. Then, you find Photoshop Online in the Help menu; it provides you some 45 minutes of Julianne Kost _Adobe Evangelist_ showing Intelligent Scaling, Alignment, Lightroom 2, Adjustments and Masks panels, ACR 5, GPU Acceleration, and finally, Bridge in 6 remarkable videos.

Slaver - Saliva running from the mouth: drivel, drool, salivation, slaver.

View of Adobe’s Available Time-Saver (Not Slaver) Videos

Now, why would I use that particular term…

Because, a quick review of these Flash Videos quickly leads you to the meat of new CS4 workflow! Beyond that, their intro statement said you could get the same workflow done in HALF the normal time. AND, sharply reduce your mouse travel… WOW!!!

Then I saw Julianne take 3 high dynamic range exposures and auto-blend them in CS4 – producing a balanced HDR image. Unfortunately, she did not take them to the level of additional Tone Mapping, but such workflow is way simple compared to the old Photomatix approach.

… simply didn’t take long before I was slavering!

Julianne’s other cogent tips (see list above) are quickly presented, well ordered, and highly provocative. It would make a very length blog post to enumerate each one in serious detail so you could even begin to get them at your digital finger tips…

I would recommend viewing each of these videos several times, taking extensive notes, then inculcating these exciting concepts in your own substantially improved workflow.

So, What’s Your Digital Future?

I’ve talked to several members of ELCC who are considering migration to CS4. My advice – if you can workflow in half the time, with much less mouse movement, and have better image control - then what are you waiting for? Take a look at these videos, get your copy onboard and running, and begin some marvelous adventures in your own photography.

Enjoy…

1st Impressions ~ Photoshop CS4 for Photographers

”Pixel Genius is a company I have direct involvement with and is thus mentioned several times in the book.  Pixel Genius was the brain child of Jeff Schewe, Bruce Fraser, Mike Skurski, Andrew Rodney, Seth Resnick and myself - we produced plugins for Adobe Photoshop and Photoshop Elements.”  

Martin Evening, Oct., 2008.

Now, that’s truly walkin’ in tall cotton… and it’s clearly shown in Martin’s exciting new book!

How Have I Learned Photoshop?
Real-World Adobe Photoshop Camera Raw CS2 & CS3 (Fraser and Schewe) were very important for my learning steps in Photoshop.  I also bought Photokit Sharpener from Pixel Genius.
With advent of CS4, I questioned the need to get RWAPCR CS4.  With Evening's new CS4 book (it's been in my library ~ 36 hours; I’m scoping out image sequences), I hoped it would contain most of what I could've learned from RWAPCR CS4.  However, Evening only discusses changes through ACR 5.0. 

Evening’s New Book
For me, its 2 hours of movies about new features which emphasize why CS4 is a significant upgrade.  After acclimating to Kelby’s well-written Lightroom 2 book, these movies quickly show me what I need and where to go in the book for continued growth into CS4.  To hedge slightly, examples where Evening might use 7 curve adjustments with associated masks are rare.  I'm betting that an in-depth, penetrating, and more informative 'pixel mafia’s' influence will also continue to dominate, step-by-step, in Adobe Photoshop CS4 for Photographers - Ultimate Workshop, Schewe and Evening.
With Lightroom 2 experience, I purchased CS4 to use Adobe Camera Raw’s 5.X local adjustment brushes, content aware scaling, and advanced masking.  I'd read early but limited reviews of What's New in CS4.  Last night's brief perusal of the Adjustment Panel convinced me Evening is entitled to be among 'pixel mafia'. 
Adjustment layers are now managed via an Adjustments Panel. This new setup is a huge deal!  Doing away with modality of Adjustments dialogs really sings… modality means the seemingly prolonged series of keystrokes to make a CS3 curve change occur.  Now, you can now add adjustment layers with immediate access to adjustment settings.  Imagine you have three different adjustment layers applied to an image. As you tweak adjustments for an adjustment layer you can also go directly to Layers panel and adjust layer blending mode. The scope to work faster and more efficiently will definitely enhance your workflow, leaving more time to be out shooting.

Hot Stuff
For me, some of the meat of this book lies from pages 292-310 in Image Editing Essentials.  Evening covers Curves Adjustment Layers, Choose a Larger Sample Size, and Targeted Adjustment Tool.
When you click on the targeted adjustment tool and move the cursor to the document window, you can parametrically modify the curve.  What does that mean?
If you drag the mouse pointer up-and-down, it will simultaneously move the newly added curve point up and down.  So, you can easily make specific tonal areas lighter or darker.  When you've increased the sample size, this makes an incredible slider application for adding local, nondestructive contrast right on your image. 

Mask Panel
Now, for some of the potatoes!  Pages 330-337 provide a brief introduction.  Although there are eight controls on the mask panel, for fine masking of windblown hair, etc., the newly enhanced Color Range is perhaps most important.  While not as powerful in CS3, a reinvigorated color range now enhances your capabilities.  Evening shows a challenging long exposure of light reflection on a picture of tunnels.  The color range mask creates a very good control.
A sailing ship mast against the azure sky, with its complex guylines and halyards, is way more interesting!  On the video and pages 440-443, Evening takes Color Range masking to a limit.  By compositing two images, he places dramatic clouds behind the mast - leading you to wonder at the seeming simplicity of such a complicated composition.

Attention to Lightroom 2

"Ever since Adobe Photoshop Lightroom made its first appearance as a beta product, I've been using Lightroom in studio and on location.  I now use it all the time to import images from cards as well as when shooting in tethered mode.  I've stopped using Bridge completely at the import stage.  Lightroom cataloging features allow me to search and navigate master original files." 
After making this statement, Evening then describes an import workflow for Lightroom in 4 pages.  Otherwise, he devotes many pages to Bridge, which he admits was klunky for CS3.

There Are Always Cons...
I like to scan a book before I start diving in to read.  To do that, I always want an accurate Table of Contents.
While searching for Targeted Adjustment Tool, let me put this in a simple way, "Martin, you and your guys didn't put a lot of attention to a really up-to-date Grade A table of contents.  I spent a couple of hours waffling around before I finally settled down to just read the book - rather than quickly going to the new areas which would enhance my growth."
At 677 pages – this book’s like a 2nd hand 5# weight (actual – 3.5#).  So, while inculcating exciting insightful tidbits, you’re also strengthening that throwin’ arm.
BTW – better have a rectangular magnification glass; some of the images from Photoshop are difficult to read.

Seriously…
Pathways of Light contains a section called Brain Food.  Brain Food is inspired by a simple fact; without a good book describing how to use it, new software can really be a real p__ i__ t__ a__ to learn.

Adobe Photoshop CS4 for Photographers has become my choice to learn CS4... there is a lot of in-depth information I did not cover.