C. David Tobie: Adobe Releases Photoshop Touch for iPhone & Android
Mar 2013 12

Last year’s release of Photoshop Touch for the iPad brought iOS image editing to a new level. However, the camera in recent iPhone models are superior to those in the iPad, and iPhones are the tools most commonly in-hand for photography. So, lacking a phone version of Photoshop Touch meant being marginalized as a mobile editing tool.

Now Adobe as remedied that situation with new releases of PS Touch specifically for the iPhone and Android. The iPhone version of the app clearly uses the same engine and tools as the iPad version, with new palettes and organization to fit the reduced format of the iPhone screen. This provides a level of control, including powerhouse features such as selections, layers, and warp controls, that have not been available in most iPhone editing tools to-date.

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David Saffir: Thinking and Seeing In Black and White (Part 1 of 3)
Mar 2013 14

From a photographer’s point of view, “seeing in black and white” means being able to look at a color image or scene, and visualize its appearance in black and white.

This isn’t, generally, a matter of innate sensibility or talent – it’s a matter of understanding what to look for, and practicing until one becomes proficient. And why do this? The best reason, in my view, is that black and white images offer the photographer different, and frequently better, avenues for expression and communication.

Black and white images offer simplicity, without necessarily “dumbing down” the image. Images rendered in black and white are reduced to their graphic elements, eliminating the influence and distraction of color. The emphasis shifts to shapes and patterns, texture vs. smoothness, the extremes of light and shadow, and mid-tones. And with color gone, content is king!

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David Saffir: Thinking and Seeing In Black and White – Part 2 of 3
Mar 2013 19

This is an image I captured in New York City, late at night – the original as shot in color at ISO 400. I braced the camera against a windowsill. I could see from the start that tonal values were differentiated to the extent that the image would require little post-production work for a nice black and white effect.

In fact, the only significant things I did in post included pulling the end points toward the center in a Levels adjustment layer, and converting to black and white using another adjustment layer.

The deep shadows on the left, the dark parking area at top, the shadow on the right, and the dark street at the bottom provide a frame for the rest of the image. The midtone values of the sidewalk are a wonderful backdrop, with light texture providing a bit more depth to the image. The shadowy, blurred view of the pedestrians adds a bit of mystery – who are they, and where are they going?

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Be Our Guest at Photoshop World – Orlando, FL
Mar 2013 28

Be Our Guest at Photoshop World – Orlando, FL

Join us, April 18-19 at the Photoshop World Expo as Datacolor’s complimentary EXPO guest.  You will have the opportunity to learn about the must-have photography and Photoshop-related products, as well as get some free training by sitting in on the bonus classes on the Expo floor.

Visit Datacolor at Booth #412 to see what is new and exciting with the Spyder product line.  Informative product demos will be presented by our Datacolor team to help you to learn the ins and outs of color management.

We look forward to seeing you there!

Download your free Expo only pass here!

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Datacolor to Present at the Midwest Photo booth during Photoshop World – Orlando
Apr 2013 08

Join us, April 17-19 at Photoshop World to see a presentation by Greg Hollmann, Training, Education and Support Manager for Datacolor.  He will be speaking at Midwest Photo Exchange Booth #329.  Complementary show passes from Datacolor are available here.

Camera Calibration – Getting proper exposure, color, and focus from your DSLR
Wednesday, April 17, 2:00 PM
Thursday, April 18, 1:30 PM
Friday, April 19, 9:30 AM

Don’t forget to stop by and visit us! (Booth #412)

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Seán Duggan: Strategies for Non-Destructive Retouching (Part 1)
Apr 2013 16

Adobe Photoshop offers several key tools for retouching, such as the Clone Stamp, Healing Brush, Spot Healing Brush and the Patch tool. Other features that are invaluable for retouching include Content-Aware Fill, Content-Aware Scaling and the Content-Aware Move Tool. Although these tools can do an amazing job when you need to retouch and remove elements from images, how you use them is also an important consideration. In this article I’ll cover some essential strategies for structuring your file so that any retouching you do is flexible, adjustable and, most importantly, non-destructive to the underlying image.

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Seán Duggan: Strategies for Non-Destructive Retouching (Part 2)
Apr 2013 18

In Part 1 of this article, I showed the basic structure for keeping your retouching non-destructive by using separate layers. These can either be empty layers that are targeted by the Clone Stamp or Healing Brush tools, or area layers that are created by copying a selection of image data and making a new layer from that selection. I’ll conclude this article by examining how you can use this approach with additional flexibility for different types of retouching.

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David Saffir: Blending Macro-Images For Depth-of-Field
Jun 2013 04

One of the most intriguing tools in Photoshop is layer alignment and blending. One practical use for these is macro photography – you can create images that have depth of field that is nearly impossible to get in a single frame.

Why? Because a 105mm macro lens on a full-frame camera has depth of field of about 0.6mm at f/16 – in other words, a very, very thin slice. Combining multiple images with different focal points gives us – voila! … a merged macro image that should be completely in focus, front to back, near to far.

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David Saffir: Managing Dynamic Range In Post-Production
Jun 2013 06

I discussed capture management processes in the first two parts of this series. In this segment, I’ll review a method you can use to manage dynamic range in post-production, focusing on use of the white and black face of the SpyderCUBE.

The SpyderCUBE is fabricated from a spectrally-neutral hybrid resin, which is through-pigmented and is highly durable. The spectrally-neutral bit is very important; it ensures accurate color balance under any light, or in mixed light. One of the other things I particularly like about the SpyderCUBE is its 3-D design – it’s always easy to identify the primary light source: just look for the brightest face on the right or the left of the device.

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David Cardinal: Setting White Balance in Adobe Photoshop Elements using the SpyderCUBE
Oct 2013 22

As more and more photographers turn to Adobe Photoshop Elements for their image editing needs, it’s great to know that pro-quality tools like Datacolor’s SpyderCUBE can be used with it, as well as with its big brother Photoshop. Especially with the updates in Elements version 12, Elements is all that many photographers need to produce top quality work. The SpyderCUBE helps them make the most of their photo shoots by allowing accurate adjustment of white balance, as well as exposure and black level settings.

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