This morning, Adobe shared a sneak peek of the power of Adobe Camera Raw coming soon to Photoshop on the iPad.
From DNG to Apple ProRAW, users will be able to import and open camera raw files, make adjustments like exposure and noise, as well as take advantage of non-destructive editing and auto-adjustments in raw files – all on the iPad. You’ll also be able to import into PSD as an ACR Smart Object.
The news comes after Adobe announced back in August 2021 that the Magic Wand Tool & Healing Brush would be added to Photoshop on the iPad.
Click ‘play’ on the video above to learn more about the new Camera RAW options.
Should photographers sell their unedited RAW files to a client? Is there any benefit in doing so? These questions are discussed in this eight-minute video from David Bergman and Adorama.
The idea of handing over the RAW files has been debated before and at length. One thing that Bergman clears up in this discussion is that oftentimes when a client is asking for the RAW, they don’t actually mean the uncompressed .NEF or .CR3 files the camera produces, but rather the full resolution unedited JPEG as usually most non-photographers don’t have access to RAW processing software like photographers do anyway. The clients may simply want these files because they think the photographer isn’t delivering the highest resolution files possible for whatever reason.
Bergman goes on to say that creatives should have a discussion with our clients about this to find out exactly what they are looking for and detail how the editing process is done so they are reassured that they have received the highest resolution image that they paid for.
If, however, they actually are asking for the RAW files, should photographers be willing to discuss handing them over? And if so, is there any benefit to selling them to the clients?
Bergman opens this discussion with the first real clear and concise answer, and that is “yes” because of the income opportunity. The key here is to be sure to price unedited RAW files at high enough of a margin to not lose out on any potential income from print sales, since technically speaking, the client could create prints on their own with those original files.
Asking a photographer to hand over a memory card, USB, or DVD of raw images is akin to asking an author to present you with their book in manuscript format: unedited, unformatted, and including the paragraphs and chapters that didn’t make it.
But creatives are often hired because of a particular look and style they can produce and often times that requires at least some minimal retouching and edits to achieve. Photographers have to ask if they want their unedited images out there without their name attached to it.
For people like photojournalists, there is likely very minimal editing involved and so in that case, it may not be much of an issue. However, for fashion photographers and conceptual artists, even if they were to put in as much effort as possible to get the image as close to the envisioned result in-camera, there is likely a lot of time spent on post-production editing every little detail to get the specific style. The last thing these photographers will want is their brand associated with an unedited and unprocessed image, let alone one that may have been altered and retouched by someone giving the shot a look and feel that is very far from the stylization they want to be affiliated with their name. In these cases, even though it is possible to earn much more money selling the RAW files to the client, Bergman still votes “no” on selling the unedited files.
Author’s take: Personally, I tend to agree with Bergman’s point of view on the matter. Even though there is a possible large financial benefit in just selling the RAW files after a shoot, it would feel far too “unprofessional” to hand them over to someone with the expectation of my name attached to it.
In this photo-editing masterclass, Martin Evening shows you how to add contrast, clarity and Graduated Filter adjustments in Camera Raw.
Martin Evening has a background in advertising and landscape photography. He is also well known for his knowledge of Photoshop and Lightroom, plus books on digital imaging. See www.martinevening.com.
Eilean Donan Castle by David Kirkland
David is an architect and founding principal of Kirkland Fraser Moor, an award-winning practice noted for its innovative design. He is also a teacher and social innovator, but photography remains his long-held passion. www.davidkirkland.art.
Eilean Donan Castle is an unmissable destination for lovers of the Scottish landscape. The castle dates back many centuries, although the building you see today is mostly the result of more recent 20th-century renovations. David writes: ‘Running a busy architectural practice does not afford me the time I would like to spend exploring my photography.
Eilean Donan, before
The year’s highlights tend to be a week’s break to head off into the boondocks – the more desolate and wilder the better. I gravitate towards the Scottish Highlands and find the Isle of Skye particularly appealing. The journey west passes Eilean Donan Castle near Dornie which is very photogenic, particularly when the grey clouds part.’
I liked the way David chose to process this photograph. Therefore, in the steps below I have attempted to match that as closely as possible. I mainly wanted to recreate the feeling of a shaft of sunlight hitting the castle, contrasted against the dark moody sky in the background.
Eilean Donan, after
Graduated Filter adjustments
The Graduated Filter adjustments can be used to add linear gradient localised adjustments, which you can edit by dragging the boundary handles. You can also use the Brush Edit mode to add to or erase a Graduated Filter adjustment.
These days I now prefer to use the Range Mask options at the bottom to refine the extent of a filter adjustment. For example, when editing this photo I applied a darkening adjustment to the sky, which I edited by selecting the Color Range Mask option. Using the eyedropper tool to sample the sky colours helped target the adjustment to the sky only.
How Martin used Camera Raw to add contrast and clarity
1. Add Contrast
Opening the photo in Camera Raw, I went to the Basic panel to apply tone adjustments: I needed to adjust the Whites and Blacks sliders to optimise the tone contrast. I also dragged the Shadows slider to the right to lift detail in the darker areas.
2. Add Clarity and Texture
The main focus of attention in this photograph is the castle. In this step I zoomed in close to a 100% view and added more Texture. This helped emphasise the detail in the stonework. I then added a small amount of Clarity to add midtone contrast.
3. Reduce the Vibrance
There is a saying ‘If you don’t like Scottish weather, wait 30 minutes, and it is likely to change’. Much of the time Scotland can be dull and overcast, which can be a nice light to work with. Embracing the flat grey atmosphere in this scene, I chose to reduce the Vibrance.
4. Optically correct the image
To make the image as optically correct as possible, I next went to the Optics panel, where I clicked to enable Remove chromatic aberration and enabled ‘Use profile corrections’. This should auto-select the correct lens profile based on the embedded EXIF data in the image.
5. Add Graduated Filters
It was now time to apply localised adjustments to add light and shade to the photograph. To start with, I added a couple of Graduated Filter adjustments to darken the sky. I then added a graduated filter to the lower section to darken the foreground as well.
6. Add a Radial Filter
Finally, I selected the Radial filter tool and added a Radial gradient adjustment on top of the castle. The idea here was to lighten it slightly, add a little more local texture and boost the colour saturation. Just enough to make it pop out a little more.
Submit your images
Submit your images to see your photo here and for a chance to win Martin’s new book. Email submissions to firstname.lastname@example.org with “Evening Class” in the subject line.
DxO has announced the version 1.5 update of the AI-powered RAW processor software PureRAW. The company says the update uses “smart technology” to fix the seven problems that affect all RAW files: demosaicing, denoising, moiré, distortion, chromatic aberrations, unwanted vignetting, and a lack of sharpness.
The company says this update — which is free for existing users of DxO PureRAW — adds new editing options for improved sharpness and distortion correction, new configuration options for exporting, processing, notifications, and magnification, as well as added support for eight new cameras and eighteen new lenses. The new cameras and lenses supported include Nikon, Pentax, DJI, Panasonic, Sony, Olympus and more, with a full list of supported cameras and lenses available to peruse on the company’s website.
DxO says using PureRAW before sending your files to apps like Adobe Lightroom, Photoshop, or Capture One will demosaic and automatically remove digital noise, chromatic aberration, distortion, and vignetting and ensure an optimized RAW file to start editing with and leaving users with the ability to create more precise edits and therefore find more creative freedom.
The update includes fixes for lens defect and distortion corrections with sharpness fixes as well, and DxO claims with this improvement, users can process photos taken with fish-eye lenses or even scenes that require moderate sharpness.
“Following the successful launch of DxO PureRAW, customers sometimes wanted to be able to ‘disengage’ some of the automatic edits,” explains Jean-Marc Alexia, VP Marketing and Strategy. “With this new version, we are offering them this flexibility.”
Additionally, PureRAW 1.5 now makes selecting export directories easier by saving recent or favorite destinations automatically. The application will also allow for greater magnification of the RAW files so users can better judge the quality of the image before moving on to the next steps and it will inform users of the size (volume) of data generated and the time required to process the files based on the number of images they have selected.
DxO PureRAW 1.5 is available to purchase for Windows and macOS from the DxO website for $129. Existing users of DxO PureRAW 1.0, 1.1, and 1.2 can get the 1.5 update for free. Additionally, a free 30-day trial version is also available for anyone interested in testing out the applications capabilities.
Skylum has announced an update for Luminar AI that adds one new feature, addresses multiple bugs, and fixes a major issue with the platform’s ability to properly read Canon EOS R5 files.
While Skylum has been working through pushback from consumers regarding the launch of Luminar Neo and subsequent retirement of Luminar 4, the company did specifically say that it would be working on enhancing the experience of Luminar AI rather than focusing on new features.
Lunimar AI Update 5 makes good on that promise and adds a set of bug fixes to the application, including the crippling Canon EOS R5 RAW file issue that resulted in the company removing the R5 from its list of supported cameras. That changes today, as Skylum says that the R5 RAW file issue has been fixed.
For months, Luminar AI was unable to properly read Canon R5 RAW files since it launched claimed support for the camera as part of Luminar update 4.3.3 six months ago. Photographers started noticing issues with images captured with the R5 in the platform for more than two months before Skylum removed official support for the camera while it worked on fixing the issue.
In short, photographers noticed that R5 files would be imported in what can only be described as “overly contrasty” and there was no way to use Luminar AI to make the photos look correct.
At the time, a Skylum representative said that it was aware of the issue.
“We are aware that for Canon R5 images, there are specific cases with options like ‘double pixel’ and/or HDR settings,” Skylum said. “In these few cases, the user may experience issues when opening these images. The issues do not apply to most Canon R5 photos; that is why we consider the camera to be supported.”
More than four months later, the company tells PetaPixel that the camera is now finally supported and retains full information in the highlights and shadows.
Additionally, Luminar AI now supports the Olympus E-P7, Panasonic DC-GH5 II, and the Pentax K-3 III. The company adds that it has also caught and fixed seven other minor bugs on macOS and seven bugs on Windows that it says could “lead to unexpected results.”
Skylum also added a new enhancement to the Sky Replacement technology called “For This Photo.” It’s a minor but arguably useful update that uses content-aware technology to recommend the best sky for a particular photo and include recommendations from the skies collection on the Luminar Marketplace.
This update is free and users will be prompted to install the update the next time they launch Luminar AI.
ON1 has announced the latest version of ON1 Photo RAW 2022 which includes several new features including Sky Swap AI, full integration of NoNoise AI, and more.
The company claims that the new 2022 version of ON1 Photo RAW will be an ultimate all-in-one system with the addition of these new features, full support for Apple’s M1 systems, and aims to be a proper alternative to Skylum’s Luminar AI thanks to the newly integrated AI Sky Swap tool.
Competing against Skylum and Adobe’s own Sky Replacement plugin in Photoshop, AI Sky Swap will automatically detect the skylines in a photograph and create a mask (that can be customized) which allows users to choose from more than 100 included sky files, or import their own, to enhance the image. According to the company, the software will automatically adjust the foreground lighting and color to attempt to match the overall scene to the newly replaced sky. This tool also includes the ability to add reflections onto water or glass and reflective surfaces as well.
The company has also added timelapse creation tools that will allow users to quickly create timelapse videos from still files without the need for third-party plugins or external applications. The new tool will help align the images, reduce flicker, and smooth exposures should any fluctuations occur with the design of making night transitions easier to manage. The timelapse tool also features a preview dialog for quick-proofing before finishing and rendering the full high-quality video.
Also updated in the 2022 release is an improved Export tool that has incorporated over 100 suggestions from existing users to create an enhanced and improved export workflow. This includes better presets, file naming and renaming, additional export options (including DNG), metadata control, and even adding watermarks. On top of this, the new version will also let users run Adobe Photoshop plugins directly through the ON1 software which should improve the workflow of many users who have been juggling between the two platforms.
The previously launched stand-alone NoNoise noise reduction software will now be directly integrated into ON1 Photo RAW 2022 so it can be used as part of a normal non-destructive editing workflow, saving the need for exporting and importing back and forth between multiple applications.
Additionally, the updated application will also feature a new Line Mask tool that works like a simplified pen tool, improvements to the Browse module making it faster and smoother to use, as well as free updates for Photo RAW 2022 users that will include integrated ON1 Resize, Liquify, improved search and filtering capabilities, content-aware cropping and fill tools, as well as enhancements for ON1 Photo RAW for mobile devices.
ON1 Photo RAW 2022 will be available at the end of September for $99.99 (or $79.99 as an upgrade for existing users). Additionally, users can opt-in for a subscription model at $7.99 per month or $89.99 per year that includes the software for desktop and mobile, as well as cloud storage.
There are endless articles and videos discussing the pros and cons of shooting in raw versus shooting in JPEG. I’ve long been a proponent of raw for the editing capabilities, but what’s more important than file sizes and editing? Longevity.
It’s helpful to point out here that I very often can’t see the forest for the trees, so this may not be such a revelation to others. To briefly recap, shooting in raw captures the most amount of information in each shot, which allows the maximum amount of manipulation in post — essentially the digital version of a film negative. JPEG offers significantly reduced file sizes and speed of use but also reduces the post-processing advantages to just minor adjustments. That’s a broad overview, because there are multiple levels to this discussion. This is not meant to rehash all of them, but simply add a point to the pros of the raw argument.
I was reviewing some past work recently and came across a portrait that I loved from over five years ago, but I decided I should revisit the edit. I’ve been retouching for more than a decade, so I wasn’t thinking this would be a major overhaul but rather a quick update. And for the most part, I was right. My eye is better adjusted to more subtle retouching, so the results were more relaxed than the original.
But this got me thinking about the age-old discussion (raging debate?) about shooting in raw or JPEG and which one is better. I’ve been doing this long enough to believe that professionals choose which one works best for them and their clients, but when you’re just starting out, this is can seem like a major dilemma. Not only is there the added file size, but it’s a level of complexity that may be overwhelming to a new shooter.
Rarely in this back and forth is the discussion of longevity or as some will call it, future-proofing. Side note: I prefer the former because, to my ear, this is about your career and legacy, so the language used is important. Yes, it has a utilitarian aspect, but longevity is about maintaining presence over years, and future-proofing sounds like my roof has the proper rain sealant applied.
My career started in the digital world, so I don’t have a background in film. As such, I’m just used to being able to go back to an image from whenever and decide if I still like the final version or not. If not, I can make changes and re-save it. As I said before, this is not an Einstein-level revelation about photography. I also acknowledge this is heresy to some that view the original edit as the purest form. But I’m a mad scientist when it comes to creativity, with a tendency to see rules as more like guidelines.
Here’s the thing, though: I think this is one of the strongest arguments for shooting raw for a new photographer than anything else. The list of technical advantages is helpful, but telling a new photographer to shoot in a file format that will allow them to improve the photos they’re taking now in five years is a much more compelling reason. There are times this won’t apply, of course, published work being one. However, how fantastic is it to know that you have a safety net in such a technically challenging career?
Why would you want to look at work you shot years ago? I’ve been shooting headshots for the better part of a decade, and there are some images that are milestones for me, so I want to keep them in my portfolio. But as I improve with my retouching or maybe I update my monitor to one that has better resolution and color, I want to go back and adjust those specific images to keep them current. If all I had were JPEGs, this would be very limited but since I’ve shot in raw from almost the beginning, I have this option.
Now, a bad photo is just that, and a professional should never rely solely on the post-processing to save their work. Getting it right in camera is the gold standard, and we should always strive to improve. Still, having that extra layer of flexibility for the future is fantastic.
So, buy that larger SSD and figure out Camera Raw in Photoshop now. Your future self will feel a lot smarter.
SmugMug Source is a new unlimited RAW photo storage service from Flickr’s current owners. Unlike typical cloud storage services like Dropbox or Google Drive, SmugMug Source is designed explicitly for photographers. This means you can do things like preview, sort, and organize your RAW files online—or on any device—just like you can with regular JPEGs.
Source is an add-on subscription for existing SmugMug users. Regular SmugMug plans start at $9/month for unlimited JPEG storage and a personalized photo website and go up to $52/month for professionals looking to sell their photos and provide client galleries. On top of that monthly charge, Source will set up you back $3 for up to 500GB of RAW files, or $5 for up to 1TB and then another $5 for each additional TB, or part thereof. (For what it’s worth, 1 TB is roughly 30,000 RAW files—it depends on your camera—so unless you never delete bad photos, it shouldn’t get unreasonably expensive.)
From the start, SmugMug Source will support most common RAW formats, including ARW, BMP, CR2, CR3, CRW, DCR, DNG, IIQ, MRW, NEF, NRW, ORF, PEF, RAF, RAW, RW2, RWL, SRF, SRW, TIFF, TIF, X3F. That’s all Canon, Nikon, Sony, Olympus, and many other shooters covered. Presumably, Source’s RAW support will update as new cameras debut.
Source also offers a whole host of workflow-conscious photographer-friendly features. It supports sidecar files from editing apps like Lightroom and CaptureOne so you’ll see the edited versions of your RAW shots. You can upload and manage files from any SmugMug app or the Lightroom plug-in. There’s AI-powered search so you can navigate your overflowing catalog without having to manually tag everything.
How does SmugMug Source compare to other raw backup services?
I’m currently using the free trial but, so far, Source seems to deliver on what it promises—which is good, because there aren’t a lot of fully-featured alternative RAW storage platforms.
Adobe’s CreativeCloud is the closest. It has built-in cloud storage that integrates really well with Lightroom. The big downside is that it’s pretty expensive. There are three plans:
The 20GB Photography plan includes Lightroom and Photoshop at $9.99/month.
The 1TB Photography plan includes Lightroom and Photoshop at $19.99/month.
The 1TB Lightroom plan doesn’t have Photoshop, but it’s only $9.99/month.
You can also purchase additional storage starting at $10/month for a TB on top of your subscription.
Google Photos ($9.99/month for 2TB), Amazon Photos (unlimited photo storage included with Amazon Prime at $12.99/month), and Dropbox ($9.99/month for 2TB) all kind of support RAW files, but they don’t have the same photographer focus as SmugMug. They’re fine for backup storage but are less likely to fit nicely into your workflow.
From a purely backup perspective, Backblaze is probably your best bet. You get unlimited file backup for $6/month including RAW files. You won’t be able to preview your images online or integrate things as well with Lightroom, but it will keep them safe.
As much fun it may be to shoot naked this doesn’t need for you to take all your clothes off. This is about taking the step to shoot in the RAW format and time to ditch the JPEG. For years like most I shot in jpeg which allowed me to shoot more images on my SD card. Now the price of all these cards have come right down, is it time to switch. This may sound like a major step for most but with Adobe Camera Raw as a free download and all the updates they have done it’s a good time to switch or at lease give it a try. Just change your camera over to shoot in RAW and after you have taken a few images open them in camera raw. At the top there is an auto button which now does a great job (at last) and something you can use as a starting point if you want to make further changes, it’s only pushing a slider. If not press Auto and save. Your find I hope this will make a big difference to your images and something you wish you had done years ago. Below is an image of Kinston Lacystraight out of camera shot in raw, below is the Auto adjustment in camera raw. Looking at the image I think it was a good shot to start with and the Auto only made some very minor changes.
If or when you starting using the other adjustments in camera raw you will also be able to use Lightroom as they are very much the same now.
So now you can all put your clothes back on and go and give it a try, I don’t think you will be disappointed.
Panasonic has announced a firmware update program for its line of Lumix S full-frame cameras that includes the S1, S1R, and S5. Even though the S1 was announced over two years ago, the company will update it to capture 5.9K video at up to 30 frames per second in 12-bit RAW.
The age of a camera doesn’t seem to affect how Panasonic views if it should provide major support to it, as these updates add significant performance enhancements that could very easily be argued should be reserved for a next-generation camera body. While some of these updates are only available to those who paid for additional video enhancements at launch, this level of support so long after release is still worthy of praise.
The S1, S1R, and S5 will all receive major enhancements when the firmware becomes available on July 12.
For those who purchased the Upgrade Software Key DMW-SFU2 — an optional $200 video-focused upgrade that is currently included with new purchases of the camera — the Panasonic S1 will gain RAW video output over HDMI to a Blackmagic Video Assist 12G HDR and will be recorded as Blackmagic RAW. It will be able to record in full-frame 5.9K (5888×3312) at up to 30 frames per second in 16:9 aspect ratio. In a cropped APS-C mode, the S1 will be able to shoot in 4K (4128×2176) at up to 60 frames per second in 17:9 aspect ratio, and 3.5K at up to 50 frames per second in anamorphic.
The Panasonic S5 will get those same RAW recording capabilities, but without needing to have purchased any software upgrades like is the case on the S1. In both cases, 5.9K, 4K, and Anamorphic (4:3) 3.5K 12-bit RAW video data can be output over HDMI to a Blackmagic Video Assist 12G HDR to be recorded as Blackmagic RAW.
Panasonic will also be adding L.ClassicNeo and L.Monochrome S as photo styles to both the S1 and S1R.
Additionally, Panasonic announced the Lumix HLG Photo for Adobe Photoshop, which is a plug-in software that will allow any hybrid log gamma (HLG) photo (which is a type of HDR image) shot by any Lumix S camera to be read and edited with Adobe Photoshop. After that, Panasonic says that it is possible to view those HLG photos back as HDR photos on an HLF-corresponding monitor of an HDMI connection with a Lumix S Series camera.
Previously, Panasonic HLG photos would cease to be HLG once brought into an application like Photoshop for editing, and the only way to enjoy the wider color gamut was to view them straight out of the camera. While viewing HLG photos is still complicated, at least now there will be a way to edit them without losing the HDR nature of HLG.
Privacy & Cookies Policy
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.