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Meyer Optik Görlitz releases Trioplan 50mm F2.8 lens for multiple camera mounts https://ift.tt/3jabApH Meyer Optik Görlitz has released the Trioplan 50mm F2.8 II, its third lens of the year, following the Lydith 30mm F3.5 II and Trioplan 100mm F2.8 II. Like both of the previous lenses, the 50mm F2.8 II isn’t just an incremental update—it’s entirely new, designed from the ground up. The lens has a slightly faster maximum aperture of F2.8 compared to its predecessor, which maxed out at F2.9. The lens also features the signature ‘soap bubble bokeh,’ has a 52mm front filter thread and a minimum focusing distance of 40cm (15.75”). Below are a number of sample photos captured with the Trioplan 50mm F2.8 II, provided by Meyer Optik Görlitz: The Trioplan 50mm F2.8 II is available in the following mounts: Canon EF, Nikon F, Fuji X, Sony E, Pentax K, M42, Micro Four Thirds, Leica M and Leica L. It’s currently available to purchase on the Meyer Optik Görlitz website for €876.34 (approximately $1,020), not including shipping. OPC Optics, the new owners of the Meyer Optik Görlitz brand, says it has two more classic lens designs on the horizon: a Primoplan 75mm F1.9 II and a Primoplan 58mm F1.9. OPC Optics says the lenses are nearing completion and ‘will be released shortly.’ Photography News via Dpreview https://ift.tt/2burdFr September 29, 2020 at 03:42PM
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AI Taught How to Generate Images Based on Simple Text Captions https://ift.tt/2S8yYrA We’ve got some more advances from the world of AI and photography. This time it is artificial intelligence capable of generating an image from a simple text caption. As the DPReview article notes, these images don’t always make sense. Nonetheless, it is seen as a huge leap for AI tech. Developed and studied by the Allen Institute for AI (AI2) (created by Microsoft co-founder Paul Allen), the study looked at how the AI would handle missing information or interpret text information to discover that missing element in the photo. Using OpenAI with its GPT-3 system, researchers would teach it how to interpret data and extrapolate it based upon inferences drawn from the AI’s previous work. One example demonstrated a clocktower and buildings around it. All of them were quite crudely composed as they were generated by the artificial intelligence itself but the image demonstrates the AI’s connection of clock towers with urban or populated areas. From the engineers’ own study: “Interestingly, our analysis leads us to the conclusion that LXMERT in its current form does not possess the ability to paint – it produces images that have little resemblance to natural images. We introduce X-LXMERT that builds upon LXMERT and enables it to effectively perform discriminative as well as generative tasks … When coupled with our proposed image generator, X-LXMERT is able to generate rich imagery that is semantically consistent with the input captions. Importantly, X-LXMERT’s image generation capabilities rival state-of-the-art image generation models (designed only for generation), while its question-answering capabilities show little degradation compared to LXMERT.” As DPReview notes (and as we have reported on multiple occasions), AI can already generate images on its own but what makes this novel is that it is taking text and then referencing that back to concepts within an image. That’s a whole new ballgame and one that makes you wonder what this kind of technology will be able to do in the future. You can check out the study for yourself by clicking here. Is AI the future of everything, including photography? Let us know your thoughts in the comments section below if you like. Be sure to check out some of our other photography news on Light Stalking by clicking this link right here. [DPReview] Photography News via Light Stalking https://ift.tt/2kwTW5i September 29, 2020 at 03:40PM
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Dying Man Has Livestream Blocked https://ift.tt/3ifMAfk Social media platforms are always coming under fire for the content they allow – and disallow. In this case, the live stream of a dying man was deemed inappropriate material by Facebook and the user was blocked by the company from streaming on its platform. The story has gained attention because it highlights the somewhat complex nature of the decision-making calculus that probably goes on when social media companies regulate what their users post. In a response to blocking user Alain Cocq, Facebook said, “Our hearts go out to Alain Cocq and those who are affected by this sad situation. While we respect his decision to draw attention to this complex and difficult issue, based on the guidance of experts, we have taken steps to keep Alain from broadcasting live, as we do not allow the depiction of suicide attempts.” Suffering from a genetic condition that has causes his artery walls to stick together, FStoppers reports that Cocq has been in the terminal stage of his illness for the last 34 years. He is drawing attention to his inability to get voluntary euthanasia in his home country of France by starving himself. In a letter to the President of France obtained by CNN, Cocq asks for the “right to die with dignity,” writing: “I would like to make it clear to you that on this day I find myself in a situation of having on sound mind, confined in a dysfunctional body, crippled by suffering…I simply ask to leave with dignity, with active medical assistance, because my dysfunctional body prevents me from doing so surrounded by my family and my friends. Some use the term ‘active euthanasia' or ‘assisted suicide,' but for me the term most suitable is ‘end of life with dignity with active medical assistance.” What do you think of Facebook’s decision in this case? Somewhat cold or makes sense given the platform? Let us know your thoughts on this story in the comments section below if you like. Be sure to check out our other photography news content on Light Stalking by clicking this link right here. Photography News via Light Stalking https://ift.tt/2kwTW5i September 28, 2020 at 11:09PM Canon purchases new supercomputer system to further its 'no-prototype' product development ambitions9/28/2020
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Canon purchases new supercomputer system to further its 'no-prototype' product development ambitions https://ift.tt/36djkDB Fujitsu Limited announced last week that Canon Inc. has ordered a new supercomputer. The purchase signals that Canon is progressing with its plans to develop products without the need for prototypes, thereby reducing development costs and increasing development efficiency. The system Canon ordered includes a Fujitsu Supercomputer PRIMEHPC FX1000 unit. Canon has previously used Fujitsu PRIMEHPC FX10 and PRIMEHPC FX100 supercomputer systems. The new FX1000 unit includes class-leading technology from Fugaku, the world's fastest supercomputer. Fugaku, a petascale supercomputer, was jointly developed by RIKEN and Fujitsu starting in 2014. Fugaku is scheduled to begin operation next year. When tested in June, it became the fastest supercomputer in the world. Fugaku has an expected theoretical computational performance of 648.8 teraflops. Fujitsu Limited also announced that upon its completion, the supercomputer headed to Canon will play a critical role in Canon's 'no-prototype' product development plans. The supercomputer will allow for 'enhanced capabilities and scope of applicability of analysis in Canon's product development process.' Fujitsu and Canon anticipate the supercomputer to begin operations during the first half of 2021. Canon's 'no-prototype' initiative applies to the development of numerous products, including cameras. Canon is utilizing 3D CAD data in 'analytical simulations to evaluate multiple facets of proposed products, including functionality, as well as ease of manufacturing.' The PRIMEHPC FX1000 system, which includes 192 nodes, will allow Canon to produce larger scale analyses and simulations, including simulations with over 100 million total elements. The new system will also Canon to produce analyses of simulated airflow and electromagnetic waves. In its coverage of this announcement, PetaPixel speculates that Canon is working hard to catch up to the fast and furious development cycle of Sony and its mirrorless cameras and that a new supercomputer can speed up Canon's development cycles.
It stands to reason that if Canon can quickly simulate many iterations of a product it is developing rather than need to construct real-world prototypes, the revision process will be quicker. Further, leveraging a class-leading supercomputer may allow for deep analyses of products that may have otherwise taken Canon far too long or been outright impossible. Ultimately, how the FX1000 supercomputer system will impact Canon's product development cycles remains to be seen. The system should be operational in the first half of 2021, but of course, the development cycle of something like a new camera is quite lengthy. Photography News via Dpreview https://ift.tt/2burdFr September 28, 2020 at 04:04PM
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Atomos launches Connect, a $79 capture card https://ift.tt/3l0OvXb Atomos has launched a HDMI-to-USB video capture card that allows any HMDI camera or recorder to be used to live stream or record to a PC or Mac. Connect is a tiny device that plugs directly into a USB port and accepts HDMI input to provide a video feed of up to 1080p at 60fps in up to 12-bit color. The device can accept 4K at 30p, and needs no additional drivers, software or power supply to work. And best of all, it costs $79. Unlike most capture cards, the Connect doesn’t use a USB out cable, so the full weight of the HDMI cable will be borne by the USB port on your computer, making this perhaps a solution when a short cable is in use or when the cable can be supported. Atomos is promoting Connect to use with its range of video recorders, but it can also work directly with any camera, or device, that can output via HDMI. The company points out though that when used with the Shogun7 users can switch between up to four simultaneously streaming cameras using the Shogun’s multiple-camera recording capabilities. The Atomos Connect is available now. For more information see the Atomos website. Press release: Atomos launch Connect: Professional HDMI to USB conversion for streaming.Melbourne, Australia – 28th September 2020 – Atomos is today excited to launch Connect, a convenient, reliable, and affordable bridge between professional 4K video capture and high frame rate UVC streaming over USB (up to 1080p60). Connect works with any HDMI device including the entire Atomos range. Simple to use, it has universal support from popular streaming platforms and at only $79USD is an affordable way for gamers, vloggers and education facilities to up their streaming game using the professional Atomos monitor-recorder ecosystem. Convert, Connect, Stream Plug and go like a pro Shogun7 Connect – tame multicamera streaming Transforms your Camera to a Pro Webcam
Photography News via Dpreview https://ift.tt/2burdFr September 28, 2020 at 01:49PM Video: Adobe teases Advance Color Grading tool coming to ACR Lightroom and Lightroom Classic9/28/2020
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Video: Adobe teases Advance Color Grading tool coming to ACR, Lightroom and Lightroom Classic https://ift.tt/2Sd4Lrn Adobe has announced a new Advanced Color Grading feature will soon be available inside Adobe Camera Raw, Lightroom and Lightroom Classic. The new Color Grading panel is inspired by the Lumetri Color panel used in Adobe’s Premiere Pro video editing software and replaces the previous Split Toning panel. Unlike Split Toning, which only allows you to adjust the highlights and shadows, the new Color Grading panel takes it one step further, allowing you to also adjust the coloring of the midtones. In addition to adding midtones, the panel is also redesigned. It now uses a three-wheel system, not unlike the color wheels often seen in professional video editing programs. Each wheel works alongside a slider to provide complete HSL control for highlights, midtones and shadows. There’s also a global color wheel for more general adjustments, as well as a blending slider to help boost or reduce your adjustments, depending on the look you’re going for. Adobe doesn’t mention when we can expect to see this filter in Adobe Camera Raw, Adobe Lightroom and Adobe Lightroom Classic, but does say it’ll be showing off more of this new panel at this year’s virtual Adobe Max conference, which is taking place on October 20–22. Photography News via Dpreview https://ift.tt/2burdFr September 28, 2020 at 12:24PM
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Meyer Optik Görlitz Unveils the Trioplan 50mm f/2.8 II https://ift.tt/3jdgOAT After unveiling the Lydith 30mm f/3.5 II and Trioplan 100mm f/2.8 II earlier this year, the revived Meyer Optik Görlitz today announced the new Trioplan 50mm f/2.8 II, a sharp normal lens with “soap bubble bokeh.” “With our Trioplan 100 II and our Lydith 30 II, we have already been able to successfully revive two absolute Meyer-Optik-classics despite the current difficult situation,” says OPC Optics Managing Director Timo Heinze. “The customer feedback on these two lenses is very positive so far and we are very pleased to release the third lens, the Trioplan 50 f2.8 II, today.” The Trioplan 50mm f/2.8 II features a new mechanical construction and a “significantly optimized” optical design that makes this new lens “considerably” sharper than its predecessor. The speed of the lens has also been slightly increased from f/2.9 in the original to f/2.8. “The Trioplan 50 f2.8 II offers an extreme center sharpness as well as a beautiful bokeh,” OPC Optics says. “In appropriate shooting situations the Trioplan 50 f2.8 II draws the famous bubble bokeh and at the same time a rotating background (swirl). “Of course, depending on the situation, both effects also occur separately and thus the Trioplan 50 f2.8 II offers many creative possibilities for your own image compositions.” Here are some sample photos captured with the new Trioplan 50mm f/2.8 II: OPC Optics says the next two classic Meyer Optik Görlitz lenses to be reborn will be the Primoplan 75mm f/1.9 II and the Primoplan 58mm f/1.9, noting that they’re “almost ready and will be released shortly.” The Trioplan 50 f2.8 II is available now on the Meyer Optik Görlitz website and through select retailers with a price tag of €876.34 (~1,021). Photography News via PetaPixel https://petapixel.com September 28, 2020 at 12:03PM
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Resetting The Rules: ‘Sorry, No Tripod’ and ‘Pro Cameras Not Allowed’ https://ift.tt/3cHTCs7 During New Year’s Eve 2017, Dubai set a world record for the biggest LED and light show at Burj Khalifa, doing away with the usual fireworks and taking a different approach to welcoming 2018, the “Year of Zayed”, named after the founding father of the UAE. It was just a 30-floor elevator ride for me to be able to capture this moment with my trusted Olympus mirrorless camera. For those reading and not familiar with camera terminology, this is essentially the same type of camera as what you might know as DSLR, or in general a camera with a viewfinder and interchangeable lenses. I got the shot I wanted, went back up, edited it, and posted on social media within the first 30 minutes of the new year. To my surprise, the official @mydubai Instagram account picked up the photo for their own NYE post a few minutes later. It became their most liked photo to that date within a few hours and was reposted by several other official and unofficial accounts. More than 2 years later, during a hot summer evening, I was wandering around a more or less empty Downtown Dubai in almost the same spot, with the same camera, on the hunt for new compositions. This time, I didn’t get the shot I wanted. Why? Because I was approached by a security guard telling me that professional photography is not allowed in this area, which is privately owned by Emaar, the master developer of the Burj Khalifa district. This backstory to some extent exemplifies some of the reasons why I wrote this blog post: Many developers, owners, organizations, and venues set ambiguous rules that prevent amateur photographers like myself from capturing their locations in the best light, enforce them arbitrarily, but then do want to reap the benefits of using our images for marketing purposes — mostly free of charge under fair social media use (whether that is right or wrong is a subject for another discussion). At this point, I want to clarify that while I must admit I have sometimes been close to losing my patience with security guards. They are only ultimately the messenger, and their work as a whole is highly appreciated by myself and dare I say the entire photography community. This is about the rules they are being told to enforce, rather than who is enforcing them. A second disclaimer to this post is that there are frequently very valuable and rational reasons for not allowing photography in certain situations. Protecting government institutions or military facilities, preventing the privacy of individuals in their own space from being compromised, ensuring the safety of people in a crowded area by not allowing a tripod in the middle of a footpath, or ensuring the protection of copyrighted material in cinemas or concerts. These are not the situations in question here. Here, we are addressing wide open spaces that are absolutely considered public, have no implications for national security, and where people take photographs on a daily basis with their smartphones. For those familiar with Dubai, such places include Bluewaters Island, Burj Park, Dubai Canal, or Design District — I’ve chosen those examples because in all these locations I’ve been asked to not take photographs with my camera and/or tripod. The question is, why is that? To date, the explanations I’ve received — if any — have never been very coherent or logical. As a result, I will have to make some assumptions: your typical photo capture device today ranges from the size of an iPhone (the most popular camera in your hand, to a DSLR and a big telephoto lens that may be up to 12 inches (30cm) in length or so, set up on a tripod 6.5 feet (~2m) in height. From personal — and thus anecdotal but qualified — experience, I have found that: 1. None of the locations in question would prevent anyone from taking a photo with their smartphone. 2. A few of them would approach you for shooting with a DSLR or mirrorless camera with a typical wide-angle lens. 3. Many will ask you to refrain from shooting if you carry the same camera with a bigger lens, such as a telephoto zoom. 4. All of them will ask you to leave the moment your tripod touches the ground as you set up. My interpretation of these findings is that the larger your overall equipment is, the more likely it is you will not be welcome to take photos. An assumption I am making here is that outsiders (i.e. those not familiar with photography) associate “larger equipment” with “more professional”, which would imply that the rules set by these locations are “we do not allow professional photography”. I would welcome any of these companies and organizations to comment here with feedback on whether this is the case. Until then, let’s continue with this assumption. The problem is that the boundaries of professional photography have long been no longer defined by the size of the equipment. The advent of smartphones with Instagram & Co, the rise of the influencer culture relying heavily on photography, and the significant advancements in mobile photography have allowed people to do commercially viable work with equipment that fits in their pocket. Heck, movies are now shot on iPhones. This discredits the entire reasoning why a regular DSLR and lens should be treated differently from a smartphone when it comes to what is “professional”. Let’s move to the next level: using a big telephoto zoom lens. Also in this area, we are now approaching times where smartphones are capable of producing extreme levels of computational zoom, enabling everyone to take photos of objects and people far away. A camera with interchangeable lenses will (for now) still have an advantage in some ways here, and produce better quality — the question is: why would that be a problem? I can think of privacy as the major reason — as a location owner, one wants to make sure people do not feel uncomfortable and be under the perception they are being photographed from far away without their knowledge or consent. My argument though would be that if this was a photographer’s intention, and they would do it maliciously, the laws around privacy protection for others would still apply — whether in a location that is privately owned by a large developer, or a public square. It’s unlikely that a private security guard will be able to deter someone from engaging in such activity if even the law is not able to. Moving on the last and seemingly worst offender: the three-legged friend of the long exposure photographer. A tripod. Here, it may be worthwhile to quickly explain why photographers chose to carry this device around. Generally speaking, cameras need to capture light for a certain amount of time to produce a well-exposed image. When it’s bright outside, less than a second is enough to achieve that, maybe 1/100 or even 1/1000. When it gets dark, this isn’t enough anymore. The camera may need 3 or 5 or 10 seconds to capture sufficient light to produce a good quality image. The problem is, no one can hold the camera steady for that long, meaning that movement occurs during the light capture period, resulting in a blurry shot. This is where the tripod comes in, keeping the camera steady while it collects the required photons. Granted, there are other uses for a tripod, but generally speaking, they revolve around similar concepts. So, I ask myself: why don’t venues want to see tripods being used? More than once I placed my camera on a rail, stone, bag, or whatever when asked to stop using my tripod, and this was acceptable. How does that make sense? The result is the same, except my composition might be worse and it’s riskier (the camera might fall, etc). My tripod will probably still be around, leaning against a nearby wall. As we discovered earlier, in many places it is seemingly ok to use a camera, but only the tripod triggers something in the security personnel that makes them ask you to stop. This seems illogical: we can shoot the same exact photo during daylight in great quality (enough light for a short exposure), but at night when we need a tripod to capture enough light to get the same quality, it is deemed as not acceptable. It doesn’t appear likely that daylight photos are ok for a location owner, but night time shots are not. Lastly, similar to the argument with telephoto lenses, the latest generation smartphones are slowly catching up in this area, using digital stabilization to capture acceptable night time photos, and further blurring the lines between the size and type of equipment needed to capture similar looking photos. You may ask why we still need dedicated cameras and lenses. Well, smartphone technology is not quite at the stage where it can handle all the photographic challenges a specialized camera can, and while for average photos for an Instagram post on a small smartphone screen this may be less of an issue, if you are looking to print a photo, for instance, this is where the difference between the two classes of equipment do show up. Some kinds of photos aren’t achievable with smartphones just yet, but that doesn’t mean they are automatically “better” or more professional or commercially useful. As smartphones catch up with dedicated cameras for these last scenarios, will the organizations making these rules soon forbid any kind of photography in their locations? My prediction is their marketing departments would quickly scream and shout when faced with the loss of the free social coverage, aside from it being practically impossible. If the assumption made at the beginning of this post is correct, the rationale should shift from “we do not allow professional photography” to “we do not allow commercial photography” — this may make sense as the venue wants to control commercial activity. But how can you do that when an influencer shot taken and edited with a smartphone can easily generate much more money than a photographer with a dedicated camera taking a shot planned and edited for hours, printed on fine-art paper, and sold in a gallery? So in anticipation of that, it may be the right time to redefine what “commercial” or “professional” photography means in this context and start a conversation on establishing clearer and logical rules for what scenarios and equipment are allowed, or not, and for what reason. In the end, it is clear that companies are free to ask anyone to leave their premises or to not use a camera bigger than a smartphone, or an orange, or whatever arbitrary definition they chose, regardless of the reason. Ultimately, this will probably make photographers try to take a photo by whatever means is allowed, instead of what produces the best result. That photo may just not be as good, not as creative, not as interesting, or it may not happen at all and the moment will be gone forever, leaving the photographer and his or her audience disappointed, and taking away a chance for the location to create positive impressions or attract new visitors due to the existence of the photograph, for no logical reason. I, and I am sure the whole photography community in Dubai and around the world, are open to engaging in this discussion with the decision-makers at the various organizations, for the benefit of everyone — for us to follow our hobby and passion without hindrance, for the public to enjoy great photography, and for organizations to benefit from high-quality coverage. I see several ways a middle ground can be found: Ask photographers to sign a release form giving the location permission to use the photos. Make photographers sign a disclaimer that ensures we cannot publish the photos commercially or re-sell/license them. Create a system for granting permission to a person on a yearly basis, not for one single shoot. Request IDs in order to know who shot when at the location. Train security guards to determine in which cases there is a genuine issue caused by a photographer. Or, just treat photographers with a camera the same as someone with a smartphone. Admittedly, there are details and issues to be addressed with these suggestions, but I am confident there are better ways to establish a mutually understandable and viable basis than the inconsistent and illogical approach many places seem to follow right now. Let’s sort this out. All we want is to take great photos of the cities and places we love. About the author: Florian Kriechbaumer is a photographer and business executive based in Dubai, UAE. The opinions expressed in this article are solely those of the author. You can find more of Kriechbaumer’s work on his website, Facebook, Twitter, and 500px. This article was also published here. Photography News via PetaPixel https://petapixel.com September 28, 2020 at 11:29AM
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What’s Been Cooking At Light Stalking Last Week https://ift.tt/3jepPK0 Photography is so powerful that it can brighten up our lives – what a great way to start our day by checking out some beautiful images in the comfort of our homes! Here is your weekly wrap-up from Light Stalking – you'll find carefully curated photos from the general chit chat, as well as some creative photographs from Tersha's latest challenge on Clouds! And as you've already guessed by now, we'll be mentioning some worth-seeing shots from the Feedback Forum too. Photo Of The Week – September 28st, 2020
What Are Our Members Up To?Pour some coffee and enjoy our favorite shots from Challenge 505th! What You Shouldn't Be Missing From The Light Stalking CommunityDave Watkins shared a very bright sunflower after the wildfire smoke near his place finally stopped. Beaky shared various shots from Kalbarri gorges WA, this one below happens to be a personal favourite, but check them all out here. After playing around with PS, Bruce asked if this shot happens to please us. I have to say that yes, it does. But if you want to share your point of view, you can do it here. Rob raised a couple of very interesting questions. The first one deals with software alternatives to Lightroom, check it out if you are curious about knowing more alternatives for developing your raw files too! The second one was about finding out what things we feel disappointed about our cameras, and last but not least, a photography related (and pretty psychological) experiment! Let's Welcome Our Newest Forum Members!We'd Love To Hear Your ThoughtsAlso, our Feedback Forum received some nice photographs, and is clear that some of you have started building a solid photography style. This is the right place for all those people that want to grow fast as photographers. This is possible thanks to valuable and positive feedback, which is perhaps the best way to hack the learning curve in photography. Here you'll get your work critiqued by plenty of well-intended people, but you'll also have a chance to critique your peers. We truly believe in the power of criticism and feedback. Many of our members have nurtured their own photographic knowledge by giving out elaborate critiques that go way beyond simple emoji based reactions or “nice shot” comments. Here are some of the most interesting shots shared during the last week: The Shark Tank is a great place to learn and to discuss, so please read the instructions in order to get a better critique experience. Share your comments, opinions and doubts on any or all of the images above. We also will be delighted to see some of your own images. Don't be shy, critiques are given to photographs and not photographers. We'll be more than pleased to help you out; after all, we all are in love with photography. Also, don't forget to participate in our 506th challenge on Smooth! Photography News via Light Stalking https://ift.tt/2kwTW5i September 28, 2020 at 11:04AM
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Sneak Peek: Lightroom is Getting Advanced Color Grading https://ift.tt/3n1KKST Adobe revealed today that it’s bringing a powerful new Advanced Color Grading feature to Lightroom Classic, Lightroom, and Adobe Camera Raw. This 2-minute video offers a sneak peek at how the panel works. The new panel draws inspiration from the Lumetri Color panel found inside Adobe’s Premiere Pro video editing software, and it’s an upgraded version of the tool/panel formerly known as Split Toning. While Split Toning allowed you to stylize photos by specifying the color tint of the shadows and highlights, Color Grading takes it to the next level by giving you control over the tint of midtones as well. Instead of sliders, you’ll be able to make precise adjustments using new color wheels. You can tap a point in the wheel and drag it around in a circle to pick the hue you’d like. Dragging in and out of the center of the wheel will lock the hue and allow you to adjust the saturation. In addition to the new color wheels, there’s also a new Global color wheel, a Luminance slider, and a new Blending slider. “The new highly sophisticated color grading tools shown here will provide you with the added control you need for beautifully cinematic results,” Lightroom team member Pei Ketron says. Adobe will be sharing more about this upcoming tool at the virtual Adobe Max conference from October 20-22, and we’re guessing this feature will be released to the masses shortly afterward. Photography News via PetaPixel https://petapixel.com September 28, 2020 at 10:41AM |
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