Firmware & Software

Adobe Photoshop Camera Raw 8.3 CC Release Candidate | Adobe Labs

The following new Features have been added in Camera Raw 8.3 for CC:

  • Whites and Blacks now support Auto Levels-like functionality via shift-double-click on the sliders.
  • Separate Auto Temperature and Auto Tint feature. Shift-double-click to invoke “auto temperature” and “auto tint” separately.
  • Ability to option-click shortcut in Synchronize, New Preset, Save Settings, and Copy/Paste (Bridge) dialog boxes. Option-click a checkbox to check that box exclusively. Option-click again to toggle previous checkbox state.
  • Set the background color of the work area. Context-click outside the image in the work area to select a background color from a popup menu.

New Camera Support

The following new cameras are now supported:

  • Canon PowerShot S120
  • Fujifilm XQ1
  • Fujifilm X-E2
  • Nikon 1 AW1
  • Nikon Coolpix P7800
  • Nikon D610
  • Nikon D5300 (*)
  • Olympus OM-D E-M1
  • Olympus STYLUS 1 (*)
  • Panasonic DMC-GM1
  • Phase One IQ260
  • Phase One IQ280
  • Sony A7 (ILCE-7)
  • Sony A7R (ILCE-7R)
  • Sony DSC-RX10 (*)

* Denotes preliminary support

Adobe® Photoshop® Lightroom® 5.3 release candidate

Adobe Photoshop Camera Raw 8.3 RC for CS6

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Fuji X-Trans Sharpening Presets for Lightroom | Thomas Fitzgerald

If you’re an owner of one of Fuji’s X-Trans cameras and you use Lightroom, you are either perfectly happy with the way the software handles the raw files or mildly frustrated at the way the Lightroom doesn’t seem to quite achieve the full potential of the X-Trans sensor. Unfortunately this has become a charged issue for some people, which is unfortunate, because I think that has prevented this issue form being properly resolved. I’m not trying to be controversial here, I’m just trying to help people. So if you don’t have an issue, then great, you can stop reading now! On the other hand, if you are a bit frustrated then I share your pain, and hopefully this will help. There’s something odd about how Lightroom processes X-Trans files. Despite a previous fix for the issue of smearing it still exists, and while it is not too bad at default settings, the files are a little soft, and the patterning becomes very apparent when you sharpen the files. There is also some weird thing going on where high contrast edges have a halo around them almost like it was embossed. I think this is what is causing the weird pattern like smearing when you turn up the sharpening. The other odd thing that I’ve found is that if you turn the sharpening off in Lightroom all together, the images look much softer than they do in other software when you do the same thing and turn sharpening off. It’s not just an over all Lightroom thing either though, as raw files from other manufacturers don’t show as big a difference when sharpening is disabled…..

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X-Pro1 – Replichrome Kodak B&W Film by Totally Rad | IK Photography

I have never processed a single roll of film, never. My last attempt at film, the snaps I shot on a roll is still stuck in the camera and have been for a while, I have no intention of doing jack with it, if I recall the film stock is Tri-X. I do however like the look of film as an artistic effect on digital images, simulating the look of old film stock using Plug-Ins such as AlienSkin can be a lot of fun. Every once in a while if the mood or image permits, I burn these looks to my photos. I have been an AlienSkin user for a while, it does what it does and quite well for that matter at least to my eyes and in comparison to other Plug-Ins out there such as VSCO which for some reason or another I never used, perhaps it is just the fact that I felt like in many cases I could achieve the same look with AlienSkin so I never bothered trying it, not to mention I don’t use these Plug-Ins that much to justify splurging on every Film Simulation Plug-In that touts being the closet to the real thing, like I said I use AlienSkin for the look I get not to actually replicate film stock exactly – in my opinion there is no such thing, sure these Plug-Ins are good or fantastic for getting close and that’s enough for me. Haven’t never shot film as already stated, who am I to say which or what is what in terms of how close to actual film? Just have fun with whichever you choose to use …..

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PhotoNinja für den X-trans Sensor | Mehrdad Abedi

PhotoNinja ist der erste externe RAW Konverter, der mir wirklich richtig gut gefällt. Ich habe es die letzten Tage vor allem in Bezug auf Details und z.T. auch Farben hin getestet. Das mit den Profilen will ich mir bei Zeiten auch genauer anschauen. Zum jetzigen Zeitpunkt ist PhotoNinja der erste RAW Konverter, der es mir Wert scheint, Adobes Camera Raw Konverter links liegen zu lassen und, dank der guten Integration in Lightroom, dennoch nicht meinen Workflow ändert. Allerdings kann ich verstehen, wenn man die Mehrkosten scheut, die sich zwangsläufig nach 14 Tagen bei weiterem Nutzungswunsch ergeben. Es ist natürlich kein Muss diesen RAW Konverter zu erwerben, aber aus Sicht eines x-trans Nutzers ist PhotoNinja eine logische Konsequenz. Ich kam mir die Tage immer wieder vor, als würde ich eine lange Zeit ungeputzte Brille endlich mal wieder reinigen, nur um erstaunt festzustellen, wie klar ich doch eigentlich sehen kann. Wir dürfen gespannt bleiben, ob Adobe hier sehr genau hinschaut und von dem picturecode Team lernt. Ein ganz dickes Dankeschön an die Entwickler von PhotoNinja!

Google Translater: (Ger -> Eng)

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Photo Ninja 1.2.0 with X-Trans support |

PictureCode just released version 1.2.0 of their very popular professional-grade raw converter Photo Ninja. This update comes with initial support for Fuji X-Trans cameras (X-Pro1, X-E1, X-100S, X-M1, X20). Note that highlight recovery, in particular, is not yet implemented for the X-Trans. Full change log is here. ….

My first impression (very subjective) is very good. Photo Ninja delivers nice colours and excellent details. Interface is easy to understand, plenty of controls and it runs really fast. I will do more testing over the weekend.

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Lightroom 5.2 New Features Now Available | Trevor Dayley

Lightroom released their lastest update today (5.2) which added some new features, addressed some bugs introduced in previous versions and added additional camera raw support as well as more lens profiles. Here’s a break down of what has been added and fixed.

New Features in Lightroom 5.2

  • A Smoothness adjustment slider has been added to the Detail Panel under Color Noise Reduction. This helps to reduce low-frequency color mottling artifacts
  • Refinements to the Spot Healing Tool: New Feather control – Auto find source method now works better for images with textured areas like rocks, bark, and foliage – Auto find source method now prefers source areas within the crop rectangle
  • Auto Exposure has been improved to be more consistent across images and across different image sizes.
  • Smart Preview size has been updated to 2560 pixels on the long edge.
  • Refinements to the Local Adjustment Brush: – Right Click (PC) / Control-click (Mac) on a brush adjustment pin to bring up a context menu to duplicate or delete – Control+Alt+Drag (PC) / Command+Option+Drag (Mac) on a brush adjustment pin to clone (duplicate) that adjustment……

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Adobe releases Camera Raw 8.2 and Lightroom 5.2 |
Digital Photography Review

Adobe has released Camera Raw 8.2 and Lightroom 5.2, as final versions of updates that were originally posted as ‘release candidates’. ACR 8.2 is designed to work with Photoshop CC but, as promised, is also compatible with Photoshop CS6. Both updates bring support for 16 additional cameras, including the Canon EOS 70D, Fujifilm X-M1, and Sony RX100 II, along with new lens profiles and bug fixes.  For users of older Photoshop versions, Adobe DNG Converter 8.2 is also now available…..

Fujifilm X-M1 now supported

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Don’t Sweat the Details but… – a non-scientific review of
Iridient Developer | Olaf Sztaba

When Fuji introduced the X-Trans Sensor there was great excitement in the photographic community. The APS-C sensor that could challenge full format cameras was something that hadn’t been done before. Indeed, the JPEGs from Fuji X-Trans cameras have been spectacular. For the RAW shooters, however, it wasn’t all roses. The RAW saga with the X-Trans Sensor started when Adobe issued its support for the sensor (I didn’t mention Silkypix since nobody wanted to learn this unintuitive software). Anticipation and excitement turned into a spate of cries and accusations. What happened to the details that are supposed to be present in the files of an aliasing-filter-free camera with a revolutionary sensor? They were simply not there for many. Then there was Capture One. Along with the support came a sigh of relief, as the files from C1 show a much better rendition of tiny things. All pixel peepers went berserk with 100%, 200% and __% comparisons between different RAW processors. As usual with the Internet, everyone saw something different but in general the majority crowned the C1 as the best bet for the X-Trans sensor files treatment. Then, almost out of the blue came a little known software, Iridient Developer. I have to admit that my early reaction was sceptical. If Adobe couldn’t do it, why would they do it? One weekend I decided to download a trial version of Iridient Developer and take a look. From the first I liked the simple, logical layout. I processed a few files and exported them to Lightroom. Then when nobody was watching I indulged myself in an orgy of pixel peeping. What a party it was! First on my agenda were some photos of dusty old trucks. The difference was clear. I could see every imperfection on the hood and tire marks I hadn’t seen before. In fact, the details I saw approached the details on the D800 files. Unbelievable! Grinning happily, I went back to the Iridient Developer site and bought the full version. More processing followed and after a few days of comparing the files with the C1 and Lightroom, my conclusion was in: This is the best processing software for X-Trans Sensor files if you are looking for razor-sharp details!….

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A Room with a Different View | Replichrome Film Emulation |
Patrick La Roque

In the small world of film emulation there’s an 800 pound gorilla standing in the corner: VSCO. I’ve never been shy about my use of VSCO Film on this blog and most of you probably know I’ve had an ongoing relationship with these guys for the past year or so, getting a chance at times to test some of their upcoming products. Here’s the thing: I really like what they do and I happen to think they do it extremely well. A success borne of quality IMHO. They’re also involved with the photographic community in ways that go beyond purely mercantile considerations which is all to their honor. When I received an email about the new Replichrome film emulation product from the folks at Totally Rad, I admit my initial reaction was… Meh. Yet-another-film-emulation-preset-package taking on VSCO. The fact that their PR email was rather aggressive in directly attacking them didn’t exactly make me feel warm and fuzzy either: I prefer products to focus on their own strengths and individuality. But then this probably highlights how entrenched VSCO has become in this sector. Still, given the complimentary download they’d sent me I felt it was only fair to try it out. So I did….

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Totally Rad Replichrome: A First Look | Thomas Fitzgerald

Up till now, when to comes to serious and accurate film simulation presets for Adobe’s Lightroom and Camera Raw, for the longest time there has really only been one choice. That choice was Visual Supply company, commonly known as VSCO. Its range of film presets are superb, and accurately match a range of common print, and more recently, instant and slide film stocks. But now there is a new player in the film simulation market. It’s a new product from an established name in the photo processing world. The company is Totally Rad, and they have been making actions and plug-ins for Photoshop for many years. Their new product is called “Replichrome” and it is the result of nearly three years worth of work. They carefully profiled cameras and film by shooting negative and scanning it, and then using that to create colour profiles for various digital cameras so that it matches the scanned negative. The result they argue, is an incredibly accurate simulation of traditional print film for digital photography. So what’s it like in reality? I’ve been playing with it over the weekend and I have to say, it certainly seems accurate. It’s been a while since I’ve shot film, and I can’t definitively judge how close it is to actually shooting film. to do that I would have to actually go out and shoot the same scene on negative and digital and compare the processed results to the film. But it feels right. It looks like film, and as far as your audience is concerned, at the end of the day that’s all that matters……

Nice Infographic: The Making of Replichrome

Great Replichrome video review by FadeandBlurred on youtube:

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