Apple products: love them or not, there’s no denying that they’ve made a tremendous impact on photography today. If you don’t own an iPhone, chances are you most likely own a Mac. If you own neither then you’re in more of a minority than you’d think. Considering how important the company’s become to the photography world in general, the news that came out of Apple’s WWDC keynote today is set to make another mark in how many of us deal with our work. As I’m writing this post, Craig Federighi of Apple is wrapping up the announcement of the new iOS 8. Both the mobile operating software, along with the new update to Mac OSX, were both just recently introduced at the keynote, and the changes they’re bringing to how we work with photos on our Apple devices are far overdue.
If you’ve been reading my articles for a while, you already know two very important things about me and my approach to photography. The first– getting it right in the camera– is certainly not unique, but I truly believe that a unicorn loses its wings and the Earth briefly stops rotating on its axis every time the words, “I’ll fix it later in Photoshop” pass someone’s lips. The other has become a bit of a mantra in my photography classes– Photoshop is a tool, not a crutch. A bad photo is a bad photo– no amount of Photoshop is going to change that. But working a little bit of Photoshop magic can, in fact, bring that extra creative dimension to the work if used carefully. When I look at a photo, my first reaction should be, “Nice image.” It shouldn’t be, “Nice editing.” Having said that, however, I recently learned a couple of easy tricks for adding light to almost any scene in Photoshop.
I just got an email confirming my press registration for this week’s Photoshop World Conference and Expo, and I’m actually fascinated by the notion of an annual convention built around a computer program. On the other hand, I suppose I shouldn’t really be all that surprised. While there are other editing options available, Photoshop and Lightroom have pretty much become the standard by which all others are judged. And let’s face it– to a certain extent we’re all a bunch of geeks. We obsess about our cameras, lights, and other gear, so why not that important final link in the chain– the software that puts the finishing touches on our vision? In fairness, all of this quasi-philosophical rambling comes on the heels of a busy weekend of shooting, combined with an extraordinarily short turnaround time on the editing. Three days of shooting ended at 8:00 last night and the images were delivered to the client at 6:00 this morning. If shown as a mathematical equation, my current state would be probably be something like:
(Creative Overload + Sleep Deprivation) ÷ Caffeine Intake = Stuff I Wonder About
Slowly, but surely, the worlds of cinema and photography are abandoning film as a medium. In the consumer market, it’s arguable that film is already wiped from existence as a business; film is hard to find and higher in price as a result because of the small market that still demands it. In cinema, it’s endangered. A decent amount of directors still stick to it, but the production companies need to be ready for the budget cut the cost will take.
The problem is that there’s still an interest in film photography, but it simply takes too much effort to pursue for the general consumer. At the end of the day, however, it’s the vintage feel film gives that most people would like to emulate. VSCO‘s been offering solutions for that for a while now. They’ve been selling plug-ins for Adobe Lightroom, Adobe CR, Photoshop CC, and Aperture; each plug-in comprises a variety of filters that literally emulate different types of film. As weird as that sounds, it works. VSCO’s great at what it does, and they just released the newest addition to their film packs yesterday.[Read More…]
I don’t think there’s a whole lot of debate over the premise that Photoshop has become the gold standard in photo editing software. I’m pretty sure that my earliest use of Photoshop goes back to Version 3 or 4. Now deeply entrenched in CS6, I’ve decided to sit tight for a while. If I actually stopped to think about the relatively small percentage of PS’s full functionality that I actually use on a daily basis, I might also have to stop and ponder why I’m not still using an earlier version. Features have obviously evolved over Photoshop’s lifetime, but much of my workflow remains the same. So, in the absence of some huge development that I just can’t ignore, PSCS6 and I are doing just fine together for the time being. Also, while I see the potential benefits of The Cloud– immediate updates, etc.– there’s still a part of me that remains more than just a little pissed off about the new subscription format. There seems to be a new deal every time I turn around, and nobody seems capable of giving me a straight answer to the question of how much it costs when the discount period comes to an end.
It would seem that I’m not alone.