17th April 2018
Photo editing has been something that I have been doing since my first-ever photo scan in 1998 (I believe it was in June of that year but cannot be completely sure nearly twenty years later). Since then, I have been using a variety of tools for the job and wondered how other photos can look better than my own. What cannot be excluded is my preference for being active in the middle of the day when light is at its bluest, as well as a penchant for using a higher ISO of 400. In other words, what I do when making photos affects how they look afterwards as much as the weather that I had encountered.
My reason for mentioning the above aspects of photographic craft is that they affect what you can do in photo editing afterwards, even with the benefits of technological advancement. My tastes have changed over time, so the appeal of re-editing old photos fades when you realise that you only are going around in circles and there always are new ones to share, so that may be a better way to improve.
When I started, I was a user of Paint Shop Pro but have gone over to Adobe since then. First, it was Photoshop Elements, but an offer in 2011 lured me into having Lightroom and the full version of Photoshop. Nowadays, I am a Creative Cloud photography plan subscriber, so I get to see new developments much sooner than once was the case.
Even though I have had Lightroom for all that time, I never really made full use of it and preferred a Photoshop-based workflow. Lightroom was used to select photos for Photoshop editing, mainly using adjustments for such things as tones, exposure, levels, hue and saturation. Removal of dust spots, resizing and sharpening were other parts of a still minimalist approach.
What changed all this was a day spent pottering about the 2018 Photography Show at the Birmingham NEC during a cold snap in March. That was followed by my checking out the Adobe YouTube Channel afterwards, where there were videos of the talks featured every day of the four-day event. Here are some shortcuts if you want to do some catching up yourself: Day 1, Day 2, Day 3, and Day 4. Be warned though that these videos are long in that they feature the whole day and there are enough gaps that you may wish to fast-forward through them. Even so, there is quite a bit of variety of things to see.
Of particular interest were the talks given by the landscape photographer David Noton who sensibly has a philosophy of doing as little to his images as possible. It helps that his starting points are so good that adjusting black and white points with a little tonal adjustment does most of what he needs. Vibrancy, clarity and sharpening adjustments are kept to a minimum, while some work with graduated filters evens out exposure differences between skies and landscapes. It helps that all this can be done in Lightroom, so that set me thinking about trying it out for size, and the trick of using the backslash (\) key to switch between raw and processed views is a bonus granted by non-destructive editing. Others may have demonstrated the creation of composite imagery, but simplicity is more like my way of working.
It is confusing that we now have cloud-based Lightroom CC, while the previous desktop version is called Lightroom Classic CC. Although the former offers easy dust spot removal and other features, I prefer the latter because I do not want to upload my entire image library, and I already use Google Drive and Dropbox for off-site backup. The mobile app is interesting since it allows capturing images on mobile devices in Adobe's raw DNG format. My workflow is now more Lightroom-based than before, and I appreciate the new technology, especially as Adobe develops its Sensai artificial intelligence engine. Because Adobe has access to numerous images through Lightroom CC and Adobe Stock (formerly Fotolia), it has abundant data to train this AI system.
4th April 2007
After a session with Photoshop CS2 and a preview of CS3’s capabilities, I went and got myself a permanent copy of Elements 5 after seeing the similarities between Scott Kelby’s books on Elements 5 and CS2. In any event, I fail to justify the cost of CS2 with CS3 being imminent and the attractions of Elements 5 were too much to ignore. I may yet go for CS3, but I’ll stick with Elements 5 for now.
The similarities between the different members of the Photoshop family are eerie. Once I got used to finding some things in different places from where they are in CS2, I quickly found myself at home in Elements. The biggest miss that I found was the lack of an adjustment layer for editing curves. Otherwise, everything else is as I would hope to find it, and the sliders for curves adjustment in Elements make up for the absence of an associated adjustment layer. Bicubic resampling, an enhancement since Photoshop 7, is as per CS2 and my new workflow worked without too many changes. I took advantage of Kelby’s advice when using Camera Raw and used the Adjust Sharpness feature in place of the Unsharp Mask to get what I perceive to be good results. Everything seemed to work fine for the test digital photo that I was processing for my other blog. I am not totally abandoning my examinations of Elements’ big brother, though; the smart layers feature looks interesting, especially for non-destructive sharpening.
16th March 2007
We have seen the beta come out, an unprecedented move for Adobe, and now we are hearing about the new professional editions of Photoshop: Photoshop CS3 for digital imaging and Photoshop CS3 Extended with tools for processing digital video. Together with Photoshop Lightroom for digital photography and Photoshop Elements for the consumer market, it appears that Photoshop is moving from a single application to becoming a big family of them. Adobe is hosting an online launch for the CS3 suite on March 27th so the appearance on the market of the new Photoshop must be very imminent. In the light of this, I think I’ll hold off on a decision to purchase either Elements 5 or its CS2 until I have tried out the latter’s successor.
Update: I’ve just perused both .Net’s and Advanced Photoshop’s initial appraisals of Photoshop CS3. Since they seemed impressed, it should be worth a look then. Another tempting idea is to have a taste of Lightroom, so I went and downloaded the 30-day trial version. I may well have a go with it in my own time; I’m not wanting to install it and let the 30 days run out before I get to use it in anger.
14th March 2007
If you ever go into a bricks and mortar newsagent and peruse its shelves with an eye out for references to data imaging software, you might find Adobe’s Photoshop as predominant there as it is in the digital imaging world. And the same trend seems to continue in to the bricks and mortar bookshops as well. Online, especially within the vaults of Amazon, it is not as much a matter of what gets stocked as what gets published and my impression is that the bias, if that’s the right word, continues there. That said, I didn’t realise until recently that Elsevier’s Focal Press has been covering Paint Shop Pro, once branded the poor man’s Photoshop, from at least version 7. That discovery, if it had come earlier, may have made a big difference to how I have been using PSP. That said, I have seen some opinions that PSP is easy to use and that may explain the lack of attention from publishers. Future Publishing did put out a monthly guide to PSP but that seems to have disappeared from the shelves and it does lend weight to that argument. Or it could have been Corel’s purchase of JASC that changed things…
Of course, without books and magazines, it is not as easy to see the possibilities and it is here where Photoshop really scores. The digital photography revolution has ensured the software’s escape from the world of computing and the digital arts into photography magazines and beyond. These days, even conventional photography titles feature Photoshop how-to articles. In fact, such is the level of digital content in titles such as Photography Monthly, Practical Photography and Outdoor Photography that you hardly need to pursue the specialist digital photography titles at all.
Speaking of photography, this is and has been my main use of digital imaging technology, be it the scanner that I use for digitising the output of my efforts in film photography or processing RAW files from my digital SLR. I have been using scanners since 1998 and am on my second, a CanoScan 5000F. The colour rendition in the output from its predecessor, a UMAX 1212U, deteriorated to the point where a replacement needed to be sought. As it happened, the Canon proved to be light years ahead of the UMAX, even with the latter operating properly. Incidentally, my first scanning outing was in the then current version of Photoshop (I booked some time on a scanner at the graphics centre of the university I was attending at the time and sneaked in the scanning of a photo with the journal graphic that I needed to do) - a limited affair, it has to be said - but I then reverted to things like Corel PhotoPaint and Paint Shop Pro. And PSP was what I was using in the main even after encountering the copy of Photoshop Elements 2 bundled with my EOS 10D. Elements’ cloning capabilities did tempt me though and I did acquire a Focal Press volume on the application but I somehow never took it further.
At the end of last year, Corel and Adobe launch new versions of PSP and Elements, respectively. That got me tempted by the idea of giving the whole business another look, this time in detail. My look at PSP XI regrettably suffered from the lack of time that I could devote to it and seeing what a book on it might have to say. I had more of a chance with Photoshop Elements and came away impressed with the way that it worked. Since then, I have been making my way through Scott Kelby’s latest Elements book and the ideas are building up. At the same time, I have been making good use of a Photoshop CS2 try-out and I am on the horns of a dilemma: do I splash out on CS2, do I get Elements 5 or do I await the now imminent CS3? You’ll notice that PSP doesn’t feature here; the amount of literature pertaining to Photoshop simply is too much to ignore and I have loads more to learn.
28th February 2007
Having exhausted the trial time on Photoshop Elements 5, I am now having a look at its big brother, Photoshop CS2. That has got me thinking about Photoshop books so that I become more of the possibilities and how to use them. Having a Safari subscription as I do, that naturally became my first port of call, and I seemed to find two that answered my needs: both are by Scott Kelby; they now lie on my Safari bookshelf: The Photoshop Elements 5 Book for Digital Photographers and The Photoshop CS2 Book for Digital Photographers. Even so, I am tempted to get a dead tree version of one of them and that presents a chicken-and-egg dilemma: the books could help choose which software to buy and the software dictates which of them will be the more useful. That said, I suspect price and features will swing it the way of Elements 5; paying over £400 for software whose capabilities I may never need does not sound financially sensible.
Update March 5th, 2007: Now, I have got my hands on the dead tree edition of Scott Kelby's The Photoshop Elements 5 Book for Digital Photographers as well as Brad Hinkel's Focal Easy Guide to Photoshop CS2. Now for some reading...